American Cinematographer - November 1999 - 29
recoils from the window, the camera
Cinespace 125/200W.
The Industry's Newest and Best
pulls back from him, conveying a
palpable sense of his repulsion. This
shot is immediately followed by an
interior sequence in which Tom's
emotional point of view is expressed by
way of a slow and deliberate move,
which ends with the camera burrowing
Selling Daylight-Balanced
Portable.
into the back of his father's head.
McGarvey suggests that this shot has a
predatory quality, with the audience
sharing what is clearly a rush of hatred
toward Tom's father. Achieving the shot
was
particularly difficult for both
Steadicam operator Alistair Rae and
focus puller Baz Irvine, given the shallow
depth of field that was available and the
restricted space in the cottage.
McGarvey maintains that he
relished the challenge of lighting within
the constraints of
a
Cinepar Casting
real farmhouse
More
location with low
ceilings and limited
space. "I love working from real sources,
or approximating where a source would
actually come from," he explains. "For
daytime interiors, I tried to light
predominantly from the outside with
daylight-balanced 4K and 6K HMI
sources, either directly through frames or
bounced for
a
small Kino Flo
Remove Front
Cinespace 125/200W
ETC
www.ltmlighting.com
*
lights and mixed the color
ambient
there
Because of the excessive wind
on
the location in north Devon, it was
one crane
on
platform from 8 ft (2.5 m)
up to 28 ft (8.5 m)
remote from 9 ft (2.9 m)
up to 34 ft (10 m)
*
3 bases available
*
modular
had
acrylic ND sheets made up and
directly onto the window
frames. The dark nighttime interiors
presented their own challenges. "We
wanted to create a sepulchral world in
the interior, a bold chiaroscuro in which
the
light falls off rapidly into darkness,"
the
cameraman
relates. "In such scenes,
lighting with darkness, so I used
and smaller Kino Flo
sources
to
provide just enough
you are
location
in studios
*
use using normal ND gel
the windows, so McGarvey
screw-mounted
-
requirements
*
impossible to
material
system
fullfills all your
*
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or on
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150-watt peppers
illumination for the
effect.
created with
desired
Warmer ambience
was
Chinese lanterns
dimmers set at 50
on
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softer effect. For fill, I used
lighting within the farmhouse,
are usually several practicals
right in the shot."
Chinese Lantern Mode
Bright Ideas from LTM... We Light the World.
temperatures - half daylight and half
tungsten. I was also keen to work with
existing sources to create a sense of
so
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contact@panther-gmbh.de
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American Cinematographer - November 1999
Table of Contents for the Digital Edition of American Cinematographer - November 1999
American Cinematographer - November 1999 - 1
American Cinematographer - November 1999 - 2
American Cinematographer - November 1999 - 3
American Cinematographer - November 1999 - 4
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