{"id":5393,"date":"2015-07-28T21:54:04","date_gmt":"2015-07-28T21:54:04","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=5393"},"modified":"2021-06-01T16:47:36","modified_gmt":"2021-06-01T23:47:36","slug":"as-time-goes-b","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/as-time-goes-b\/","title":{"rendered":"As Time Goes By"},"content":{"rendered":"

Sundance indie David Lanzenberg leaps forward in size and budget for the time-travel drama The Age of Adaline<\/em>. By\u00a0Kevin H. Martin.\u00a0Unit Photography by Diyah Pera \/ Frame Grab Courtesy of Lionsgate Pictures.<\/p>\n

In The Age of Adaline<\/em>, beautiful Adaline Bowman (Blake Lively) has led her life out of the limelight. This deliberate decision arises out of a need for secrecy regarding her unusual condition \u2013 Adaline stopped aging after a freakish car accident at age 29. But as the saying goes, time is the great equalizer; after being swept up in a grand romance, Adaline re-encounters a suitor from decades past, and complications ensue.<\/p>\n

Lakeshore Entertainment spent years developing the property with different leads and directors before Lively and Lee Toland Krieger signed on. \u201cI was intrigued by the theme of ageless beauty and the consequences,\u201d Krieger recalls. \u201cIt becomes a kind of curse, and ultimately she sees the beauty in growing old. Given how obsessed our culture is with youth and vanity, it seemed a good subject. The trick was to treat the fantasy aspect as Big<\/em> had done, as just one element, with the rest played straight and totally grounded.\u201d<\/p>\n

Krieger, a USC Film School graduate and lifelong cinephile, pondered the visual aspects that define films made in each of the eras in which Adaline<\/em>\u2019s story was set.<\/p>\n

\"As-Time-Goes-By-Web-Exclusive-July-15-1\"<\/a>
Guild DP David Lanzenberg says Lakeshore Entertainment wanted to shoot full anamorphic on the Red Epic. \u201cWe did testing and found the [Red] Dragon to be more sophisticated than Epic,\u201d he recalls. “But it read more like a 300-speed camera than an 800-speed. So we had to push a ton of light through.”<\/figcaption><\/figure>\u201cPortraying these time periods was very appealing to the filmmaker in me,\u201d he continues. \u201cWhat was unique to the teens and twenties? Hand-crank cameras. What characterizes the forties? Spherical glass, for one thing. In the nineteen-fifties there was Technicolor and the introduction of CinemaScope. I wanted looks that matched these stylistic expectations while still delivering the storytelling beats.\u201d<\/p>\n

Essential to Krieger\u2019s visual quest was Guild cinematographer David Lanzenberg, who first met the director in 2011. \u201cI had worked my way up from being a loader and first AC to DP on videos and commercials,\u201d Lanzenberg recalls, \u201cand Lee contacted me on the basis of one he\u2019d seen. He loves moving the camera in a kind of dance with the onscreen action, and so do I. Sometimes my ideas are too out there, and he brings me back to reality.\u201d<\/p>\n

The pair\u2019s critically acclaimed indie feature, Celeste & Jessie Forever<\/em>, premiered at Sundance a few years back, while more recently Lanzenberg lensed The Signal<\/em> in New Mexico for cinematographer-turned-director William Eubank and Paper Towns<\/em> with director Jake Schreier.<\/p>\n

\"As-Time-Goes-By-Web-Exclusive-July-15-2\"
For Adaline\u2019s scenes set in the 1960\u2019s, Lanzenberg used Kowa anamorphics, rehoused by Clairmont Camera.<\/figcaption><\/figure>\n

Adaline<\/em> is a much bigger picture than either man had tackled, and Lakeshore offered an extended prep period. \u201cWe were the young, unproven guys,\u201d admits Krieger, \u201cso all that prep was a good way to indicate to them our approaches and intentions were valid, and we made a huge effort to solve nearly every issue well ahead of shooting. We are huge fans of Harris Savides, ASC, so we looked at The Game<\/em>, which has a lot of the DNA we wanted, including the San Francisco location. Studying Fincher\u2019s film, we found they didn\u2019t do any conventional postcard coverage of the city, which is something we strove to avoid ourselves.\u201d<\/p>\n

Recent films like Rise of the Planet of the Apes<\/em><\/strong>, Godzilla<\/em> [ICG May 2014] and Big Eyes<\/em> [ICG December 2014] all shot Vancouver for San Francisco, and Adaline<\/em> followed suit. \u201cLee pushed to shoot the whole film in San Francisco,\u201d Lanzenberg adds. \u201cBut it just wasn\u2019t affordable. In the last 10 years, California has dropped the ball [with film incentives] in my opinion, and a generation of younger crew people may miss the opportunity of being trained by the older guys if Hollywood keeps losing shows. Vancouver-for-San-Francisco can work, but you spend money on CG and set dressing to get it looking as much like the city as possible. We were fortunate our production designer Claude Par\u00e9 was on the first Apes<\/em> film, and our key grip [Finn King] had done Big Eyes<\/em>, so they were both familiar with the issues.\u201d<\/p>\n

