American Cinematographer - March 2016 - 38

◗

It's Only Rock 'n' Roll

For a funkadelic concert by the fictional singer
Hannibal (Daniel J. Watts, top left), Morano had
gaffer Ben Noble rig 64 500-watt Par cans on a
black pipe grid. The Pars, which were run through
a dimmer system, created a wall of light behind
the performers.

memory cards, which were transferred
to RAID5 on digital-imaging technician Charlie Anderson's cart via
SilverStack. As Morano notes, "the
Phantom Flex4K [shot] uncompressed
raw via the Phantom's CineMags," and
was fitted with Primo prime lenses.
Prieto adds that Cooke lenses were
used for close focus. Deluxe New York
handled both dailies and final color
correction, with Bodner working on all
10 episodes to ensure continuity.
Panavision supplied the production's Primo lens package and Franco
estimates that he used primes 75
percent of the time on the F55, with the
27mm and 40mm being his work38

March 2016

horses. "The luxury of the show is that
it allows the time to be able to use the
prime lens," he notes. The production
also carried three Panavision Primo
zooms: 17.5-75mm (T2.3), 24-
275mm (T2.8) and 19-90mm (T2.8),
the latter of which saw the most action.
"Because it was the Seventies, we try to
insert those zoom shots," he says.
Meanwhile, the F55's ISO was kept
steady at its native 1,250.
Music, of course, is the series'
lifeblood. Beyond performances integral to the plot, music's most distinctive,
unexpected appearance is in the "interstitials" - periodic interludes that are
dreamlike and surreal. There's Howlin'
American Cinematographer

Wolf belting out "Smokestack
Lightning" on the American Century
fire escape, Ruth Brown singing the
blues in an empty conference room, Bo
Diddley playing his square guitar by the
pool at Richie's Connecticut home, and
Karen Carpenter in the car with
Richie's wife.
The cinematographers still have
a hard time articulating exactly what
these scenes are. "They're dreamy musical moments that are almost like an
emotional 'narration' to the show," says
Morano. Adds Franco, "It's like a way
to cleanse your palate." Prieto offers, "I
just took it as part of Richie's inner aural
experience. Marty didn't elaborate."
Prieto first heard about these
sequences shortly before production
started; they were neither in the script
nor discussed in prep. "Someone told
me, 'Oh, Marty is thinking of shooting
these little musical pieces.' I said, 'What
are you talking about?' I went to see
Marty, and he started explaining this
idea of these musical pieces. He said, 'I
know it's not scheduled, but we need to
figure out how to do it.'"
➣



Table of Contents for the Digital Edition of American Cinematographer - March 2016

Table of Contents
American Cinematographer - March 2016 - Intro
American Cinematographer - March 2016 - Cover1
American Cinematographer - March 2016 - Cover2
American Cinematographer - March 2016 - 1
American Cinematographer - March 2016 - 2
American Cinematographer - March 2016 - Table of Contents
American Cinematographer - March 2016 - 4
American Cinematographer - March 2016 - 5
American Cinematographer - March 2016 - 6
American Cinematographer - March 2016 - 7
American Cinematographer - March 2016 - 8
American Cinematographer - March 2016 - 9
American Cinematographer - March 2016 - 10
American Cinematographer - March 2016 - 11
American Cinematographer - March 2016 - 12
American Cinematographer - March 2016 - 13
American Cinematographer - March 2016 - 14
American Cinematographer - March 2016 - 15
American Cinematographer - March 2016 - 16
American Cinematographer - March 2016 - 17
American Cinematographer - March 2016 - 18
American Cinematographer - March 2016 - 19
American Cinematographer - March 2016 - 20
American Cinematographer - March 2016 - 21
American Cinematographer - March 2016 - 22
American Cinematographer - March 2016 - 23
American Cinematographer - March 2016 - 24
American Cinematographer - March 2016 - 25
American Cinematographer - March 2016 - 26
American Cinematographer - March 2016 - 27
American Cinematographer - March 2016 - 28
American Cinematographer - March 2016 - 29
American Cinematographer - March 2016 - 30
American Cinematographer - March 2016 - 31
American Cinematographer - March 2016 - 32
American Cinematographer - March 2016 - 33
American Cinematographer - March 2016 - 34
American Cinematographer - March 2016 - 35
American Cinematographer - March 2016 - 36
American Cinematographer - March 2016 - 37
American Cinematographer - March 2016 - 38
American Cinematographer - March 2016 - 39
American Cinematographer - March 2016 - 40
American Cinematographer - March 2016 - 41
American Cinematographer - March 2016 - 42
American Cinematographer - March 2016 - 43
American Cinematographer - March 2016 - 44
American Cinematographer - March 2016 - 45
American Cinematographer - March 2016 - 46
American Cinematographer - March 2016 - 47
American Cinematographer - March 2016 - 48
American Cinematographer - March 2016 - 49
American Cinematographer - March 2016 - 50
American Cinematographer - March 2016 - 51
American Cinematographer - March 2016 - 52
American Cinematographer - March 2016 - 53
American Cinematographer - March 2016 - 54
American Cinematographer - March 2016 - 55
American Cinematographer - March 2016 - 56
American Cinematographer - March 2016 - 57
American Cinematographer - March 2016 - 58
American Cinematographer - March 2016 - 59
American Cinematographer - March 2016 - 60
American Cinematographer - March 2016 - 61
American Cinematographer - March 2016 - 62
American Cinematographer - March 2016 - 63
American Cinematographer - March 2016 - 64
American Cinematographer - March 2016 - 65
American Cinematographer - March 2016 - 66
American Cinematographer - March 2016 - 67
American Cinematographer - March 2016 - 68
American Cinematographer - March 2016 - 69
American Cinematographer - March 2016 - 70
American Cinematographer - March 2016 - 71
American Cinematographer - March 2016 - 72
American Cinematographer - March 2016 - 73
American Cinematographer - March 2016 - 74
American Cinematographer - March 2016 - 75
American Cinematographer - March 2016 - 76
American Cinematographer - March 2016 - 77
American Cinematographer - March 2016 - 78
American Cinematographer - March 2016 - 79
American Cinematographer - March 2016 - 80
American Cinematographer - March 2016 - 81
American Cinematographer - March 2016 - 82
American Cinematographer - March 2016 - 83
American Cinematographer - March 2016 - 84
American Cinematographer - March 2016 - 85
American Cinematographer - March 2016 - 86
American Cinematographer - March 2016 - 87
American Cinematographer - March 2016 - 88
American Cinematographer - March 2016 - Cover3
American Cinematographer - March 2016 - Cover4
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