DEFINITION April 2018

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SHOOT STORY THE SHAPE OF WATER

Dan designed this lighting idea just for Sally’s character and mixed it with a more one-dimensional dark design for the bad guys. “They should be a little bit more contrasty with more side lighting and a little bit more dramatic camera angles and deep shadows. I think that works really well but of course you cannot cheat too much as you might make it too artificial. We are using filtration all the way through; initially we were planning on diffusing Sally but with the ARRI ALEXA XT you can put a filter behind the lens. I think it was a quarter black Pro-Mist we had in there. We started only using it for Sally but it didn’t work out for me, it was getting too weird. So we decided to go with the Pro-Mist all the way through. I think it works pretty well with the XT and Master Primes.

BELOW Dan wanted Sally Hawkins’ character to look as if she has ‘this glow coming from inside’. RIGHT The movie needed to have a classic, old Hollywood soft look.

flare there’ or something like that. If you want to have a flare you have to do it yourself. I really like that. We’re not using the whole set, most of the shots are between 21mm and 32mm. A lot of them are 21mm, 25mm and 27mm. We never used long lenses and only used one camera although we had a B camera.”

“I’m a big fan of Master Primes, I think they are fantastic lenses and do a really good job. We don’t want any surprises, with the way we are designing the movie and the look, we want to be able to control everything. These lenses are unforgiving but they are still giving you exactly what you’re asking for. It’s not like ‘by the way we have a

DAN DESIGNED THIS LIGHTING IDEA FOR SALLY’S CHARACTER AND MIXED IT WITH A MORE ONE- DIMENSIONAL DESIGN FOR THE BAD GUYS

DEFINITION APRIL 2018

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