After shot-listing the film in its entirety and locking in locations, the duo travelled north to photo-board the feature. \u201cUsing our 5Ds, which had ground glass marked for the 2.4 aspect ratio, we took stills of every setup,\u201d Krieger reports. \u201cMy fianc\u00e9e stood in for Adaline, and some PA\u2019s acted as the other characters. We printed those stills on pinup boards and put them up in the production office so the whole movie was laid out two weeks before shooting.\u201d<\/p>\n

\"As-Time-Goes-By-Web-Exclusive-July-15-3\"
Lanzenberg (L) last teamed with director Lee Toland Kreiger (R) on the critically acclaimed Sundance 2012 feature, Celeste & Jessie Forever<\/figcaption><\/figure>\n

While they were committed to shooting 4K RAW and anamorphic on ALEXA, Lakeshore was adamant about using a RED camera. \u201cThey hadn\u2019t done anything fully anamorphic and wanted us to use the Epic,\u201d Lanzenberg recalls. \u201cWe did a lot of testing on Red and found Dragon to be far more sophisticated than Epic. But it read more like a 300-speed camera than an 800-speed. We had to push a ton of light through, which meant having to use 20K or 10K units instead of 5Ks. That can explode a lighting budget, so when I was asked, \u2018Do you really need that lighting balloon?\u2019 I would say, \u2018With this camera, yes.\u2019 But cinematographers should be able to work with any camera, so we shot it using many different kinds of glass to keep from getting that severe HD crispness I feared. We were able to go anamorphic for the contemporary scenes.\u201d<\/p>\n

Preferring the visual dialog offered by prime lenses, Lanzenberg relied upon Hawk\u2019s anamorphic V-Series and V-Lites. \u201cThe Hawks were a little more clinical in look,\u201d he relates, \u201cworking well with the more contrasty modern-day tones.\u201d Though the DP had to resort to shooting wide open on a few occasions, he was able to maintain a stop between 2.8 and 3.5 for most of production.<\/p>\n

For scenes set in the 1960s, Kowa anamorphics \u2013 rehoused by Clairmont \u2013 were employed. \u201cTheir warmth and softness worked very well for that section of her story,\u201d Lanzenberg describes. \u201cThen we had Bausch and Lomb Super Baltars for the pre-forties era, which was shot spherical. They had their own nice quality, a great falloff on the frame edges, because the Dragon\u2019s large sensor would see irregularities in the glass in an unusual way \u2013 the lenses were never designed to be used with such a large gate or sensor. DIT James Notari and I built some looks during prep, which were like a different film stock for each time period.\u201d<\/p>\n

\"As-Time-Goes-By-Web-Exclusive-July-15-4\"
Pre-1940\u2019s (spherical) scenes were shot with Bausch and Lomb Super Baltars. \u201cThey had a great falloff on the frame edges,\u201d Lanzenberg describes. “The Red Dragon would see irregularities in the glass in an unusual way because those lenses were never designed to be used with such a large sensor.\u201d<\/figcaption><\/figure>\n

Adaline\u2019s immortality begins in the 1920s, and as <\/strong>Lanzenberg wryly observes, \u201cshe is a terrible driver, winding up in accidents at both the beginning and end of the film. For the first one, she is driving a Model-A that ends up in a pond. We shot in March, when there are very low temperatures and various restrictions in Canada, so our production designer built this amazing set on stage with the car leaning on its side.\u201d<\/p>\n

Two tanks were employed for the sinking vehicle, one for everything shot above the waterline, the other for underwater views. \u201cThe second was a 35-foot tank, maybe twenty feet deep,\u201d the DP adds. \u201cWe had a 4K Phantom camera for that to capture anything going on underwater.\u201d<\/p>\n

For the night driving scenes preceding the crash, an age-old issue reared its head. \u201cHow do you light a night scene on a road that has no street lamps [as motivation]?\u201d asks Lanzenberg. \u201cIn our case, that meant four 135-foot Condors at each edge of the road, all pushing Maxis. How do you justify light coming from everywhere? We were helped by the fact there is a very surreal aspect to this movie, so claiming this is moonlight makes sense, and it looked beautiful with some depth. Arc lights would have been even more fitting had they been available.\u201d<\/p>\n

\"As-Time-Goes-By-Web-Exclusive-July-15-5\"
Krieger says portraying Adeline\u2019s many different time periods was very appealing. “I wanted looks that matched these stylistic expectations while still delivering the storytelling beats,\u201d he shares.<\/figcaption><\/figure>\n

Discussions with Gaffer Dave Tickell and Key Grip Finn King followed the Lanzenberg\/Krieger plan to keep things more classical in feel. Daytime scenes, which included many tight practical locations, were accomplished with minimal HMI and bounce lighting, using small controllable units whenever possible.<\/p>\n

\u201cWe had several Chimeras with the hard honeycomb crates, along with Crone cones with either 30-degree and 90-degree crates attached to Tweenie 650-watt or open-face units,\u201d states Lanzenberg, \u201cto keep the light soft and directional.\u201d<\/p>\n

