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Corsair Slider 3. Corsair Survivor 3. Corsair Voyager 3. Corsair Voyager GT 2. The puppets like to be shot with wide lenses, up close, he notes. This is partly because the puppets are very small Kermit is about 18" and the wide-lens perspective helps to make their movements feel larger and more alive.
Composition is maintained using the lower frame line as reference. Handheld work is often avoided, as are vertical camera moves. Muppets tend to walk in groups of three and five, Thatcher observes.
Then theyll line up and talk to each other, so many of our shots are proscenium-oriented from the waist up. The hardest thing to do with a Muppet is an extreme close-up, because you dont want the audience to discern that the eyes are made of felt.
And over-the-shoulders are difficult because a lot of them dont have shoulders. In addition, the characters distinctive facial features discourage camera operators from cutting their close-ups off at the forehead. When working, Muppet performers are most comfortable standing, with their puppets raised over their heads.
All Muppet sets therefore had to be constructed with 3'-high puppeted floors assembled from 4'x8' steel-deck sections that could be removed at any time. All of the lights on set had to be raised as well. Sometimes it takes a while for people to get into that mode of thinking, says the cinematographer. Luckily, some of my crew, including key grips Alex Klabukov and Bodie Hyman, had worked on the new Muppets movie, so they were already very familiar with how this works.
Kief was impressed with the Alexas handling of the Muppets bright color palette. The only adjustment he made on set was to inch up the saturation on the main HD viewing monitor at video village. The colors were insane, he notes.
Not only was I dealing with Kermits extreme green and Gonzos blue, but we also had other craziness, like the band members colorful suits and a wall of LED lights. The image held up phenomenally well, and I knew it would look great when we started the timing. One of the videos early gags, a parody of the classic Muppaphone act, involves a very tricky shot. The camera dollies across the musicians faces, then speeds up a post effect and pulls back as Marvin Suggs performed by Jacobson hurls a pair of mallets over their heads.
The mallets fly past the camera and start a Rube Goldberg device that sets the rest of the video in motion. Jacobson had trouble throwing the mallets while holding the Suggs puppet, so Kief and Thatcher came up with the idea to lock off the camera at the end of the shot, clear the band from the frame, and then have Jacobson sans puppet toss the mallet.
The Muppet hands and mallets were roto- scoped back into the hero shot by artists at Soapbox to look as though theyre part of the action. We used every trick available, but it doesnt look like it, Thatcher notes. A few shots later, some penguins drop a curtain across the frame, and then pull it back as the camera begins a long push-in on a dolly. Kermit and pals emerge from behind the curtains as the dolly passes by.
To achieve this shot, Londono and Hyman guided the camera past six rows of curtains, lighting cues and Muppet perform- ers. Each time a curtain was pulled back, a Muppet hit its mark, and 2nd-unit gaffer Kirean Waugh turned up a 1K or watt Fresnel, kicking lens flares into the upper corners of the frame. The lenses were Panavision Primos. The shot looks completely effortless, even though it was very complex, says Thatcher.
Getting 15 people to have perfect timing to music on a foot dolly took almost seven hours to accomplish, but we loved the idea of captur- ing as much in-camera as possible. Clockwise from top left: the Muppets puppeteer the members of OK Go; Damian Kulash performs against greenscreen; the Arri Alexa was rotated 90 degrees to maximize resolution.
In this scene, the four band members and four Muppets stand in a single-file line facing the camera, and then they lean around each other on a musical cue. When the band and the Muppets start going crazy and jumping around, I told [the operator] to just go nuts and start cycling through the backgrounds, says Kief.
It was fun to see it instantly, live and in-camera. In post, Alender thought of adding flying CG penguins to the shot. Kief came across the Selador Vivid LEDs while searching for a lamp suitable for lighting a pure white cyc. The problem is that there are gaps in the LED color spec- trum, he remarks.
The Selador Vivids use seven LED hues red, red-orange, amber, green, cyan, blue and indigo that together create a more complete spectrum of white light. By using 14 Vivid lamps above and 14 below the white background cyc, Kief was able to create a smooth, solid wash of color that could be changed in an instant.
It was so saturated and clear that it looked like a post effect, he says. Two big greenscreen shots close out the video. Klabukov rigged bluescreens and greenscreens to fly in front of the cyc, and gaffer Mark Marchetti lit them with 12 Kino Flo Image 80s six above and six below lamped with alternating green and blue tubes.
