〓 Shooting scene photos and lighting skills!
"It's an autistic space," Yuman comments, "and the ceiling of the entire foyer is used to simulate the overhead fluorescent light source, and we used 2412 Maxi-Brutes lamps to penetrate the Rosco 216 white diffuse layer." "While filming daylight shots in the lobby, Yuman installed 20 4K watt HMIs lights on the top of the mall and used a propped cloth to reflect the skylight." One disadvantage of working in germany in winter is that it doesn't get dark until 8 a.m. and dark at 4 p.m.," he explains. "By creating our own skylight, we can shoot as long as we want."
Originally rather dilapidated, the Budapest Hotel hides monotonous shadows of nicotine, low ceilings and narrow halls on the dilapidated façade (a patchwork of exteriors from Germany's Gorlitz and miniatures built by Babelsberg Studio). In Görlitz, a huge atrium of an old shopping mall temporarily served as the hotel's main foyer. Chief artist Adam Stockhausen hoisted a layer of ceiling with a transparent egg rack and flattened the walls of the hall to make it appear more claustrophobic and depressing. "It's an autistic space," Yuman commented. "The ceiling of the entire foyer was used to simulate the overhead fluorescent light source, and we used 24 12-seat Maxi-Brutes lamps to penetrate the Rosco 216 white diffuse cloth covering the ceiling."
Yuman illuminates the entire interior with tungsten lamps and DMX dimming tables, as well as props. He generally opens the aperture to T3.5. "We're shooting some push-focus shots in the hall with the Techno-Cooke 40-200mm and we're going to have the aperture turned to T8 because it's going to look a little too soft if we don't give the magnification anamorphic lens a deeper gear," he adds.
The scene shot in Görlitz started with the 1960s, and then the art department spent three days rearranging the place into the ornate Budapest Hotel of the 1930s. They removed the ceiling of the hall, revealing the original three-story space (six floors made up of special effects in the film), chandeliers and huge stained-glass skylights.
While filming daylight interiors in the lobby, Yuman installed 20 4K HMI lights on top of the mall and used a propped cloth to reflect the lights through the daylight. "There's a downside to working in Germany in winter: it's light at 8 a.m. and dark at 4 p.m.," he explains. "By creating our own daylight, we can shoot as long as we want."
[Top two: Using different types of devices to light up restaurants in the 1960s]
When shooting in daylight, we used warm-colored props as a supplementary light source for the entire hall. "We like the contrast between tungsten lights and cool daylight," the photographer says, "and whenever possible, we try to use artificial light and props, and occasionally add some fill light." "The indoor scenes at night are illuminated only with tungsten lights and props.
The hotel's office and service areas were photographed in an empty building near the mall, so it's not as glamorous as the rest of the hotel. Stockhausen added fluorescent light sources to the kitchen and reception scenes and fine-tuned them with the reflected light from tungsten lamps. Gustav and "Zero's" small bedrooms are illuminated only with incandescent lamps and lanterns. "Adam did a lot of research on the lighting furniture of the time, and we tried to show it as accurately as possible on the screen," Yuman said. "We mainly use tungsten lamps, supplemented by HMIs lamps and Kinos lamps."
[Gustav meets the writer in the hall]
The production team turned other places near Görlitz into mini-studios. The defunct Stadthalle Concert Hall appears several times in the film, each time playing a different scene. A room in the hall is used as a trophy showroom for Mrs. D.'s home, where agent Vilmos Kovacs (Jeff Goldblum) gathers relatives to read Mrs. D's will (while the rest of the house was photographed in Schloss Waldenburg, Germany).
Many of Anderson's shots required a 360-degree line of sight, so Yuman and Glinder Helmut Prein floated two Zaasa 9'x9' 5K tungsten lamp helium balloons between the chandeliers. Two 2K Fresnel tungsten lamps are used to illuminate the painting of the large wild boar behind The Kovacs, plus side light illumination from a tungsten chandelier with a shader.
"Helmut was a fantastic collaborator and together we made the most efficient lighting solution," Yuman said.
The main atrium of the Stadthalle Concert Hall was used to photograph the restaurant of the Grand Budapest Hotel, and in that scene, the adult Mostafa told the young author how this "enchanting ancient ruin" had fallen into his hands. The production team brought in tables and lighting fixtures and repainted the walls. A huge oil painting in the caspar David Friedrich style, depicting a stag standing on a cliff, is hung in front of the stage.
Above the table, Yuman uses three suspended Zaza 20'x20' 30K tungsten helium balloon lamps for ambient lighting, and on the ground, the main light is 12 Maxis lamps reflected through a white reflector through a 12' x12' Full Grid partition, which is controlled by a 40-degree soft egg rack. "For those close-up shots, we add a new scattering layer between reflection and scattering," Prein said. A 5K Illico tungsten lamp serves as the main light, while the lantern ranges from 250 watts to 1K, plus 1K and 2K Jem tungsten lamps for light filling and shaping.