Driving scenes relied upon poor man\u2019s process, but the director\u2019s critical eye impacted how the plate work was recorded. \u201cThe defocusing properties of anamorphic lenses differ from spherical ones,\u201d observes Krieger, \u201cwhich affected how we achieved composite shots. I hate seeing poor-man\u2019s stuff where the plate is shot spherical at a deep stop but then gets defocused in post \u2013 the out-of-focus bits don\u2019t have that distinctive almond shape. David and I shot our own plates whenever possible, but when we didn\u2019t, we made sure it looked like we did.\u201d<\/p>\n

\"As-Time-Goes-By-Web-Exclusive-July-15-6\"
Adeline is bookended by car accidents. This green screen set-up was used for the opening accident, where her Model-A ends up overturned in a chilly nighttime pond.<\/figcaption><\/figure>\n

Toward this end, they made good use of Lakeshore\u2019s jack-of-all-trades, James McQuaide. \u201cWorking as both VFX supervisor and second unit director seems a very natural marriage,\u201d reflects McQuaide. \u201cOn effects-driven pictures, I find it easier to direct plates required for a particular shot rather than explain what\u2019s needed [and why] to someone else. One challenge of this picture, given its tone and style, was that VFX shots really did need to be invisible, as if they had been photographed practically. The falling snow, the San Francisco set extensions and even the car comps had to seem almost mundanely real to go unnoticed; there was none of the usual wiggle room you typically have on a genre picture where spectacle is nearly as important as photo-realism.\u201d<\/p>\n

The VFX professional\u2019s history with primary vendor Luma [see Invisible VFX<\/em>, ICG April 2011] spans two-dozen projects and goes back to his first-ever supervisory gig. \u201cLuma handled the first car crash [including the falling snow] as well as all three \u2018celestial\u2019 sequences in the picture,\u201d McQuaide reveals. \u201cAesthetically, these space shots proved a challenge, since there isn\u2019t any reference to draw from \u2013 no one has witnessed these events from [this] perspective.\u201d Those include views of Earth from space that bookend the film, along with a passing comet and an asteroid that strikes the moon.<\/p>\n

Australian VFX facility Cutting Edge was also used. McQuaide describes the company as \u201cvery filmmaker friendly\u201d and obsessive about delivering on time and on budget. \u201cIt was an extremely efficient workflow \u2013 by the time their day begins, I\u2019ve had hours to review work from the previous night,\u201d he adds. Among other duties, Cutting Edge was responsible for compositing San Francisco cityscapes into Vancouver live-action.<\/p>\n

\"As-Time-Goes-By-Web-Exclusive-July-15-7\"
The finished composite of the overturned Model-A in the water, complete with lighting and falling snow VFX added by Luma Pictures and led by VFX Supervisor James McQuaide, who was also the film\u2019s 2nd Unit director.<\/figcaption><\/figure>\n

\u201cFrom a technical perspective, the use of Hawk V-Lite anamorphic lenses proved a much greater challenge than expected,\u201d McQuaide adds. \u201cBecause these lenses so significantly vignette and distort the image, even simple comping required a great deal of \u2018hunting and pecking.\u2019\u201d<\/p>\n

Adaline<\/em>\u2019s digital intermediate proved fairly straightforward, with Company3\u2019s Stephan Nakamura handling colorist duties. \u201cIt was mostly just a matter of tweaks, Krieger states. \u201cWe did have to make more adjustments on skin tones than we might have with Alexa, but it didn\u2019t slow things down excessively. I think the heavy prep we did also helped us as we weren\u2019t having to look for answers after the fact; I\u2019m going to want to do that on every movie from now on.\u201d<\/p>\n

Lanzenberg concludes by describing Adaline<\/em> as \u201ca fantastic experience and another great collaboration with Lee. Most of all, I\u2019m very proud of how well we all managed to stay on the same page creatively while telling this story.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Sundance indie David Lanzenberg leaps forward in size and budget for the time-travel drama The Age of Adaline. By\u00a0Kevin H. Martin.\u00a0Unit Photography by Diyah Pera \/ Frame Grab Courtesy of Lionsgate Pictures. In The Age of Adaline, beautiful Adaline Bowman (Blake Lively) has led her life out of the limelight. This deliberate decision arises out of a need for secrecy regarding her unusual condition \u2013 Adaline stopped aging after a freakish car accident at age 29. But as the saying […]<\/p>\n","protected":false},"author":1,"featured_media":5394,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-5393","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nAs Time Goes By - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/as-time-goes-b\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"As Time Goes By - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Sundance indie David Lanzenberg leaps forward in size and budget for the time-travel drama The Age of Adaline. By\u00a0Kevin H. Martin.\u00a0Unit Photography by Diyah Pera \/ Frame Grab Courtesy of Lionsgate Pictures. In The Age of Adaline, beautiful Adaline Bowman (Blake Lively) has led her life out of the limelight. This deliberate decision arises out of a need for secrecy regarding her unusual condition \u2013 Adaline stopped aging after a freakish car accident at age 29. 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