American Cinematographer - November 1999 - 29

recoils from the window, the camera

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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

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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

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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

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*

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)

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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

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use using normal ND gel
the windows, so McGarvey

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150-watt peppers

illumination for the

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created with

desired

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was

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on

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softer effect. For fill, I used

lighting within the farmhouse,
are usually several practicals
right in the shot."

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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
http://www.panther-gmbh.de
American Cinematographer - November 1999

Table of Contents for the Digital Edition of American Cinematographer - November 1999
