American Cinematographer - April 2015 - 96

and B-camera operator Marcus James are
now acutely aware of composing with
those lanterns for a little "poor man's
contrast."
The show is a family entertainment,
but as we started production it wasn't yet
clear how far any particular element -
language, violence, the amount of blood -
could be presented. We began with a very
serious, dramatic approach, including a
lighting style that was a callback to Westerns such as McCabe and Mrs. Miller (shot
by Vilmos Zsigmond, ASC) with extensive
use of smoke in interiors; even though
smoking is not shown onscreen, the
amount of smoke generated by our many
lanterns is plenty to justify this approach. I
have maintained that style even as the overall tone has become less serious. The
dramatic imagery also serves to lend some
mystery to our limited sets, which we need
to keep interesting for 22 episodes.
Our primary camera package comes
from Raw Camera in Vancouver, and our
main bodies are two Red Epic MXs. We
record RedCode Raw to RedMag SSD cards
with 6:1 compression. Delivering the show
in 4K was a directive from the top, so this
5K camera future-proofs the series as much
as any current technology can. I had previously used the Red One camera on another
pilot and, truthfully, was not impressed at

Top left: Shooting
with a drone on
the street set.
Top right:
Cinematographer
Thom Best, CSC
checks the frame.
Middle: The crew
prepares a
stagecoach scene.
Bottom: The crew
prepares to shoot
with a barrel/horse
rig on the back of
a pickup truck.

96

April 2015

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - April 2015

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
American Cinematographer - April 2015 - 10
American Cinematographer - April 2015 - 11
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American Cinematographer - April 2015 - 20
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American Cinematographer - April 2015 - 60
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American Cinematographer - April 2015 - 62
American Cinematographer - April 2015 - 63
American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
American Cinematographer - April 2015 - 66
American Cinematographer - April 2015 - 67
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American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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