The first greenscreen gag reveals that OK Go are actually puppets being controlled by the Muppets. The band members performed in front of a green- screenwhile wearing a floor-length skirt of the same chroma-key color. Each member was photographed individually, with the camera rotated 90 degrees, and then combined into a single shot. We needed more vertical resolution than horizontal resolution, Kief explains. Getting in close with the camera and shooting sideways allowed us to do that.
The reveal of the Muppets puppeteering the band is a separate shot, achieved in the same fashion, with the puppeteers watching the musicians perfor- mance on a monitor in order to make the puppets movements match.
According to Thatcher, keying the Muppets has always been a challenge. Kermit is a few shades off chroma green, but if he is in an effects shot with Gonzo, bluescreen cant be used, either. Theres no single color that works for everybody, so we had to be flexible and be ready to shoot either at a moments notice, says Kief.
Ive shot about 50 music videos, and this is maybe the most ambitious one, muses the cinematographer. It also might be the most fun Ive ever had on a shoot. Everyone, including the band, the puppeteers, Kirk, Soapbox and the Muppets Studio, brought a creative energy to the video that was exciting and inspiring.
Clockwise from top left: Tim Nordwind awakens from his nightmare; cinematographer Craig Kief and the Alexa on set; key grip Alex Klabukov uses a Panther crane to fly the camera over the bedroom set. Claro, who was born in Chile but moved to Denmark with his family at age 4, says, The most memorable experiences Ive had as a viewer were watching his films, so it was a secret dream to work with him, but his is a different generation than mine, so I never thought it would be possible.
Also, for many years he was kind of destroying cinema destroying the visuals and I thought that if he kept going in that direction there would be no space for a cinematographer. But then came Antichrist AC Nov. Von Triers latest picture, Melancholia, which Claro was asked to photograph on the recommendation of producer Meta Louise Foldager, dramatically follows through on this trend. It is the story of two sisters played by Kirsten Dunst and Charlotte Gainsbourg and their divergent responses to a rogue planet called Melancholia that is on a collision course with Earth.
In a striking composition from Melancholia, shot by Manuel Alberto Claro, new bride Justine Kirsten Dunst floats Ophelia-like down a stream in her wedding dress. I 20 December American Cinematographer Justine, named after Dunsts troubled character, depicts her disastrous wedding reception at sister Claires palatial estate; Claire charts the emotional disintegration of Gainsbourgs character in the face of Melancholias approach, even as Justine reaches a state of repose.
As in Antichrist, preceding the body of the film is an overture, in which the themes and motifs running through the movie are prefigured in a series of static and highly stylized images for example, Justine attempting to trudge forward in her wedding dress with her ankles restrained by yarn, or floating Ophelia-like down a stream while holding her bouquet. Most of these striking compositions were created on the grounds at Swedens Tjlohom Castle, where all of the movies location work was shot.
Aurally underscoring this sequence is the overture to Wagners Tristan und Isolde. In a statement accompanying the movies production notes, von Trier says, With a state of mind as my starting point, I desired to dive headlong into the abyss of German Romanticism. Wagner in spades. This minute segment was shot with the Phantom HD Gold camera at 1, fps, yielding a series of painstakingly slowed-down microseconds of movement.
Lars likes the quality that creates, says Claro, who notes that this overture was precisely imagined by the director and story- boarded accordingly. The layering of shots was a complex process in both production and post. In some of the landscapes, you have the sky from one direction and the golf course from three different views, says Claro, who collaborated closely with visual-effects supervisor Peter Hjorth.
The idea is very much like a painter creating an image from his head thats composed of a lot of differ- ent images. For double shadows [from the sun and Melancholia], we would shoot one plate in the morning and one in the after- noon and combine the two shots. One shot of the castle with Justine, Claire, and Claires little boy frontally lit by the sun, the moon and Melancholia repre- sented layer upon layer of addition and subtraction. Claro recalls, We had to clean some stuff out so you could see the [castle] more clearly, because there were trees in the way.
It was a huge job to simplify it like a painter would. Visual effects were created Justine and her sister, Claire Charlotte Gainsbourg , share a rare moment of levity before Earths impending doom sends Claire spiraling into despair. Lighting instruments also had to be eliminated in post. You need an extreme amount of light to shoot at 1, fps, and the lights often had to be so close to the actors, either in front of or behind them, that the sources would inevitably be in the frame, says the cinematographer.
