PRODUCTION | A QU I ET PLACE PART I I
We didn’t want a long lens – we wanted a wide lens that was very close, even as characters were running as fast as they could
character in frame, with no escape for the camera, just like the character.” However, Morgan explains that this approach resulted in more complicated lighting set-ups. “I rarely got to light beautiful close-ups, instead having to fill enough space to let the camera do what it needed to do.” For this, she used a lot of S360-C and S60-C Skypanels from Arri, all on a dimmer board so they could be controlled within a shot. “For example, if we were moving closer from a wide shot and I needed to beauty light Emily [Blunt] a little, then we could adjust the lighting on a cue,” she says. “We also had some units from LRX that were essentially remote heads, either for fresnels or PAR lights. I used those to push through the windows, depending on how punchy I wanted the light to be.” Some of the sequences got so large, Morgan felt like she was “directing traffic in line with the camera”. She recalls: “I was on the walkie-talkie saying, ‘Turn this light off, bring this up’, because we were moving so fast. I had to control the lighting direction as quickly as we were recording.” On top of what was being precisely presented and captured on location, there was also the matter of the camera movement itself. This required professional tools and the experience to wield them
BELOW Morgan used a Panavision Panaflex Millennium XL2 camera package, with Kodak 250D and 500T film stocks, helping to create consistency with the look from the previous film
16 DEF I N I T ION | JUNE 202 1
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