The American Society of Cinematographers

Loyalty • Progress • Artistry
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Return to Table of Contents March 2014 Return to Table of Contents
The Grand Budapest Hotel
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Presidents Desk
ASC Close-Up
RobertYeomanatNAB Subscriber Only

A shootout at the hotel involving Dmitri Desgoffe-und-Taxis (Adrien Brody) and the police decides the fate of Gustave and his valuable painting. Not only was the whole sequence carefully planned out in animatics, “but we also pre-shot some of it during prep, with our assistant directors and grips and electricians pretending to shoot at each other so we could get an idea of how the skylight and top floor would look on film,” says Yeoman. On the day, he operated the camera with a 360-degree field of view from his perch atop a scaffold on the department store’s upper landing. There were enough squibs and enough time for three takes.

Colorist Maiken Preidman at Arri Berlin graded the production’s HD dailies. “She grades using a large screen in Arri’s DI suite, so she would be the first one to spot any issues,” says Yeoman. “But we were largely problem free. The cameras performed flawlessly, and a lot of the credit goes to our fantastic focus puller, Christian Almesberger, and his camera team.”

After editing the picture in London, Anderson supervised the 2K DI at London facility Molinare.

The production brought Modern VideoFilm colorist/ASC associate member Jill Bogdanowicz and a DaVinci over from Los Angeles to do the grade, according to Dawson. At the time, Yeoman was already on another project, but he was able to offer the team notes. “The final grade wasn’t all that different from our dailies,” says the cinematographer. “All of Wes’ films tend to feature warmer skin tones, but in this case we took it toward a cooler look in some scenes, such as the prison. Wes usually pushes the saturation pretty heavily, but this one is a bit less saturated.

 “Every film we do is an adventure in its own way,” he concludes. “Germany in the winter was a whole new environment for us, and we had a great experience.”


TECHNICAL SPECIFICATIONS

2.40:1, 1.85:1, 1.37:1

35mm and Digital Capture

Arricam Studio, Red Epic and Canon EOS 5D Mark II

Techno-Cooke, Cooke S4 and Angenieux Optimo

Kodak Vision3 200T 5213

Digital Intermediate


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