PRODUC T I ON . BRIDGERTON
STICKY SITUATION The Featherington family (above) are sure to face some challenging moments in Season 2, after the death of Lord Featherington
motion, as though they had forgotten about everybody else watching. It was just the two of them,” explains Blaubach. “We tried using a completely black background, but it became too theatrical. Like something out of La La Land , which wasn’t the right tone for Bridgerton . Still, it was fun to play around with.” Fun seems to be the theme for the Bridgerton cast and crew. “There’s a great atmosphere on-set; we have a giggle and there’s chemistry between all of us,” says Blaubach. “There were a few changes from the first season, with different gaffers and operators – because of availability. It’s the age of content, and there are so many films and TV shows being created right now – plus, there’s the backlog of productions that Covid-19 created. But, despite some of the losses, we’re a well-oiled team. Having different people contribute to the story is good in some ways, since each season will cover new characters and – while still respecting the style of the first season – can bring fresh ideas to the show.” He concludes: “It’s so fun to work with Netflix, because my background is in British independent cinema and the budgets are a lot lower. This is, without doubt, the biggest job I’ve ever worked on. There’s no need to compromise. I can have all the equipment I need to make better images – but it also means there’s no excuses left. It has to be perfect.” And to us, at least, it is. Bridgerton premieres on Netflix this March
“There is a lovely moment when Anthony dances with Kate. Sparks are flying between them, and it becomes increasingly romantic. We wanted to draw the viewers’ focus onto them, but make it personal”
The balls are lit with chandeliers and candelabras, as you’d expect, but budgets meant there was a limit on how many Blaubach could use. For Hearts and Flowers, there is a chandelier over the central orchestra, with two at the north side and two at the south. They were all placed on motorised pulleys, to be lowered into shot. Our gaffer also fitted helium balloons above, to give the room more ambience. Considering the large ensemble, Blaubach also used directional backlighting, which could be dialled in from an iPad, to focus on different faces. “There is a lovely moment when Anthony dances with Kate. Sparks are flying between them, and it becomes increasingly romantic. We wanted to draw the viewers’ focus onto them, but make it more personal – as if you’re living the intensity and emotion of their experience. So, while there are probably 100 dancers around them, they’re brought into the spotlight through the use of a Hudson Spider LED with a skirt. All the background lights, apart from the candelabras, were turned off and the whole atmosphere becomes a lot moodier, with Anthony and Kate left in a pool of soft top light. It was quite surreal and expressionist, but in a fun way – and then we ramped the dance into slow
Anthony spent much of Season 1 shying away from the ton’s social engagements, to enjoy his doomed relationship with opera singer Siena, realising only in the finale that their social standings precluded any long-term romance. He is Viscount Bridgerton and must marry well, to the ideal wife – and where better to look than the marriage mart that is a high society ball? “The balls are the biggest challenge to shoot. They involve a big cast, with extras, dancers and musicians, who all need to go through costume and makeup. By the time everyone is decorated, we’re already a few hours into the working day.” Interestingly, and resourcefully, the set used for the final scene between Daphne and the Duke in Season 1 was repurposed for two balls this season; the Queen’s Ball and the Hearts and Flowers Ball at the Bridgerton country estate. For those that haven’t seen the show, the set represented the pastels and neutrals the Bridgertons have become known for, and featured a hollowed ceiling and drainage built into its flooring for the magical rain dance between the young couple. “It’s now wood-panelled, darker in tone and indoors!” says Blaubach. “I prefer this, because the light absorbs into the walls and doesn’t bounce off them so much.”
INTIMATE The series often has close-up shots, serving soft, dreamy visuals – in keeping with its romance novel origins
14. DEFINITIONMAGAZINE.COM
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