American Cinematographer - March 2015 - 59
sional foray to the British Isles. The
second season saw more action in
Wessex, and Dillon wanted the cinematography to reflect the differences
between the two lands: England is
warmer and more saturated, while the
Scandinavian landscape is cooler and less
saturated, with more contrast.
Everything is filmed in Wicklow,
just south of Dublin, with the exception
of the occasional stock-footage shot or a
plate filmed on location in Norway by the
visual-effects unit. "We have the sea,
mountains and farmland all within 20
minutes of the studio," Dillon observes.
That being said, "Irish weather is pretty
idiosyncratic," he adds. "You can get four
seasons in one day, and often do. So if
we've scheduled for sunshine and it rains
all day then we just have to make it a rain
scene. You can't fight the weather."
Whenever possible, Dillon prefers
tungsten units to HMIs, even when filming exteriors. "That might be a form of
insanity on my part," he concedes, "but
the tungsten lamps just offer a different
quality of light. It's not so electronic."
The production employs 20K Fresnels
with specially designed soft boxes built by
gaffer Terry Mulligan. Backlight for large
locations is supplied by 4' Kino Flo Celeb
400 DMX LED units with dimming
and color temperature controlled
remotely by Dillon from an iPad running
Interactive Technologies' CuePad.
Interior key light is often provided
through the windows and reflected off
the floor or wall. Larger sources enter the
room from a steep angle, casting a hard
light focused away from the actors. For
the rare occasion when an actor does
receive direct illumination, it's through a
layer of Lee Lux 400 diffusion. "If I want
to boost that I'll use 5-foot square soft
boxes, with incandescent bulbs from 100
watts up to 500 watts, depending on the
size of the box, behind a layer of Lee Full
Grid and at least one layer of Lux 400
maybe a foot away from it, and then
maybe another [layer of Lux 400] a
couple of feet away from that, so that by
the time they hit the actor all of the
direction has been knocked out of them,"
➣
says Dillon.
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American Cinematographer - March 2015
Table of Contents for the Digital Edition of American Cinematographer - March 2015
Contents
American Cinematographer - March 2015 - Cover1
American Cinematographer - March 2015 - Cover2
American Cinematographer - March 2015 - 1
American Cinematographer - March 2015 - 2
American Cinematographer - March 2015 - Contents
American Cinematographer - March 2015 - 4
American Cinematographer - March 2015 - 5
American Cinematographer - March 2015 - 6
American Cinematographer - March 2015 - 7
American Cinematographer - March 2015 - 8
American Cinematographer - March 2015 - 9
American Cinematographer - March 2015 - 10
American Cinematographer - March 2015 - 11
American Cinematographer - March 2015 - 12
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American Cinematographer - March 2015 - 14
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American Cinematographer - March 2015 - 18
American Cinematographer - March 2015 - 19
American Cinematographer - March 2015 - 20
American Cinematographer - March 2015 - 21
American Cinematographer - March 2015 - 22
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American Cinematographer - March 2015 - 25
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American Cinematographer - March 2015 - 27
American Cinematographer - March 2015 - 28
American Cinematographer - March 2015 - 29
American Cinematographer - March 2015 - 30
American Cinematographer - March 2015 - 31
American Cinematographer - March 2015 - 32
American Cinematographer - March 2015 - 33
American Cinematographer - March 2015 - 34
American Cinematographer - March 2015 - 35
American Cinematographer - March 2015 - 36
American Cinematographer - March 2015 - 37
American Cinematographer - March 2015 - 38
American Cinematographer - March 2015 - 39
American Cinematographer - March 2015 - 40
American Cinematographer - March 2015 - 41
American Cinematographer - March 2015 - 42
American Cinematographer - March 2015 - 43
American Cinematographer - March 2015 - 44
American Cinematographer - March 2015 - 45
American Cinematographer - March 2015 - 46
American Cinematographer - March 2015 - 47
American Cinematographer - March 2015 - 48
American Cinematographer - March 2015 - 49
American Cinematographer - March 2015 - 50
American Cinematographer - March 2015 - 51
American Cinematographer - March 2015 - 52
American Cinematographer - March 2015 - 53
American Cinematographer - March 2015 - 54
American Cinematographer - March 2015 - 55
American Cinematographer - March 2015 - 56
American Cinematographer - March 2015 - 57
American Cinematographer - March 2015 - 58
American Cinematographer - March 2015 - 59
American Cinematographer - March 2015 - 60
American Cinematographer - March 2015 - 61
American Cinematographer - March 2015 - 62
American Cinematographer - March 2015 - 63
American Cinematographer - March 2015 - 64
American Cinematographer - March 2015 - 65
American Cinematographer - March 2015 - 66
American Cinematographer - March 2015 - 67
American Cinematographer - March 2015 - 68
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American Cinematographer - March 2015 - 70
American Cinematographer - March 2015 - 71
American Cinematographer - March 2015 - 72
American Cinematographer - March 2015 - 73
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American Cinematographer - March 2015 - Cover3
American Cinematographer - March 2015 - Cover4
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