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Love & Friendship photos by Bernard Walsh, courtesy of Amazon Studios and Roadside Attractions. Right: A camera crane was utilized only once, for the opening sequence of the film. Below: Cinematographer Richard van Oosterhout, NSC, SBC (right) frames a shot through a window.
to “go in really tight, as if you had a different camera position. She jumped in really close and got away with this cut. It’s a funny scene and it’s in the trailer, so all’s well that ends well.” Van Oosterhout eschewed customized look-up tables. “I never use [custom] LUTs on my films,” he states. “For me, a standard [Rec 709] LUT is accurate enough. It’s only when you have an edit that you know what the exact feel of the film is. On set, my light meter is still my most reliable tool.” For lighting, the 1790s setting meant van Oosterhout had three motivating sources at his disposal: daylight, candlelight and firelight. Variety was important in recurrent locations, such as the Golden Room — the going to shoot this?’” the cinematographer between dolly moves and static frames. Van castle drawing room where the Vernon says. As always, Stillman wanted traditional Oosterhout adds, “That aesthetic gave me family gathers to read or converse. “Rhythm coverage and limited camera movement. the opportunity to be very subtle in lighting is so important,” van Oosterhout says. “The “Normally, I like to work with a floating and really dive into that aspect.” idea was to look natural but different every camera,” van Oosterhout relates. “This was Film stock was never an option, but time you’d come into this room.” completely different. Whit has very Stillman insisted on capturing raw files. Daylight was tricky, given Ireland’s outspoken ideas about how to make a film. Framing for 1.85:1, van Oosterhout used an notoriously fickle weather. “That country has You have the shot, the reverse shot and Arri Alexa XT coupled with Cooke S4 primes four seasons every day,” van Oosterhout maybe an establishing. That’s how he wants and Schneider Hollywood Black Magic laments. Compounding the difficulty, “every to see a scene. He doesn’t like movement at softening filters. The ability to reframe the 12- scene was long, sometimes shot over one or all. In the end, I think we ended up with bit ArriRaw files saved the day when Stillman two days. If you have big windows facing much more moving camera than was his began dispensing with dialogue during the south in a place like Ireland, continuity in intention.” Even so, Love & Friendship has edit, leaving an awkward jump cut in the lighting is really a challenge. Outside, it was just one crane shot (for the opening) and one Steadicam scene. “Sophie [Corra, the editor] a jungle of stands and lights and flags and Steadicam scene (a walk-and-talk with was writhing in agony every time she saw it,” screens.” Beckinsale and Sevigny); the rest is divided Stillman recalls. Their solution, he adds, was Shooting in February and March
30 June 2016 American Cinematographer Right: Catherine Vernon (Emma Greenwell) reads a letter as her brother Reginald DeCourcy (Xavier Samuel) looks over her shoulder. Below: Director Whit Stillman (center) discusses the scene with Greenwell.
