American Cinematographer - September 2004 - 50

Left:

Becky plays
dangerous
game by flirting
with George
a

Osborne

(Jonathan RhysMeyers), the
object of her
best friend's

unrequited
affections. Quinn
shot this
sequence
handheld to lend
it added

intimacy. Below:
Sharp finds a
kindred spirit in
the rakish
Rawdon

Crawley

(James Purefoy),
who accepts her
as

such

as

14mm and 18mm,

his wife.

with inti¬

details. That's the

style I was
going for." Quinn chose Cooke S4
prime lenses, which in turn led him
to select an Arriflex camera package
consisting of an Arricam Studio
mate

(ST),Arricam Lite (LT) andArri435.
He

quite happy with Arris
really
great to work with; it has a bright
viewfinder and is very comfortable
was

newest

to

hold

has

models. "The LT is

on

the shoulder. The ST also

bright viewfinder and can
fps. It's a good
system."
Throughout the film, Quinn
a

shoot up to 60

endeavored

to

maintain

a

naturalis¬

tic

lighting style. "Vanity Fair is a
dialogue-driven picture with more
than 30 significant characters to
follow," he says. "We needed to see
faces and eyes much of the time, and
I tried to create mood and atmos¬

phere without too much contrast.
One way we achieved a sense of
depth was to mix colors in the light¬
ing. We often had a cool source from

the window,
bounced

at

ent source,

a

large unit diffused

such

or

sometimes used to

key characters

a

reddish ambi¬

farthest from the window, too]; and

as a

tungsten unit

finally, from behind the

4500°K;

gelled with Pale Salmon, bounced
into the ceiling; low, flickering
sources motivated by candles or the
fireplace, usually two small tungsten
instruments, one gelled Amber and
on a flicker
generator, the other
dimmed to 50 percent [this was

another cool

fill, 2Vi

source

at

camera,

about 5600°K

3 stops under exposure,
subtly in the skin and
clearly in the eyes to give a sense of
depth and mood."
One key daytime scene is a
family gathering involving the
as

or

which read

American

Cinematographer 37



American Cinematographer - September 2004

Table of Contents for the Digital Edition of American Cinematographer - September 2004

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American Cinematographer - September 2004 - 127
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