KISS OF THE SPIDER WOMAN PRODUCTION
VENICE 2 paired with the Cooke Speed Panchro Classic FF primes – one of the most commonly used lenses in the era being depicted. “For the three-strip Technicolor process, it was crucial to have lenses that delivered sharp focus edge-to-edge with minimal distortion. If a lens distorted, one or more of the colour channels could appear misaligned at the edges and cause colour fringing,” says Schliessler. “The Cooke Speed Panchro lenses were made for the three-strip Technicolor cameras and we felt they gave us the most authentic look. Our hero focal lengths were the 40mm and 50mm for minimal distortion, with the occasional use of a 75mm for beauty close-ups.” Most Technicolor sequences were shot with a single camera, favouring long, wide master shots and period-accurate camera movements to remain true to the style of the films of the forties and fifties. For these elaborate set pieces, time was the biggest challenge, reveals Schliessler. “We shot 14 musical numbers back-to-back in 17 days, which was very physically demanding on our cast and technically demanding on our crew. “For my department, our biggest hurdle was managing the logistics of prelighting multiple sets while
simultaneously shooting on another stage. I’m very grateful to my gaffer Ken Shibata, key grip Greg Cahill and their outstanding rigging teams. Without their coordination and tireless work, we simply would never have been able to keep pace!” he adds. Precise planning was key to making sure it all came together on the day, with Schliessler and Condon working closely with choreographer Sergio Trujillo to establish the most effective camera angles for the choreography and design the long master shots that would define the visual language of each number. “For me, the teamwork of building the dance sequences specifically for the camera is one of the most creatively rewarding aspects of shooting musical numbers,” he says. “Sergio and his team were also incredibly meticulous in capturing and editing reference videos of every routine during rehearsals under Bill’s direction, which proved invaluable. This process often requires multiple passes before we arrive at a previs that acts as a blueprint for all departments moving forward.” BEHIND BARS The claustrophobic confines of the prison cell called for entirely different technical choices. Here, the LUT was inspired
DUAL WORLDS The saturated Technicolor of Molina’s imagined world is contrasted with the cold, claustrophobic prison setting
by the bleach bypass print process, emphasising cooler, more desaturated tones, while the camera of choice was the ALEXA Mini LF (small enough to fit in tight spaces, but with a large format look) with ARRI DNA LF lenses. “For the prison, we wanted to be physically closer, creating a deeper sense of intimacy in the emotional scenes, and our prime focal lengths were the 29mm and 35mm DNA LF primes,” explains Schliessler. “We shot every scene with two handheld cameras on Easyrigs, often cross- shooting for simultaneous coverage of both actors, giving them complete freedom to move within the confines
65
DEFINITIONMAGS
Powered by FlippingBook