We would have them a few meters away from the actors, pointing straight at their heads. The lights for this work were primar- ily 6K HMI ArriSuns with special high-speed ballasts, because although the normal ones are flicker-free, when you get to 1, fps, theyre not! Most of Melancholia was not so styl- istically controlled. With the exception of the Phantom sequences and several aerial shots, the film features mostly handheld camerawork. Lars wanted a kind of docu- mentary-style camera that followed the actors, says Claro.
He notes that the director did lay down one Dogme-style ground rule: no piece of furniture or prop could be moved by anyone on the crew once its location was set. That gave a kind of truthfulness to the moment, because the camera cant be in the perfect spot every time, says Claro. Continuity between takes was deval- ued, as Claro was not permitted to repeat camera moves. Sometimes Lars would notice that I was trying to refine a pan, for instance, and hed say, Dont do that I dont want the perfect timing.
He wants the cameraman to be spontaneous like he wants the actors to be spontaneous; he wants the camera to react to whats going on, like in a documentary. We never did traditional coverage, he continues. The script supervisor might say, We dont have a shot of [the actor saying] that line, and Lars would say, It doesnt matter. Well just hear it. Claro shot the bulk of Melancholia with an Arri Alexa. Most of his previous features Reconstruction, Everything Will Be Fine, Limbo were 16mm or 35mm shoots, but, he notes, Lars was not open to shoot- ing on film he didnt want the limitation of the length of the rolls.
We shot ProRes and recorded everything to onboard Codex recorders. That way we could actually shoot for 90 minutes without stopping. We never did we never shot anything longer than 10 minutes but I think the idea that we could was important to Lars.
Like most of the film, the wedding reception was shot with Angenieuxs PL- mount mm T2. There was a lot of zooming not for effect, but just for panning around to follow the action, says Claro. Its an extra tool, and it enables you to work really quickly. A distinguishing feature of Melan- cholias first half, Justine, is the romantic lighting style.
Claro recalls, Lars was quite clear about that from the start. He said, Danielle Steel, like everything should be a little over-the-top in happiness. But, of course, whats going on is not very happy. The restless camerawork helps clue the viewer into that contradiction. In interiors, most of which were shot onstage at Trollhttan Filmstudio in Sweden, the golden color scheme was achieved with the use of practicals that are visible on camera.
We put up a lot of lights in the studio, but we ended up never turning them on because the Alexa is so sensitive, says Claro. We lit everything with practicals. For the location night exteriors, he used sodium-vapor lights. Theyre very economical. We had to light up the golf As the enormous planet Melancholia approaches Earth, Justine, Claire and their respective husbands, Michael Alexander Skarsgrd, left and John Kiefer Sutherland , keep their eyes trained on the sky.
It worked very efficiently. The films second half, Claire, with the greenish-blue planet Melancholia progressively filling the sky, presents a strik- ing color contrast. The idea was to have a colder look because the planet is closing in, but the imagery feels a lot colder than it actually is at first because of the transition from the yellow colors of Justine, Claro observes.
The images do get bluer and bluer towards the end. I achieved that mainly with the white balance in the camera. As the planets close encounter approaches, Claro began using cyan gels on the lights, particularly for night scenes.
The handheld camera was also occa- sionally abandoned for an important shot, like the one showing Justine lying naked on a riverbank, bathing in the reflected light of Melancholia. We shot that from a Tech- nocrane because we couldnt do it other- wise it was too complicated because of the location, says the cinematographer.
For another sequence, Claro used a hard 1. Claro reports that the digital grade of Melancholia, carried out on Digital The movies eerie minute prologue was shot with a Phantom Gold HD camera running at 1, fps. Lars and I were very keen to make it look natural, not to complicate things. Of course, we spent a lot of time refining it, but we were not inventing anything. Digital just looked right, closer to what we intended somehow, says Claro.
We went back and made some corrections to the DCP after timing the print. These days, when you time both prints and DCP, you have to pay careful attention to both.
With the Alexa, which was intro- duced just in time for Melancholias produc- tion, Claro says he is close to becoming a digital convert. Before the Alexa, I would always argue that film looked better. The limitation with digital has been the defini- tion of color; film gives you natural-looking skin tones, whereas most digital formats require a lot of grading to achieve that. The Alexas colors are equal to those of film.
