American Cinematographer - April 2017 - 72
discuss a case.
yet to begin working with colorist Scott
Garrow on the show's color grading
before the season's principal photography wrapped.
For on-set color, Wiegand's
approach was simple: a Rec 709 curve,
output to monitors with a clear warning
to onlookers. "I put stickers on the
monitors that say, 'For framing and
focus,'" Wiegand explains. "So if anyone
comes up to me and is like, 'The lipstick
looks like it's a little different shade on
the monitor,' I point to that sticker and
say, 'Everybody relax.'"
Digital loader Drew Fulton
backed up all footage to a pair of 4TB
OWC Mercury Elite Pro Dual external
archival drives. Samsung 850 Pro SSD
shuttle drives went out twice daily along
with camera reports to the production
office on the Universal lot in Chicago.
Assistant editors at the nearby Wolf
Films editing facility performed a rough
color timing to create dailies. JPEG still
frames were then pulled from those
dailies and sent to Wiegand for review.
Wiegand estimates that the
production was an even 50-50 split
between location and set work, with the
latter largely done on a single stage at
Cinespace Chicago Film Studios. The
sets for the show's courtrooms, state's
attorney's office, and investigators'
bullpen all lived there.
Similar to the original Law &
Order, Chicago Justice's camerawork helps
delineate the domains of the investigators and the prosecutors; the show favors
handheld for the former, and sticks,
Steadicam and cranes for the latter.
"There's always one sentence that
Dick Wolf says to me at the beginning
of a show that sums up what he's looking
for," Wiegand offers. "During prep for
Chicago Justice it was, 'When we're in the
courtroom, I want to feel like we're in a
cathedral to justice.' We want the
camera moves to feel solid and stately,
like you're in a place where big decisions
are being made."
That stylistic solemnity came in
part from a 22' Technocrane provided by
Chicago's Kinetic Remote Systems and
controlled on set by Mark Woods. "I
worked with Mark on Chicago Fire, and