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For most of his lighting, Griebe used tungsten sources, mostly incandescent ones. “I sometimes used Kino Flos because they’re compact and easy to get into tight locations. We shot in a lot of real locations, and Kinos can be great for tucking a fixture into a space without a lot of hardware, but I feel it’s a very modern light. The effect is very different from [an incandescent] tungsten light, and it doesn’t always feel or look right in a period setting. Even if you diffuse it, the light quality is very different, so I was slow to use them on this film.” Information he gleaned from the pages of this magazine prompted Griebe to try a new lighting tool on Perfume: the Barger Bag-lite. “I read about the Barger light in American Cinematographer and was very intrigued by it. We sometimes have trouble with American lights in Europe — some of them don’t pass European safety standards. But there was no problem at all with the Barger. Arri brought in six of them for us, and they were perfect. I like them very much and used them with Chimeras, or sometimes we just used them as large bounce sources. They don’t take up a lot of room but they put out a lot of light. It became one of the fixtures we used the most.” Perfume marked Griebe’s first experience with a DI, and during prep he had a long talk with colorist Peter Doyle, whose credits include The Lord of the Rings and the last two Harry Potter films. “Peter was in Germany while we were prepping Perfume,” says Griebe, “and he gave me a very interesting take on the DI process. He said I should [shoot the movie] as though I were finishing it photochemically. He said, ‘That’s the best way to approach a DI.’ Sometimes cinematographers rely on the DI process to refine their lighting, and although that can save time on set, the result looks different to me. I’d rather do it on the set and know I’ve got it right. “We did use digital-grading tools considerably on two key sequences,” he continues. “First, because of scheduling, we arrived in the lavender fields one week too early to catch the flowers in full bloom, which meant they didn’t have the extraordinary color we wanted. The DI was definitely helpful with that. Second, for the scene where Grenouille murders the plum girl, we used selective coloring for her death. I wanted her dead skin to be very pale, almost pure white. This was much, much easier to do in the DI than with makeup and lighting, and it was much faster. Over the course of that sequence, as Grenouille tries to capture the scent of her body, we took her flesh tone from its natural color to a very gray/white, and it worked wonderfully.” The filmmakers decided to print Perfume on Kodak’s regular Vision 2383, forgoing the contrastier Vision Premier. “There are some moments in the film, like when Baldini opens the door and finds Grenouille in the shadows, that were just on the edge of exposure,” explains Griebe. “It looked absolutely perfect in the DI suite, but when we printed it to Vision Premier, the blacks became too strong and we completely lost Grenouille in the shadows. Even with the regular Vision stock, we had to do a number of tests to get the LUT just right so we wouldn’t lose his detail in the deep shadows. When we finally hit the right LUT, it worked perfectly.” After the negative was scanned at 2K on an Arriscan, colorists Florian “Utsi” Martin and Traudel Nicholson, working with Autodesk’s Discreet Lustre, tackled different sections of the film; delivery dates compressed the grade into a mere eight weeks. “Actually, our rushes from Arri were fantastic, so much so that Tom came out of editing and told me he wanted the final coloring just like the rushes!” recalls Griebe. The color-corrected files were filmed out at 2K with an Arrilaser Recorder. “Perfume was a fantastic experience,” Griebe concludes. “We shot on such a tight schedule, 70 days, that we were often forced to simplify and only get what we absolutely needed. That kept the shoot very fast-paced and exciting. Now, after a nice rest, I am looking forward to the next one!”
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TECHNICAL SPECIFICATIONS
2.40:1
Super 35mm (3-perf) Arricam Studio, Lite; Arri 435 Arri, Angenieux and Kenworthy lenses Kodak Vision2
500T 5218, 200T 5217, 100T 5212 Printed on Kodak Vision 2383 |
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