American Cinematographer - June 2016 - 98

◗

Against the Clock

The production prepares to shoot on location at the Gloucester Docks.

create a LUT, which you can then reimport either directly to the camera as
an Arri LUT or in a LUT box
between the DIT station and the
camera.
"In the old days we would say
we want a blue-green soft look, so
we're going to shoot Fuji," continues
Dryburgh. "If we wanted a highcontrast and colorful [image], we
would go with Kodak 5245. For digital
you're making similar decisions, but
essentially you're creating your own
film stocks. I'm an old film guy, so I
can't describe it any other way. The
LUT is the film stock and the CDL is
the subsequent grading decision that
you make on set, which is conveyed to
the dailies colorist." The production
crew viewed dailies at Shepperton
Studios on a 12' screen using a 4K
projector.
A graduate of University of
Auckland with a degree in architecture, Dryburgh came up the ranks as a
gaffer, shooting low-budget movies
and music videos in the mid-1980s.
"Early on my strength was lighting,"
he says, "and I had to learn the skills of
camera operating on the job. Lighting
is a very technical business, and to this
98

day I have to restrain myself from
grabbing the lights - [or at least]
minimize it so I don't drive my lighting crew completely bonkers."
On Alice Through the Looking
Glass, Dryburgh's lighting for daytime
location work was heavy on HMIs,
with a number of Arrimax M18s and
M40s. In the studio, he typically used
5K tungsten units and Arri T12s.
Perhaps the cinematographer's
most difficult location was the Syon
House - an 18th-century estate in
west London that is owned by the
Duke of Northumberland - which
served as the residence of Lady Ascot
(Geraldine James) and her son
Hamish (Leo Bill), who were partners
with Alice's father. The location's
historic designation placed numerous
restrictions on gaffer Harry Wiggins'
and key grip Kevin Fraser's crews.
"You couldn't put a nail into a wall, so
we couldn't put up spreaders," says
Dryburgh. Candles were allowed, so
Dryburgh had the props department
use as many as possible in each room
in order to get a base exposure for the
Alexa. As toplight was difficult, any
light from above was accomplished by
hanging a soft light - typically a Jem



American Cinematographer - June 2016

Table of Contents for the Digital Edition of American Cinematographer - June 2016

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
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