American Cinematographer - April 2018 - 74

◗

The Never-Ending Story
Right: Camera
operator Barbara
Langdon lines up
a shot behind
Emme Rylan
(portraying Lulu
Falconeri). Below:
Camera operator
Craig Camou
focuses on Steve
Burton
(portraying Jason
Morgan) while
maneuvering the
camera just
underneath MoleRichardson 2K
Fresnels.

an old boiler room in the hospital basement about a year ago, I established it to
look like something you would see on
that show."
Mohr also established Anna's
townhouse. Bardwell & McAlister 2K
Fresnels are typically rigged high above
this set, while Mole-Richardson 2K
Fresnels are hung lower to serve as "eye
lights, but we also call them hangers or
front lights," she notes. "The MoleRichardson lights give out the same
amount of illumination as the Bardwell
74

April 2018

& McAlister 'green-head' lights, but they
are smaller in size so it gives the cameras
and boom operators a little more room to
maneuver."
Bessoir adds, "We use 1⁄2 diffusion wraps and modifiers, plus the usual
corrective colors. We also use 24-by-32
Chimera Quartz Plus soft banks, in
addition to a selection of 'soft lights'
from 1K to 4K. Theatrical gels are used
as well."
Mohr employs ellipsoidals to
simulate window light on the townAmerican Cinematographer

house set. A gas fireplace is installed and
run by special effects, and practical
lamps are placed by the art department.
All lights are run through dimmers, and
controlled via DMX with an ETC
console by daytime lighting-board operator Peter Canon in a small room
located on the fourth floor. There are
more than 1,000 60-amp and 20-amp
dimmers on the stage.
"The night crews leave at around
8 a.m., and at 8:30 we go on camera,"
Mohr says. "The daytime electric crew
is now on stage and I take my place
inside the production booth. I watch
every scene and adjust the light levels
accordingly until we wrap for that day. It
could be 5 p.m. or it could be 9 p.m. It
depends on how many pages are
planned for that day."
On the day of our visit, production has prepared for a 118-page workday and Bessoir is the day's lighting
director. The scenes we observe are for
episode 13,977. Anna's townhouse is the
first set scheduled. Cameras 1, 3 and 4
- Ikegami HDK-79Ds operated by
Barbara Langdon, Craig Camou and
Dean Cosanella, respectively - are
mounted to pedestals and fitted with
Fujinon 6.5-180mm broadcast lenses.
Dale Carlson operates camera 2, an



Table of Contents for the Digital Edition of American Cinematographer - April 2018