I would shoot some movies on 16mm, because that still has its own look. But if you want a clean, sharp image, the Alexa and 35mm are practically the same. Bottom: Handheld camerawork lends the drama a documentary feel. The most famous fictional agent is Ian Flem- ings James Bond. The antithesis of the handsome, charming Bond, Smiley played by Gary Oldman is, in the words of Tinker director Tomas Alfredson, someone you would immediately forget if you saw him on the street. Set in , Tinker follows Smileys attempt to uncover a double agent who has infiltrated the highest echelon of MI6.
Instead, he continues, the film is about the lonely players of the Circus [the in-house name for MI6], who operate in a desolate world where no one can be trusted. It is a melancholic world set in small rooms drenched in nicotine and bureau- cratic sweat.
When they began prepping their new film, a key visual reference was London, City of Dreams , a book of photographs by Erwin Fieger that depict everyday life in s London.
The images, taken with extremely long lenses, present a voyeuristic but also very poetic view of London, observes Hoytema. They have a documentary feel but obviously were taken with great care and [precision].
I really got inspired by that. He and Alfredson decided on a grainy, somewhat colorless look for the picture. We wanted the grain to be visible, and I conducted a series of tests before choosing Fuji Reala [D ] for day material and Eterna T [] for nights, says Hoytema.
With the Reala, I often underexposed the key by half a stop. Since the Eterna is slightly less grainy, I underexposed it a bit more. The monochromatic palette, achieved primarily through production design and the digital timing, contributes significantly to the movies claustrophobic atmosphere. Hoytema is quick to note, however, that this gray world is offset with occasional hints of color: a green sweater here, an orange bedspread there. He credits production designer Maria Djurkovic with playing a crucial role in creating the very specific design and feel of the film.
The day shoot was primarily a one-camera affair, with Hoytema operating a Panaflex Millennium. His camera package, provided by Panavision London, included Primo prime lenses and Primo mm and mm zooms, and he points out that he actually used the latter as zooms, in keeping with the style of s cinema. Hoytema notes that in Sweden, he often works with a zoom lens in conjunc- tion with a fluid head that allows him to manually zoom, giving the movement an MI6 agent George Smiley Gary Oldman modifies his look in a scene from Tinker Tailor Soldier Spy.
For Tinker, however, he favored a mechanical zoom. When I look at films from the 70s, I like the fact the zooms are so functional and solid. They have a beginning and an end, and I liked that idea for this movie. The primary reason I chose Panavi- sion is its front-of-the-gate filtering system, he adds.
I have this strange love for shoot- ing even bright exteriors as wide open as possible and stacking NDs in front of the lens on very sunny days I used a 1. Another stylistic decision was to frame characters through objects such as doorways, hallways and windows, or temporarily place them behind objects alto- gether.
We wanted to paint a world in which everybody is looking in on something and everyone is under suspicion, explains Hoytema. One notable example of this strategy shows Smiley entering his home.
The camera is inside the house, two rooms back from the front entry, framing him through a few different doorways. Another example is a wide shot of an MI6 agent striding down the sidewalk, screen right to screen left, on the far side of a busy street. The camera is in the foreground, and the man disappears every time a car or bus passes.
Other pedes- trians scurry across the road, blocking him for a second or two. The agent is in focus, the vehicles and people are not, and the feeling of voyeurism is unmistakable. One of the most beautiful shots in Tinker is an early-morning wide shot of Budapest. After a few seconds, the camera starts pulling back, and it keeps going, eventually gliding through what appears to be the top of a bell tower where boys are playing. As the camera continues to pull back, we see more of the building.
The structure is so tall, and the camera so high, it seems an impossible shot to achieve, but Hoytema explains that it was quite simple: the building, which he describes as a bastion, was on a hill, and the front faced a ravine, with the city in the distance, while the backyard was flat a good place to lay tracks for a 50' Technocrane. I knew the Scorpio head that came with the Tech- nocrane wouldnt fit through [the small Top: Control John Hurt, center convenes his top agents for a status report.
Please visit www. Artwork The Weinstein Company. All Rights Reserved. It fit by the millimeter as long as we pulled the crane at exactly the right angle. With the exception of several crane shots, the camera was always on a dolly or tripod. One key scene captured on a tripod is a six-minute monologue delivered by Smiley as he sits in a chair and stares straight ahead. He is recalling his encounter with a Soviet agent, Karla, as a younger British agent, Peter Benedict Cumberbatch , listens from behind him.