【The hotel's main entrance during the heyday of World War I and World War II】
The filmmakers experimented with dynamic lighting, increasing or decreasing brightness as Mostafa's memories moved in and out. "We looked at One from the Heart (1982) and looked at how Vittorio Storaro accomplished these lighting transitions," Yuman said.
The plot takes some inspiration from Hitchcock's Torn Curtain: Kovacs is chased by the murderous Jopling (Willem Dafoe) through the art museum. During this chase, the Stadthalle Auditorium was transformed into an exhibition hall for armor. Yuman supports each pair of armor with a 2K Fresenel lamp with a lampshade. "We like the kind of glare on the armor, but it's actually quite difficult to keep the light source from being photographed," he said. As the camera leads the Kovacs through the room, a hand-held lantern provides some light.
The field workers built a train façade on the tracks and combined it with the Stadthalle Auditorium to form the interior of the train carriages. "Those outward-looking shots were taken from outside on the train façade, and the soldiers in the distance were also real," Yuman revealed.
[The staff arranged a balloon light and diffuse cloth under the gorgeous skylight in the hall]
In the museum and Mrs. D's hotel suite shots, the production team also experimented with the way the projected window scene was shot. The color inversion film is a digital photograph that is reflected into the axis of the photographic lens through a 45-degree polarizer. The Scotchlite background reflective tape is mounted at 90 degrees to the axis of the lens, reflecting the scene into the camera. "It creates a very magical effect, and it's our great love. But if these things are not lined up tightly enough, there will be a ghosting effect," Yuman recalled. "And the projector didn't emit much light, which meant we were shooting at T2 apertures!"
Artificial light is rarely used in daytime exteriors, and Yuman tends to use props and reflective light sources. Similarly, many night locations were shot during the day: shots of cars crossing towns and bridges, like gustav and Zero in hay fields after they escaped from prison. "We usually shoot from dusk until dark," Yuman said. They used blackout cloths to create a better night effect, and Yuman had the negatives underexposed until 11/2 gears—as long as the printing room was flushed out and that the sky would be digitally modified. "It's very difficult to illuminate a large area at night, and I like the effect of treating dusk as night," he adds.
After gaining his freedom, Gustav tried to clear his name by tracking down Madame D's housekeeper. The butler, Serge X (Mathieu Amalric), stays in a snow-capped monastery on a hilltop. The monastery was also in Görlitz, but part of the exterior of Gustav and Zero taking the cable car to the summit was shot with miniature models of Babelsberg's studio. Anderson conducts remotely in London, with producer Jeremy Dawson, model production director Simon Weisse and miniature model effects director Frank Schlegel teaming up to complete these live-action and stop-motion composite shots. The footage was filmed and digitally, with a Red Epic and Canon EOS 5D Mark II responsible for the digital photography part (the character figures were made by Andy Gent and animated by Andy Biddle at Clapham Road Studios). All elements are synthesized at the Look Effects studio in Stuttgart, Germany, and are led by Visual Arts Director Gabriel Sanchez and his team. A hair-raising downhill ski chase combined stop-motion photography, live-action shooting and in-camera editing, "we're going to try it whenever possible," Yuman says.
[Jopling slides out of the ski locker room and he'll embark on a snow chase all the way down the mountain, which integrates stop-motion photography, live-action shooting, and in-shot special effects]
In a firefight at the hotel, Mrs. D's son (Adrien Brody) and the policeman who decides the fate of Gustav and his paintings are cast. Not only was the whole scene carefully planned in the animation storyboard, "but we also had some pre-shots in the lead stage, with our assistant director, prop designers, and electricians pretending to shoot each other to see what daylight and the penthouse would look like in the film," Yuman said. On the day of filming, Yuman maneuvered a camera with a 360-degree view on a scaffold on a stair platform at the top of the mall. They had plenty of leeway and time to shoot a shot three times.
Aleberlin's colorist Maiken Preidman graded the HD samples. "She's using a huge screen in an Alai DI device for color grading, so she'll be the first to find out the problem," Yuman said. "But we basically didn't have any problems. The camera worked perfectly, thanks in large part to our awesome focusing artist, Christian Almesberger, and his photography team. ”
After cutting the film in London, Anderson oversaw work on a 2K digital transfer film for Facility Molinare in London. According to Dawson, the producer brought in Jill Bogdanowicz, a colorist and ASC member of Modern VideoFilm, from Los Angeles to do color grading with DaVinci software. By then, Yuman was already on his next job, but he could still provide some instructions. "The final color grading was similar to our sample," the photographer said. "Skin tones tend to be warm in all of Weiss's films, but in this film, skin tones tend to be cool in some shots, like in prison. Weiss usually adds the saturation to a high level, but the film's saturation is not too high. ”
"Every film is a unique adventure," he concludes. "Germany in winter is a whole new environment for us and we had a great experience."
【Technical Details】
2.40:1, 1.85:1, 1.37:1
35mm and digital shooting
Arricam Studio, Red Epic及
Canon EOS 5D Mark II
Techno-Cooke, Cooke S4及
Angenieux Optimo
Kodak Vision3 200T 5213
< h1 toutiao-origin="h1" > digital relay piece</h1>
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