American Cinematographer - September 2004 - 74

FLY/NG-CA M
In

Harry Potter & the Goblet of Fire
Harry Potter & the Prisoner ofAzkaban
Harry Potter & the Chamber ofSecrets
Van Helsing
Bobby Jones, Stroke of Genius
Scooby Doo 2
007 Die Another Day
007 The World is not Enough

London, Kiichler worked

closely with production designer
Mark Tildesley to create a modern,

007 Tomorrow Never Dies

Mission Impossible 2
A Beautiful Mind

textured look for Maria's apartment.
The
cinematographer
gelled

The Beach

Tildesley's maze of interior windows
and glass doors with Mauve,
Medium

Bastard Amber, White

Flame Green, and Super

Flame; this lent each

White
its

room

own

symphony of light pastels. "That had
to be quite carefully planned,"
Kiichler observes. "Sometimes two

differently gelled doors would be
stacked in the shot, or we might see a
window in front of

door. So the

a

gels had to work individually and in
combination with each other."

Tildesley built narrow gaps
into the set to facilitate the place¬
of fluorescent tubes. Kiichler

ment

used ordinary
practical, we filled
not with Kino Flos, but

reveals, "Just

as we

bulbs for the

those gaps
with fluorescent tubes of natural

magenta or green

tint." The designer
set with highly

also furnished the

reflective surfaces, which Kiichler

exploited to create highlights. "All of
that glass and metal was complicated
to

control, but it meant that

we

could work very low-key without the

images getting too milky."
For William's home in

Kiichler introduced

Seattle,

subtle

lighting
anomaly to evoke the film's peculiar
vision of the future: though every¬
one works at night, the wealthy
a

their homes

bathe

in

artificial

sunlight. Kiichler therefore sought to
create an

environment that "reminds

the audience of

day but is still,
weirdly, somehow not day." Though
he would have preferred to light
these

scenes

within

a

studio set, the

production couldn't afford another
Kiichler found himself work¬
real apartment located two
floors up and opposite King's Cross,
London's biggest construction site.
Tildesley draped the kitchen's large
one, so

ing in

a

plate-glass wall with muslin, and
Kiichler boarded the location and lit

the muslin with his

midday-sun

Flying-Cam USA

Flying-Cam EUROPE

Flying-Cam ASIA

Phone: 32 4 227 3103

Phone: 85 9333 3395

Phone: 1310 5819276

europe@Hying-cam.com

asia@flying-cam.com

usa@fiying-cam.com

W

■f" I

'v'

*

r~*

g

-

S3

F L Y/NC



American Cinematographer - September 2004

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

American Cinematographer - September 2004 - 1
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