Following Bresson’s maxim, van Oosterhout didn’t hesitate to grab a shot with actual sunlight. “We were blocking a scene in the Golden Room and had beautiful sunlight coming in. I decided that, okay, maybe we’ll have this light for half an hour; we could do one angle with no added light at all,” he says. “I like that combination of things. If you’re at the moment of shooting and have a beautiful light, it’s nice if you can shoot right away, thus serving the [actors’ performances]. Then, for the reverse, you have to light completely, but you got the first part for free in a very short time.” For close-ups, Fletcher notes, “we used a combination of poly boards, often complemented with a 19-inch Jem Ball with CTB correction, plus a 3-by-3 216 diffusion under a winter sun, the crew controlled light all, we used two 12Ks, three 6Ks, three 4Ks frame, which allowed us to create natural with Ultrabounce on 12'x12' and 20'x12' and three M18s at any one time. texture and fill.” frames placed on Genie booms. “These were “Internally, we complemented the If there’s a defining look to Love & mostly sun blockers, but they also had the lighting using Richard’s own BBS Lighting Friendship, it’s the simultaneous use of ability to reverse quickly, so we could use Area 48 LEDs and smaller 400 and 200 HMI daylight and candlelight. Double-wick them in conjunction with our HMI as units combined with 3-by-3 frames with Lee candles were tested, “but for us, the bounce,” explains gaffer Tim Fletcher. 216 White Diffusion,” the gaffer continues. difference was not much,” says van The majority of setups positioned 6K “We used the window shutters to control Oosterhout. Single-wick candles sometimes and 12K HMIs outside the windows, and shape light using silk textiles and did their own work and sometimes were bounced and/or direct through frames. diffusion filters. The Golden Room lent itself augmented with Lowel Rifa 44s or 55s, According to Fletcher, “On large setups like particularly well to this because of its linear dimmed low. “We also had some Chimera the Golden Room — a long, linear room with nature and many windows. It was quite a Triolet fixtures with a 24-by-32 Video Pro Plus multiple rooms off into the deep background satisfying environment to react to, particularly soft box, which I really liked,” says Fletcher. — we augmented our larger heads with 4Ks with the quality of light the weather “Very durable!” and M18s to pick out specific areas, on conditions blessed us with: bright and Fireplaces were always outside of occasion with some quite saturated color: golden. It inspired us to mimic, re-create and frame. “We didn’t have the money to have 134 Golden Amber, 147 Apricot or CTOs. In enhance what the natural world was doing.” a proper firelight we could control,” says the
32 June 2016 American Cinematographer dance scene, the crew relied on candelabras plus dimmed Rifa 55s and 66s in the four corners, mounted on lightweight booms with stands running up behind the curtains, thus granting space for the characters to cavort. In contrast, the dinner scene where Sir James Martin (Tom Bennett) marvels at the peas (“Tiny green balls. How jolly!”) was set in a larger dining room with characters remaining in their seats. “In that scene, we were not moving camera at all, so we could place the soft boxes really on the edge of the frame,” says van Oosterhout. During color correction, which was performed at Filmmore in Amsterdam, van Oosterhout showed Stillman candlelit scenes from Barry Lyndon (shot by John Alcott, BSC). “My idea was, if you only have candles, you don’t see that much; colors fade into the red part of the spectrum,” says the cinematographer. Stillman, though, wanted to retain the color definition — and the spirit of comedy. “If you’re going to talk about green peas, you have to be able to see them,” the director notes. Van Oosterhout and Stillman worked with colorist Fernando Rodrigues, who utilized FilmLight’s Baselight 4.4 during their 14-day color grade. The final 4K DCP master “looks extremely crisp,” says Rodrigues. For van Oosterhout, “the main thing was rhythm: If we had a scene that was cloudy and soft-lit and the next scene was a candlelit atmosphere, going from one to the other shouldn’t be a big shock, but it should be different.” As a costume drama, Love & Friendship stands out for its mix of period authenticity and modern esprit. “It helped that we lit in a natural way, because it’s an interesting contrast to the modern aspects of the film,” says van Oosterhout. “The visual style, especially the light, feels very authentic. The combination is nice: The dialogue is so witty and modern, but still you have the idea that you’re in 1790.” Top: Van Oosterhout crafted a look that combined the use of daylight and candlelight. Middle: Lady Susan discusses the ideals of marriage with her daughter, Frederica (Morfydd Clark). Bottom: Cast and crew capture a dance scene. TECHNICAL SPECS
cinematographer, “and in places like an old couple of DIY soft boxes with 500-watt 1.85:1 castle, you can’t make actual fire — it’s too photoflood bulbs. Dimmed down with a Digital Capture risky. So all of the firelight was made by using flicker generator, they gave a nice warm Arri Alexa XT a couple of lights on a flicker system. Very glow without needing any gel. Flicker was Cooke S4 simple, very old-fashioned.” kept to a minimum.” G Fletcher elaborates, “We had a In a crowded night interior like the
34 June 2016 American Cinematographer