BEHIND THE SHOT
MIRROR, MIRROR The mirror shot reflects Joan’s dual identity, blending glamour and trauma
heighten the mystery. “The room had to look glamorous, and large windows were a must so we could enjoy classical directional light. It also needed to be big enough to fit a crane to perform the camera movement,” says Cardillo. This required three locations: a mansion for the suite’s interior, Walsall Town Hall for the reception, and a Birmingham hotel for the exterior. The show’s camera package was an ARRI ALEXA Mini LF, paired with Moviecam primes and Tiffen Black Glimmerglass filters, and the team also deployed a Scorpio 23 with
a stabilisation system for this scene. To avoid appearances from the kit and crew in the mirror, they shot clean plates to paint out any unwanted reflections. The scene was complex to shoot, but collaboration made it a success, claims Cardillo. “The director Richard Laxton is so talented and, fortunately, he shared the same feelings about Joan’s journey as me. The inputs and technical knowledge from the key grip, Neil Blakesley, and the camera operator, Andrei Austin, were also fundamental to achieving this ambitious shot – choosing
the right tools, rehearsing until we found the right speed, height and angle. “Also, the collaboration between cinematography and the art department can’t be overstated,” Cardillo reflects. “We established the key visuals for the glamorous aspects of the character’s lives, but it was technically challenging to have space for the crane, lights and camera traps behind the mirror. Trust and generosity are key for a creative environment where every department can reach its true potential and create a visually impactful drama.”
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DEFINITIONMAGS
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