Contents
American Cinematographer - April 2018 - Cover1
American Cinematographer - April 2018 - Cover2
American Cinematographer - April 2018 - 1
American Cinematographer - April 2018 - 2
American Cinematographer - April 2018 - Contents
American Cinematographer - April 2018 - 4
American Cinematographer - April 2018 - 5
American Cinematographer - April 2018 - 6
American Cinematographer - April 2018 - 7
American Cinematographer - April 2018 - 8
American Cinematographer - April 2018 - 9
American Cinematographer - April 2018 - 10
American Cinematographer - April 2018 - 11
American Cinematographer - April 2018 - 12
American Cinematographer - April 2018 - 13
American Cinematographer - April 2018 - 14
American Cinematographer - April 2018 - 15
American Cinematographer - April 2018 - 16
American Cinematographer - April 2018 - 17
American Cinematographer - April 2018 - 18
American Cinematographer - April 2018 - 19
American Cinematographer - April 2018 - 20
American Cinematographer - April 2018 - 21
American Cinematographer - April 2018 - 22
American Cinematographer - April 2018 - 23
American Cinematographer - April 2018 - 24
American Cinematographer - April 2018 - 25
American Cinematographer - April 2018 - 26
American Cinematographer - April 2018 - 27
American Cinematographer - April 2018 - 28
American Cinematographer - April 2018 - 29
American Cinematographer - April 2018 - 30
American Cinematographer - April 2018 - 31
American Cinematographer - April 2018 - 32
American Cinematographer - April 2018 - 33
American Cinematographer - April 2018 - 34
American Cinematographer - April 2018 - 35
American Cinematographer - April 2018 - 36
American Cinematographer - April 2018 - 37
American Cinematographer - April 2018 - 38
American Cinematographer - April 2018 - 39
American Cinematographer - April 2018 - 40
American Cinematographer - April 2018 - 41
American Cinematographer - April 2018 - 42
American Cinematographer - April 2018 - 43
American Cinematographer - April 2018 - 44
American Cinematographer - April 2018 - 45
American Cinematographer - April 2018 - 46
American Cinematographer - April 2018 - 47
American Cinematographer - April 2018 - 48
American Cinematographer - April 2018 - 49
American Cinematographer - April 2018 - 50
American Cinematographer - April 2018 - 51
American Cinematographer - April 2018 - 52
American Cinematographer - April 2018 - 53
American Cinematographer - April 2018 - 54
American Cinematographer - April 2018 - 55
American Cinematographer - April 2018 - 56
American Cinematographer - April 2018 - 57
American Cinematographer - April 2018 - 58
American Cinematographer - April 2018 - 59
American Cinematographer - April 2018 - 60
American Cinematographer - April 2018 - 61
American Cinematographer - April 2018 - 62
American Cinematographer - April 2018 - 63
American Cinematographer - April 2018 - 64
American Cinematographer - April 2018 - 65
American Cinematographer - April 2018 - 66
American Cinematographer - April 2018 - 67
American Cinematographer - April 2018 - 68
American Cinematographer - April 2018 - 69
American Cinematographer - April 2018 - 70
American Cinematographer - April 2018 - 71
American Cinematographer - April 2018 - 72
American Cinematographer - April 2018 - 73
American Cinematographer - April 2018 - 74
American Cinematographer - April 2018 - 75
American Cinematographer - April 2018 - 76
American Cinematographer - April 2018 - 77
American Cinematographer - April 2018 - 78
American Cinematographer - April 2018 - 79
American Cinematographer - April 2018 - 80
American Cinematographer - April 2018 - 81
American Cinematographer - April 2018 - 82
American Cinematographer - April 2018 - 83
