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The crew shoots a low tracking crane shot of Ivy (Bryce Dallas Howard) against the film’s village set. In the bottom photo, Bruce Hamme (in vest), Deakins’ longtime dolly grip, guides the camera as first assistant Andrew Harris aces the focus via a Preston remote. “We tried as much as possible to shoot in a sort of dull light, but that wasn’t always possible,” notes Deakins. “When the sun did come out, very often we were lucky if we could get a 20-by in to match the overcast light that we’d lost. However, even though I was shooting on tungsten stock and correcting everything, the image was slightly cooler because of the timing and location of the shoot. We ended up with a range of dull-brown tones, which helped establish the period.” (image 1 of 2)
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