Du Bout Des Doigts (Mini-Série)

Thomas Hardmeier, AFC has crafted année enviable career ont acinematographer, with an ext than deux dozen feature film to his credit, along with countless commercials for high finish clients. Along the way, he’s operated with directors like Cédric Anger, Julien Leclerq, Hans Petter Moland and Jean-Pierre Jeunet. His film with Jeunet, L’Extravagant Voyage aux jeune rang prodigieux T.S. Spivet (The Young et Prodigious T.S. Spivet), took dessus honors in the 3D feature category at thé 2014 Camerimage festival in Poland and aCesar récompense the exact same year, et his work nous Yves St. Laurent, afeature à la director Jalil Lespert, earned aCesar award nomination for best Cinematography.

Vous lisez ce: Du bout des doigts (mini-série)


Hardmeier’s most recent récit endeavor, In her Hands (Au coupable des doigts), star Kristin la ville de granit Thomas, Lambert Wilson and Jules Benchetrit in atale of atalented pianist who comes from the suburbs, where music is his secret, et enters thé rarified world ns competitive classical music. Hardmeier et director maudit Bernard knew the contrasting these deux worlds would be auto key venir their visual style. The challenge was venir strike auto right balance et not overwhelm auto story et characters. Another concern was presenting thé extensive exercise scenes in aconsistently interesting et engaging way.

“The le script gave us two worlds,” says Hardmeier. “One elegant, beautiful, expensive, et the divers more real. Nous began de finding locations venir distinguish these worlds.”

Color, contrast and lighting additionally helped delineate the settings. At times, the couleurs black and white to be emphasized, avisual analog to auto piano keys. In auto more relaxed suburban world, Hardmeier punched increase movement, contrast and color to give the images more life and romance.

The cameras were an Arri Alexa XT (in Arriraw 2.8K mode) and an Arri Mini (in 3.4K Arriraw OpenGate mode). Thé lenses to be aset de Vantage Film’s ns 1.7 MiniHawks – the sapin French feature à use them – et two hawk V‑Plus prior Anamorphic zooms, with focal lengths ns 45-90mm and 80-180mm. Thé MiniHawks leverage aunique design and patent-pending technology venir preserve classic anamorphic features while resolving many de the inconveniences linked with timeless squeeze lenses. Compact, lightweight and fast, auto MiniHawks are qui peut être of super close focus, with le minimum geometric distortion et no breathing during focusing.

“When Iheard the Vantage come out with these lenses, Ihad to audit them,” saus Hardmeier. “I’ve shooting alot with Hawk anamorphic lenses, et Ialways find it interesting to see what they develop at Vantage. When Au abencérages des doigts came up, Ithought they would certainly be good because Iknew we’d oui alot of court light situations et small locations. Icomplemented lock with thé Hawk V‑Plus zoom lenses à la some longer shots et situations whereby Ineeded to zoom slightly. It was amixture ns the two lentille sets, about half and half, and Ithink cette worked fairly well – elle don’t see any type of difference in the out-of-focus look, even in low light.”

Steadicam/B caméra operator Stéphane Chollet appreciated thé lightness du the MiniHawks, et T-stop de 1.7 came in handy for tons AC fabrice Bismuth. Une example to be anight scene in which thé cast et crew infiltrated année existing monthly roller-skating event through Paris, grabbing shots among aflowing crowd ns 500 with aMoVI rig, asmall electric caméra car and some handheld camera. The out-of-focus city lights in the background display screen the signé bokeh.

For de nouveau night step shot along the canal Saint Martin, Hardmeier shot through Vantage une T1 primes in bespeak to tournage at t 1.5.

Another interesting situation was an exterior shopping center space v avast, curved roof and arectilinear floor. “Many de the locations, specifically the music school and the final boulot hall, were an extremely architectural, through straight, modern lines,” saus Hardmeier. “I knew that standard anamorphic lenses would be also curving, particularly in wide angles – which Ididn’t desire at all for this film. Pour some films, like thé Yves St. Laurent ­film, Ihave choose to shoot anamorphic because Iwas looking parce que le acertain softness and curvature to be suitable pour ahistorical piece. Marqué here, Ireally wanted the lines venir be rather sharp et straight.”

The shallow depth du field natural in anamorphic photography to be atool Hardmeier relished using.

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“That’s why Ilove anamorphic,” hey says. “I feel that the images are an ext evocative. Idon’t want to seul show ahand playing the piano. Iwant venir deliver more ns afeeling de what’s going on. Through shallow depth du field, tu bring the public closer to thé hand, et closer to the feeling ns the player. Oui the cinématique goes on, he’s getting better and better, et we try à move more et more v him to help evoke his virtuosity.”

Even auto approach to exposure to be designed to underscore thé story. The caméra was typically set venir 1600 ASA à develop abit an ext texture parce que le the youthful, suburban world, while the classical musique world was always exposed at auto native setting de 800 ASA. Linked with some slight noise reduction, these image were oui clean oui possible.

“Everything nous do, start with prep, contributes to thé look du the cinématique – the fabriquer design, the costey design, and so on,” says Hardmeier. “If Ihave aset of lenses Ilove, and we have abad location, Istill won’t be happy with thé images. And of course, the définitif grading is very important, because you can refine the cinématicien with abit more distance et objectivity, without thé pressures de the set. But Ithink thé most important visage for je right currently is the choice du lenses.

“On this film, Iwas really happy with how well thé MiniHawks et the V‑Plus zooms matched,” he says. “In the émergence Ishould always have aset de MiniHawks with moi when Ishoot anamorphic, ont they really are haricot de soja helpful in cas where anamorphic deserve to be complicated. And of arttasters Iam waiting à la the MiniHawk zooms venir come.”

The définitif color to be handled de Richard Deusy at ALa Plage, utilizing Resolve.

“I framed at minus ten percent, i m sorry gives je the loption to reframe alittle, i m sorry I’ve been doing conditions météorologiques anamorphic films,” saus Hardmeier. “In post, Ioften offered that spare pièce to widen out abit – Ioften believed Iwas as well close, especially à la the big screen.”

Hardmeier’s choice ns lenses nous Au bout des doigts is just his recent Vantage la coopération in follow me line.

“When Istarted to work in France, in 2003, conditions météorologiques sometimes ordered specialized équipement from Vantage in Germany,” cette says. “Every temps we’d get équipement from them, it would venir perfectly in the case, with whatever that was needed. Conditions météorologiques never needed to specify année added cable – it was currently there. Nous were always ventilateurs – particularly the assistants – and we had actually the impression that this was avery great company.

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“Once alexander Bscheidl opened Vantage Paris, Iinstantly began venir work v them, even though Ididn’t really tournage alot du anamorphic at that time,” cette says. “They are just so good and reliable. And then, de course, i’ve discovered all their anamorphic series, and the Bethke Filters, and tous the fantastic outil they make. It’s soja much easier dealing with seul one person à la the technological aspects, the de largent aspects and the gear. Even today, you can know everything about this company par looking at the design of the cases. It’s sauce soja precise. Whatever is checked and solved.”

This fall, Hardmeier’s work can additionally be watched in L’Amour est d’un fête (Paris Pigalle), which collection in the 1980s in the Parisian underworld du red light district. Cette shot the cinématicien with Vantage Film’s Vintage’74 anamorphics.