American Cinematographer - April 2018 - 84
American Cinematographer - April 2018 - 85
American Cinematographer - April 2018 - 86
American Cinematographer - April 2018 - 87
American Cinematographer - April 2018 - 88
American Cinematographer - April 2018 - 89
American Cinematographer - April 2018 - 90
American Cinematographer - April 2018 - 91
American Cinematographer - April 2018 - 92
American Cinematographer - April 2018 - 93
American Cinematographer - April 2018 - 94
American Cinematographer - April 2018 - 95
American Cinematographer - April 2018 - 96
American Cinematographer - April 2018 - 97
American Cinematographer - April 2018 - 98
American Cinematographer - April 2018 - 99
American Cinematographer - April 2018 - 100
American Cinematographer - April 2018 - 101
American Cinematographer - April 2018 - 102
American Cinematographer - April 2018 - 103
American Cinematographer - April 2018 - 104
American Cinematographer - April 2018 - 105
American Cinematographer - April 2018 - 106
American Cinematographer - April 2018 - 107
American Cinematographer - April 2018 - 108
American Cinematographer - April 2018 - 109
American Cinematographer - April 2018 - 110
American Cinematographer - April 2018 - 111
American Cinematographer - April 2018 - 112
American Cinematographer - April 2018 - 113
American Cinematographer - April 2018 - 114
American Cinematographer - April 2018 - 115
American Cinematographer - April 2018 - 116
American Cinematographer - April 2018 - 117
American Cinematographer - April 2018 - 118
American Cinematographer - April 2018 - 119
American Cinematographer - April 2018 - 120
American Cinematographer - April 2018 - 121
American Cinematographer - April 2018 - 122
American Cinematographer - April 2018 - 123
American Cinematographer - April 2018 - 124
American Cinematographer - April 2018 - 125
American Cinematographer - April 2018 - 126
American Cinematographer - April 2018 - 127
American Cinematographer - April 2018 - 128
American Cinematographer - April 2018 - 129
American Cinematographer - April 2018 - 130
American Cinematographer - April 2018 - 131
American Cinematographer - April 2018 - 132
American Cinematographer - April 2018 - 133
American Cinematographer - April 2018 - 134
American Cinematographer - April 2018 - 135
American Cinematographer - April 2018 - 136
American Cinematographer - April 2018 - Cover3
American Cinematographer - April 2018 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac0524
https://www.nxtbook.com/nxtbooks/ac/ac0424
https://www.nxtbook.com/nxtbooks/ac/ac0324
https://www.nxtbook.com/nxtbooks/ac/ac0224
https://www.nxtbook.com/nxtbooks/ac/ac0124
https://www.nxtbook.com/nxtbooks/ac/ac1223
https://www.nxtbook.com/nxtbooks/ac/ac1123
https://www.nxtbook.com/nxtbooks/ac/ac1023
https://www.nxtbook.com/nxtbooks/ac/ac0923
https://www.nxtbook.com/nxtbooks/ac/ac0823
https://www.nxtbook.com/nxtbooks/ac/ac0723
https://www.nxtbook.com/nxtbooks/ac/ac0623
https://www.nxtbook.com/nxtbooks/ac/ac0523
https://www.nxtbook.com/nxtbooks/ac/ac0423
https://www.nxtbook.com/nxtbooks/ac/ac0323
https://www.nxtbook.com/nxtbooks/ac/ac0223
https://www.nxtbook.com/nxtbooks/ac/ac0123
https://www.nxtbook.com/nxtbooks/ac/ac1222
https://www.nxtbook.com/nxtbooks/ac/ac1122
https://www.nxtbook.com/nxtbooks/ac/ac1022
https://www.nxtbook.com/nxtbooks/ac/ac0922
https://www.nxtbook.com/nxtbooks/ac/ac0822
https://www.nxtbook.com/nxtbooks/ac/ac0722
https://www.nxtbook.com/nxtbooks/ac/ac0622
https://www.nxtbook.com/nxtbooks/ac/ac0522
https://www.nxtbook.com/nxtbooks/ac/ac0422
https://www.nxtbook.com/nxtbooks/ac/ac0322
https://www.nxtbook.com/nxtbooks/ac/ac0222
https://www.nxtbook.com/nxtbooks/ac/ac0122
