Christophe Offenstein filme La Tour avec l'ARRI ALEXA Mini LF et les Signature Primes
20/09/2022
La Tour est un projet tr s diff rent des pr c dents films que vous avez tourn avec Guillaume Nicloux. Comment avez-vous abord ce nouveau long m trage ?
La Tour est un film de genre qui se passe au c ur d'un immeuble o les habitants se r veillent un matin envelopp s d'un pais brouillard opaque qui obstrue portes et fen tres. Cette situation va cr er une angoisse et un suspense haletant. La majeure partie du film est trait e en huis clos au c ur de la tour, de ses escaliers troits et de ses appartements sans lumi re du jour. Ce qui impliquait de ma part tout un travail pour cr er de l'inattendu, malgr la r currence des lieux. Il me fallait viter tout prix un traitement syst matique.
Le DP Christophe Offenstein a travaill dur pour cr er de l'inattendu dans La Tour
Comment tes-vous arriv l'esth tique tr s sombre de La Tour ? Quelle tait la demande de Guillaume Nicloux au niveau de l'image ?
Nous nous connaissons tr s bien avec Guillaume puisque nous avons fait plus de six longs m trages ensemble. Il m'a donn quelques r f rences, comme les films de David Cronenberg, et aussi des s ries am ricaines, mais rien de tr s pr cis. C'est moi d'interpr ter. Au d part, nous tions partis sur une atmosph re assez froide mais, au final, nous avons t plus chauds que pr vu initialement. Par contre, j'ai voulu, d s le d but, une image contrast e. C' tait essentiel pour cr er une atmosph re inqui tante, avec du suspens, de la crainte. part le premier tiers, le film est beaucoup bas sur les basses lumi res, avec des clairages naturels comme des flammes et des flambeaux. C'est une esth tique tr s forte.
L'ambiance de La Tour est bas sur les basses lumi res, avec des clairages naturels comme des flammes et des flambeaux
Pourquoi avez-vous choisi les optiques ARRI Signature Primes et l'ALEXA Mini LF sur ce film ?
Apr s avoir r alis des essais avec diff rentes gammes d'objectifs, c'est la s rie Signature Prime qui s'est r v l e la meilleure solution. La combinaison avec la Mini LF est parfaite. J'ai beaucoup appr ci de travailler avec ces optiques. Le r sultat est impressionnant. En fait, les Signature Primes sont pr cises sans tre trop sharp. Elles sont suffisamment douces pour donner un excellent r sultat. A pleine ouverture, elles n'appuient pas trop les contours de l'image. C' tait important pour moi de ne pas avoir une image qui soulignerait trop fortement les personnages. Je voulais aussi tourner avec tr s peu de diaph pour casser les profondeurs et maintenir la tension autour des personnages. C' tait mon principe sur ce film. J'ai presque toujours utilis les Signature Primes leur pleine ouverture, 1.8. Le plus souvent, nous n'avions qu'un seul pouce de profondeur de champ sur les personnages. C' tait un film tr s compliqu g rer au niveau du point.
Le rappeur Fran ais Hatik est un des personnages principaux dans La Tour
Quelles focales avez-vous le plus utilis es dans la s rie ARRI Signature Primes ?
C' tait la premi re fois que j'utilisais ces optiques. Elles taient disponibles depuis quelques mois seulement avant le tournage. J'ai travaill principalement en focale courte, du 25mm au 40mm. C'est une tr s belle s rie. ARRI a fait un tr s beau travail avec les Signature Primes. Ce sont des focales qui ne d forment pas. Elles sont parfaitement adapt es l'ALEXA Mini LF. Comme je suis en grand format, j'ai presque le m me rendu de focale qu'en scope. Je peux cadrer plus large, avec une d formation moins forte et une faible profondeur de champ. C'est tr s int ressant travailler.
Justement, qu'est-ce qui vous a pouss choisir l'ALEXA Mini LF ?
Je travaille en ALEXA depuis longtemps et j'avais d j utilis la LF sur un autre film aussi. J'aime beaucoup la d finition de l'ALEXA Mini LF. Elle me permet d'avoir plus de marge de man uvre en postproduction si j'ai besoin de resserrer une image, de zoomer dedans. Je peux le faire sans ali ner la qualit . Surtout, avec l'ALEXA Mini LF, j'ai un rendu des couleurs parfait. Le rapport de couleurs est excellent, les rouges ne sont pas sous-dimensionn s. J'ai aussi plus de d tails dans les tr s basses lumi res. C'est une cam ra qui va tr s loin dans le pied de courbe. Elle accepte des carts de diaph normes. C' tait tr s important sur La tour o nous tournions en tr s basses lumi res, avec des personnages qui pouvaient tenir des flambeaux la main. La Mini LF pouvait encaisser 16 diaphs d' cart, sans br ler les tr s hautes lumi res et tout en conservant des d tails dans les noirs. C'est impressionnant.
J'aime beaucoup la d finition de l'ALEXA Mini LF , dit DP Christophe Offenstein
Vous avez tourn La Tour en studio ?
Pas du tout. Tout le film est tourn en d cor naturel, dans une ancienne tour d saffect e, avec beaucoup d'escaliers troits et de vrais appartements. Tout tait tourn cam ra l' paule ou au Steadicam. Il me fallait absolument une cam ra compacte capable de passer dans ces d cors tous petits. L'ALEXA Mini LF tait indispensable dans ce contexte. Le r alisateur voulait plonger le spectateur dans du r alisme pour qu'il s'identifie encore mieux avec les personnages. Le tournage a dur quatre semaines, dans ce d cor unique avec une petite quipe tr s mobile, compos e gens qui se connaissent bien. Tout avan ait tr s vite.
Christophe Offenstein:
LINK: | https://www.arri.com/news-fr/dp-offenstein-la-tour-arri-alexa-mini-lf-... |
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