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Thomas Hardmeier et Laurent Hritier sur Bigbug mettant en scne les camras, optiques et lumires ARRI

12/05/2022

C sar de la meilleure photo pour Lextravagant voyage du jeune et prodigieux T.S. Spivet , Thomas Hardmeier retrouve Jean-Pierre Jeunet huit ans apr s pour Bigbug , son nouveau long m trage produit par Netflix. Un tournage r alis int gralement en studio Bry-sur-Marne pour lequel le directeur de la photo a choisi le combo ALEXA LF, ALEXA Mini LF et optiques ARRI Signature Primes. Dans une seconde interview, le gaffer Laurent H ritier parle de sa contribution sur Bigbug et ce qu'il appelle La plus belle installation lumi re de sa carri re.

Interview avec le directeur de la photo Thomas Hardmeier sur Bigbug

Acteurs St phane De Groodt et Elsa Zylberstein sur Bigbug

M. Hardmeier, cest la seconde fois que vous tournez avec Jean-Pierre Jeunet. Avait-il des demandes particuli res pour le tournage de Bigbug ?

Cela fait pr s de quatre ans quil ma parl de ce projet, qui tait difficile monter pour le cin ma. Cest une com die danticipation dans le style de Jeunet, avec confrontation d'humains et robots dans un pavillon de banlieue en 2050. Comme nous tournions en studio dans un d cor unique, il souhaitait un plafond lumineux pour acc l rer la mise en place lumi re et d gager du temps pour la mise en sc ne. Jai donc collabor tr s troitement avec Aline Bonetto, la chef d coratrice qui a fait un travail extraordinaire, pour trouver des solutions techniques et esth tiques.

Quelles solutions avez-vous mises en uvre au niveau lumi re ?

Je sais dexp rience que Jean-Pierre aime avoir des teintes chaudes limage. Il ne voulait surtout pas faire un film danticipation avec les couleurs froides habituelles de la science-fiction. Pour la lumi re, nous avions la base, qui tait le plafond, clair par 93 SkyPanels S60s, et, avec Aline Bonetto, nous avons int gr beaucoup de LED dans le d cor, que ce soit des rubans LED ou des plaques souples. Cela me permettait de structurer les fonds. Ensuite, pour viter d tre monochrome, jai jou sur la couleur de ces diff rentes sources : vert, bleu, jaune, fuchsia, etc. Tous les pr textes taient bons pour que je cr e des contrastes de couleur dans limage. Une semaine avant le d but du tournage, nous avons r alis avec Jean-Pierre des tests avec les com diens en costume et dans le d cor, de fa on travailler en d tail les teintes, les lumi res et cr er des ambiances pr d finies. Toutes les LEDs, dont les SkyPanels et les lumi res de jeu, taient r glables depuis une console. C tait g nial. Je pouvais tout contr ler distance et voir de suite le r sultat. C tait tr s intuitif. Cela lib re beaucoup la cr ativit pour moi et Jean-Pierre.

L'ALEXA Mini LF sur le tournage du film Netflix Bigbug de Jean-Pierre Jeunet

Geoffroy Saint-Hilaire derri re l'ALEXA LF

Pourquoi avoir choisi lALEXA LF et lALEXA Mini LF pour tourner Bigbug ?

Je voulais tourner le film en grand format. Au d but, jai pens utiliser lALEXA 65 mais Jean-Pierre Jeunet aime tourner en courte focale, avec les com diens au premier plan et beaucoup de profondeur de champ. Comme je ne tourne quen ALEXA, jai choisi de travailler avec lALEXA LF. Sur le plateau, nous avions une LF sur Dolly et une Mini LF sur Steadicam, avec Geoffroy Saint-Hilaire au cadre. Nous utilisions le corps cam ra de mani re interchangeable. Pour moi, lALEXA LF est dans la continuit directe de lALEXA classique. Elle apporte un vrai confort de travail quand on est au cadre et cest une vraie cam ra avec plein de possibilit s daccessoirisation. Au niveau de limage, si je veux aller chercher des infos dans les noirs, il ny a clairement que lALEXA. Sans parler de son rendu doux et de sa grande latitude dexposition. On retrouve tout cela dans lALEXA LF. De plus, travailler en grand format ma permis de gagner sur les rapports de focale. La plupart du temps, Jean-Pierre Jeunet travaille avec un 18 mm ou un 21 mm en S-35 mm, jamais avec de longues focales. Une grande partie de Bigbug est tourn e au 25 mm, mais gr ce au grand format de lALEXA LF, cela donne le rendu dun 16 mm, mais sans aucune d formation. C tait la cam ra parfaite pour Bigbug .

Geoffroy Saint-Hilaire au cadre et l'ALEXA Mini LF

Au niveau des optiques, quavez-vous pens des ARRI Signature Primes ?

Pour moi, les ARRI Signature Primes sont dans la continuit directe des Master Prime, mais adapt s au 4K. Ils sont tr s piqu s et cest le genre dimage quaffectionne Jean-Pierre Jeunet dans ses films. Jai quand m me r alis des essais. Jai compar les ARRI Signature Primes avec d'autres optiques grand format. La s rie ARRI tait la seule tre parfaitement sharp et moffrir le meilleur minimum de point. Jai tourn Bigbug avec un diaph de 5,6 ou 8 pour obtenir le maximum de profondeur de champ tout en ayant les personnages nets au premier plan. Pour gagner un diaph suppl mentaire, jai expos lALEXA LF 2000 ASA.

Les ARRI Signature Primes et les acteurs St phane De Groodt et Elsa Zylberstein

Vous avez travaill en HDR. Pourquoi ?

En postproduction, nous avons talonn Bigbug en HDR, mais avons aussi fait une version en SDR. Lavantage du HDR est la plus grande latitude quil offre au niveau de limage. Il permet notamment de conserver plus de d tails dans les hautes lumi res. Mais sur ce film, nous avons beaucoup de Practicals dans le champ. Pour cette raison, nous avons plut t estomp leffet HDR, de fa on ne pas tre trop distrait par ces hautes lumi res qui seraient devenues trop fortes dans limage.

L'ALEXA LF, le r alisateur Jean-Pierre Jeunet et les acteurs Isabelle Nanty et Alban Lenoir sur le tournage du film Bigbug

Comment sest pass le tournage avec Netflix ?

Tr s bien. Nous avons eu une libert totale sur Bigbug . Depuis deux ans, par les hasards des productions, je travaille beaucoup avec eux sur diff rents projets. Netflix donne aux r alisateurs et aux quipes les moyens
LINK: https://www.arri.com/news-fr/bigbug-mettant-en-sc%C3%A8ne-les-cam%C3%A...
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