Smiley never shows emotion or reveals what he is think- ing, but he gets so caught up in his recol- lection that he unwittingly exposes some- thing of his inner self. It was actually a very hard scene to shoot because it was so out of character for [Smiley], says Hoytema. Tomas and I wanted it to feel intimate, naked. For a brief moment, we are let into Smileys soul. The first part of the monologue shifts back-and-forth between a straight-on shot of Smiley and a profile shot, but as he becomes lost in his thoughts, the camera stays on his face.
The scenes intensity comes from Gary Oldmans performance, Hoytema submits. At one point, he leaned forward in his chair, and the 35mm lens was only inches from his face.
Its so intimate it becomes a bit uncomfortable. We wanted to feel Karlas presence, so I went slightly darker than usual with the lighting to create the feeling of somebody else in the room, he continues. I used Kino Flo tubes to simulate practical lamps, and I bounced small Fresnels into poly board hanging on the walls.
Most of the lights were on the floor, a placement I dont normally like to do. Hoytema admits to being a bit conservative when it comes to sources. I didnt want anything to feel overlit in this film, and I often worked with the key slightly underexposed. Hoytemas framing and compositions consistently suggest surveillance, as illustrated by these shots of Smiley meeting with colleagues. Several daytime office interiors take place in relative darkness.
The chief of MI6, Control John Hurt , is a volatile, paranoid man whose dark, messy office a practical location appears to reek of cigarette smoke and musty furniture. Almost all daylight is shut out by the heavy drapes on his windows. I faked it a bit, says Hoytema. A closed curtain gives a little light, but not enough for exposure, so I enhanced it a bit with small Kino Flos on top of some cupboards. The smoke in the room made it obvious where the light sources were, so we darkened that scene a bit in the DI.
At one point, Peter throws open the curtains and sunlight streams into the room. For this Hoytema employed one of his favorite lighting techniques: eyebrows, wide frames of Ultrabounce placed above the windows outside with 12Ks bouncing into them from the ground. He added some direct light, filtered 12K ArriMaxes on cherry pickers, and made sure there was a lot of smoke in the room. This was the case for a scene in Tinker set in the office of diplomat Oliver Lacon Simon McBurney , a space with large windows along one wall.
Hoytemas crew set up the eyebrows outside the windows, this time placing 12K and 18K lamps on the ground to bounce into them. Hoytema often used ordinary tube lights and was meticulous about finding the right models. Tube lights were very thick in the s, but those no longer exist, so the art department built some out of frosted Plexiglas pipes with smaller tube lights inside.
They had the proper appearance. Renting lights in London proved quite a challenge: War Horse, Hugo and the latest Pirates of the Caribbean feature were all in production there at the same time. Here we were, this small produc- tion! We were happy to get any kind of lamp! We had Fresnels next to old 12Ks, and we got all the scruffi- est 18Ks. In terms of the look, though, it didnt matter, because we were bouncing the light. For one scene in Smileys house, Hoytema switched to balloon lights imported from Germany.
We had two 6- meter sausage-shaped helium balloonstied between the house and the backdrop, and that beautifully simulated an overcast sky, he says. These balloons and a 4-meter one were also used in Budapest for a scene at an outdoor caf, where one of Smileys colleagues is working undercover.
The interior of Smileys house was a set built in a gym at the Inglis Barracks, a former military base in north England that served as the productions primary location. It became our own backlot, says Hoytema. It was wonderful, because the buildings kind of breathed that period of history. The patina on the buildings was wonderful and very filmic. Hoytema gives high marks to his entire crew, singling out focus puller Simon Hume a safe haven on a difficult shoot , gaffer Al Martin a big help on my first job in England , key grip Colin Stratten incredibly sensitive to the rhythm and tone of the scenes , and B-camera opera- tor Peter Taylor, who handled a second camera on the conference-room scenes.
Our second-unit team, led by [director] Mikael Marcimain and [cine- matographer] Jallo Faber, was also fantas- tic, he adds. The Chimney Pot is one of my favorite post companies, he says, not least because of [colorist] Mats Holm- gren, who has a good eye for detail and good taste and is fully engaged in the psychological curve of the film.
He notes that he is also grateful to Henric Larsson, president of The Chimney Pot, for facilitating a 4K scan of the nega- tive. I wanted as little resolution conflict as possible between the bigger analog grain size and the digital pixel size, but the other post houses we talked to said a 4K scan was either impossible or prohibitively expen- sive, says Hoytema.
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