FEATURE | LYREB I RD
Remi’s camera department included camera operator Tim Battersby, 1st ACs Rene Adefarasin and Ben Adefarasin, 2nd ACs Neil McConville and Kriss Dallimore, camera trainee Matt Clements and DIT Jesse Llande. THE DREAM TEAM
The Alexa LF is incredibly similar to the Alexa XT family so very simple to set up and adjust
RA: The Alexa LF is incredibly similar to the Alexa XT family so very simple to set up and adjust. For example, we had set up for a shot in an attic in Amsterdam on our first day in Holland. We then hear on the walkie-talkie that a new camera is on it’s way up. Within 20 minutes it was rigged and shooting, brand new camera, brand new lenses. All lined up to our LUT, aspect ratio and everything else. In the whole shoot not one problem. My only problem now is shooting another film with anything less.
of view. This in turn lends itself to capturing images of truly cinematic quality. Def: How has a large-format camera changed the aesthetic? RA: Dan and I wanted a European aesthetic and had already decided on 1.85:1. We had also decided not to go very close to faces so having a clear image with pleasantly soft backgrounds was to our advantage. Because the image engulfed you the need to cut frequently was greatly diminished. Because it wasn’t an action movie constant cutting just would have got in the way of the story. Def: How have you used the Cooke and Alura lenses; are you using the whole lens set in different ways? RA: We had the Alura lenses on board to complement the S4is on the SXT but after the LFs arrived we didn’t need them. The one lens used more than any other was undoubtedly the 32mm. Def: What else is different about the LF? How does it treat skin tone for instance? RA: For me, every film is different and I try to find the right style for each film I work on. I suppose I have a burnt-in
subconscious style which is basically to make it look real and unlit but the light that hits the actors has to say something, but subtly. The frame should have depth and subtly express the environment. For Lyrebird there were many different lighting situations from bright sunlight through overcast and twilight and eventually night exteriors and candlelight. For the latter I found you could change the ISO from native 800 to 1280 without seeing any artefacts. Def: Explain how careful you have to be with depth-of-field and what advantages it also gives you? RA: Having a large sensor does make the depth-of-field appreciably shallower and you really have to bear that in mind when lighting. The sensor is capable of giving remarkable images with almost no light but if the actor is moving around you need a little bit of aperture to stop it looking annoying. Also a very good focus puller who has a very good monitor and measuring systems. In the film world it’s rare to wait for the 1st AC to be totally happy. They have to be good.
IMAGES Remi on the Lyrebird set with the Alexa LF and and DOP Bill Bennett with his first test of the LF.
Def: Technically how did you use the LF?
82 DEF I N I T ION | SEPTEMBER 20 1 8
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