American Cinematographer - March 2015 - 61

camera focus puller, Alan Butler, did an
amazing job. We were able to use everything." With the lens set to T1.0 and the
camera at ISO 800, Dillon was able to
shoot at 96 fps to lend the action a more
poetic style. Bille operated the B camera
with standard Primos - filming at 48
and 24 fps to compensate for the 1-stop
speed difference between the SL primes
and 50mm PV - and captured reactions and expressive details with the
help of a Lensbaby and what Dillon
calls "funky filters."
"I went to a glazier and got pieces
of distorted glass cut to 4-by-5.6, then
had ellipses, triangles, and circles cut
into them with a water cutter," the cinematographer describes. "You can set up
a shot and use one of the filters to keep
someone's face sharp and have the rest
of the frame fall off."
Seasons two and three of Vikings
were captured at 1920x1080 ProRes
4:4:4:4, with ArriRaw occasionally used
for visual-effects plates. Season three

saw the addition of the Alexa XT Plus
with Codex capture drives and an
increased reliability on ArriRaw for
visual-effects work.
On set, Dillon uses Pomfort's
LiveGrade to modify the look-up tables
built in prep with DIT Aislinn
McDonald. "You can get quite different
conditions from day to day, and if you're
shooting a battle sequence over the
course of a couple days, you have to try
to make it match," Dillon explains. "I
have low-contrast LUTs built for highcontrast days, and high-contrast LUTs
for low-contrast days. Sometimes I'll
even tweak a look during the shot, but
otherwise I'll just call the adjustments
from shot to shot."
LUTs for each episode are delivered to dailies colorist Chris Wallace at
Deluxe Toronto. For season two, Dillon
was able to supervise the grading of the
first two episodes from Deluxe London
via Skype and Streambox. For season
three, Dillon traveled to Toronto to

supervise the first four episodes with
Wallace in person. "Our feeling was that
after I've been in the room with him for
a few days, I can send specific notes and
know he'll execute them to the letter,"
says Dillon, who supervised the remainder of season three's dailies remotely
from Ireland.
Season three sees Ragnar and his
forces move beyond England to conquer
sunnier climes on the European mainland. "In anticipation of this we're gradually taking the look of the show toward
more saturation and slightly less
contrast," says Dillon. With the Viking
hordes closing in on a prosperous
French city - as the season culminates
with the Siege of Paris - the production and costume design become more
refined and saturated, "and as the narrative becomes more cultured, we're
reflecting that in the photography."
- Iain Stasukevich
●

61



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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
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American Cinematographer - March 2015 - 18
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