The American Society of Cinematographers

Loyalty • Progress • Artistry
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PresidentsDesk
ABeautifulPlanet
High-Rise
Page 2
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Another key interior was an elevator car in which senior art director Frank Walsh mounted end-to-end mirrors on all four sides to create infinite reflections. Rose recalls that Walsh “had done an exhibition design at the Beatles museum in Liverpool, [including] this glass box that had three sides of see-through mirror and one side of solid, bright mirror. [For High-Rise’s elevator,] we built a big version with working doors and put Tom in it.” The camera remained outside the set, shooting through the see-through mirror. The results, says Rose, were spectacular: “We shot on that set for a few hours. We could have shot for days; it was incredible.”

Digital-imaging technician Phil Humphries used a Flanders Scientific CM250 monitor for final on-set review, and Rose employed a viewing LUT that was close to Rec 709. “We sometimes tweak [the LUT],” says Rose, “but I find it doesn’t always put me in a good place. I know that if I shoot Rec 709, the log is going to hold everything.”

The crew worked without a large video village. “Ben tends not to like a village that’s too far away,” Rose explains. “He likes to be close to set, and often that involves a 7-inch [monitor] on a stand. We’re still quite a small team up front.” The cinematographer adds that he’s not overly concerned whether the on-set monitoring perfectly represents his final intent. “I don’t need everyone to look at [the monitor] and know that this is how it’s going to look on projection,” he offers.

After the seven-week shoot, Rose supervised the digital grade at Goldcrest Post Production in London, where he reteamed with his Sightseers colorist, Rob Pizzey; Pizzey and Rose have since collaborated on Free Fire. “It feels like a genuine relationship that we’ve got with him,” Rose enthuses. “It’s ongoing; it’s great.”

Pizzey worked with Blackmagic Design’s DaVinci Resolve. In keeping with other Rose-Wheatley collaborations, the cinematographer speaks of “a normality” in the film’s look. “We’ve not done anything that’s too fantastic in terms of the world,” he says.

“I like tungsten,” Rose continues. “I like warm light. A lot of the High-Rise story was about power failure, so we did use a lot of candlelight. Later on, there’s a feeling of low-voltage practicals.” He adds that this contrasts with Royal’s office, which was “a lot cooler, quite spacey, and had a very simplistic color scheme in that sense. Rather than being too crazy, it was about a sense of normality.”

Rose adds that “Super Speeds on the Alexa often come up a bit green,” so he and Pizzey spent time pulling green out of the image as necessary.

With High-Rise already released in the U.K. at the time of this writing, Rose’s calendar remains full; in addition to completing Free Fire, he has wrapped the third season of Peaky Blinders and just wrapped production on Paddy Considine’s Journeyman. But the cinematographer remembers the production of High-Rise with particular fondness. “You could say that you need to know Ballard in order for you to accept the world that you’re presented with,” he muses. “For the world to work, you do have to accept the human study and the social study from the outset.” 


TECHNICAL SPECIFICATIONS

TECHNICAL SPECS

2.39:1

Digital Capture

Arri Alexa XT Plus

Cooke Varotal, Zeiss Super Speed

 
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