https://www.nxtbook.com/nxtbooks/ac/ac1221
https://www.nxtbook.com/nxtbooks/ac/ac1121
https://www.nxtbook.com/nxtbooks/ac/ac1021
https://www.nxtbook.com/nxtbooks/ac/ac0921
https://www.nxtbook.com/nxtbooks/ac/ac0821
https://www.nxtbook.com/nxtbooks/ac/ac0721
https://www.nxtbook.com/nxtbooks/ac/ac0621
https://www.nxtbook.com/nxtbooks/ac/ac0521
https://www.nxtbook.com/nxtbooks/ac/ac0421
https://www.nxtbook.com/nxtbooks/ac/ac0321
https://www.nxtbook.com/nxtbooks/ac/ac0221
https://www.nxtbook.com/nxtbooks/ac/ac0121
https://www.nxtbook.com/nxtbooks/ac/ac1220
https://www.nxtbook.com/nxtbooks/ac/ac1020
https://www.nxtbook.com/nxtbooks/ac/ac0920
https://www.nxtbook.com/nxtbooks/ac/ac0820
https://www.nxtbook.com/nxtbooks/ac/ac0720
https://www.nxtbook.com/nxtbooks/ac/ac0620
https://www.nxtbook.com/nxtbooks/ac/ac0520
https://www.nxtbook.com/nxtbooks/ac/ac0420
https://www.nxtbook.com/nxtbooks/ac/ac0320
https://www.nxtbook.com/nxtbooks/ac/ac0220
https://www.nxtbook.com/nxtbooks/ac/ac0120
https://www.nxtbook.com/nxtbooks/ac/ac1219
https://www.nxtbook.com/nxtbooks/ac/ac1119
https://www.nxtbook.com/nxtbooks/ac/ac1019
https://www.nxtbook.com/nxtbooks/ac/ac0919
https://www.nxtbook.com/nxtbooks/ac/ac0819
https://www.nxtbook.com/nxtbooks/ac/ac0719
https://www.nxtbook.com/nxtbooks/ac/ac0619
https://www.nxtbook.com/nxtbooks/ac/ac0519
https://www.nxtbook.com/nxtbooks/ac/ac0419
https://www.nxtbook.com/nxtbooks/ac/ac0319
https://www.nxtbook.com/nxtbooks/ac/ac0219_v2
https://www.nxtbook.com/nxtbooks/ac/ac0219
https://www.nxtbook.com/nxtbooks/ac/ac0119_v2
https://www.nxtbook.com/nxtbooks/ac/ac0119
https://www.nxtbook.com/nxtbooks/ac/ac1218
https://www.nxtbook.com/nxtbooks/ac/ac1118
https://www.nxtbook.com/nxtbooks/ac/ac1018
https://www.nxtbook.com/nxtbooks/ac/ac0918
https://www.nxtbook.com/nxtbooks/ac/ac0818
https://www.nxtbook.com/nxtbooks/ac/ac0718
https://www.nxtbook.com/nxtbooks/ac/ac0618
https://www.nxtbook.com/nxtbooks/ac/ac0518
https://www.nxtbook.com/nxtbooks/ac/ac0418
https://www.nxtbook.com/nxtbooks/ac/ac0318
https://www.nxtbook.com/nxtbooks/ac/ac0218
https://www.nxtbook.com/nxtbooks/ac/ac0118
https://www.nxtbook.com/nxtbooks/ac/ac1217
https://www.nxtbook.com/nxtbooks/ac/ac1117
https://www.nxtbook.com/nxtbooks/ac/ac1017
https://www.nxtbook.com/nxtbooks/ac/ac0917
https://www.nxtbook.com/nxtbooks/ac/ac0817
https://www.nxtbook.com/nxtbooks/ac/ac0717
https://www.nxtbook.com/nxtbooks/ac/ac0617
https://www.nxtbook.com/nxtbooks/ac/ac0517
https://www.nxtbook.com/nxtbooks/ac/ac0417
https://www.nxtbook.com/nxtbooks/ac/ac0317
https://www.nxtbook.com/nxtbooks/ac/ac0217
https://www.nxtbook.com/nxtbooks/ac/ac0117
https://www.nxtbook.com/nxtbooks/ac/ac1216
https://www.nxtbook.com/nxtbooks/ac/ac1116
https://www.nxtbook.com/nxtbooks/ac/ac1016
https://www.nxtbook.com/nxtbooks/ac/ac0916
https://www.nxtbook.com/nxtbooks/ac/ac0816
https://www.nxtbook.com/nxtbooks/ac/ac0716
https://www.nxtbook.com/nxtbooks/ac/ac0616
https://www.nxtbook.com/nxtbooks/ac/ac0516
https://www.nxtbook.com/nxtbooks/ac/ac0416
https://www.nxtbook.com/nxtbooks/ac/ac0316
https://www.nxtbook.com/nxtbooks/ac/ac0216
https://www.nxtbook.com/nxtbooks/ac/ac0116
https://www.nxtbook.com/nxtbooks/ac/ac1215
https://www.nxtbook.com/nxtbooks/ac/ac1115
https://www.nxtbook.com/nxtbooks/ac/ac1015
https://www.nxtbook.com/nxtbooks/ac/ac0915
https://www.nxtbook.com/nxtbooks/ac/ac0815
https://www.nxtbook.com/nxtbooks/ac/ac0715
https://www.nxtbook.com/nxtbooks/ac/ac0615
https://www.nxtbook.com/nxtbooks/ac/ac0515
https://www.nxtbook.com/nxtbooks/ac/ac0415
https://www.nxtbook.com/nxtbooks/ac/ac0315
https://www.nxtbook.com/nxtbooks/ac/ac0215
https://www.nxtbook.com/nxtbooks/ac/ac0115
https://www.nxtbookmedia.com