American Cinematographer - April 2018 - 76

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The Never-Ending Story

Top: A clipboard on the camera contains shot notes for camera operator Dale Carlson, who's
framing a rehearsal with William deVry (portraying Julian Jerome) for a live episode that aired
in May 2015. Below: Camera operator Dean Cosanella lines up his shot for a scene in the Port
Charles Police Department set.

Ikegami fitted with a Fujinon 4.5-59mm
wide-angle zoom and placed on a
Vinten Merlin compact pedestalmounted jib arm, which requires only
one operator. "Dale Carlson is the only
member of our camera crew who has the
ability to use this difficult piece of equipment," Barrows says. Steib adds that the
crew is also ready with "a handheld,
and/or a handheld on sticks."
76

April 2018

"We have a constant challenge
with lighting a multiple-camera drama
series," Bessoir says. The task, he
explains, is to "create a rich dramatic
environment [while lighting] for many
camera angles at once, avoiding problems with live audio gathering, and
[shooting] flattering but dramatic closeups - at a breakneck pace."
Video operator Tony Simone
American Cinematographer

notes, "At the start of each day, I move
all the cameras to the nurses' station for
chipping and calibration." As the only
permanent set, the nurses' station "has
the brightest light, [so it is used for] gray
cards to ensure all cameras have the
same white balance."
Simone controls the camera
settings from a console that contains the
Ikegami operation control panels
(OCPs) for each camera. The console is
located in a curtained-off space near the
main recording server. With the OCPs,
Simone can color correct the image on
the fly, and add an ND1 filter for skin
tones when needed.
"The cameras have a Black Net
and a Soft/FX filter in the filter wheel
behind the lens," Steib says. "Normally
the show uses the Black Net, but that
can be changed as needed." The cameras
are set to shoot 720p at 59.94 fps and
record to Avid DNxHD 145. "We rate
the cameras at 340 ASA, and we shoot
at a -3dB gain at approximately 20 to 25
footcandles, with a stop ranging from
f2.2 to f2.4," he says.
Bessoir adds, "We try to keep a
narrow depth of focus to blur our sets
and give a nice close-up look, but we
also need enough depth to make focus
accurately and fast."
Clipboards are placed on each
camera, with notes containing shot
numbers followed by specific directions
for the camera operator. Each operator
has a different set of notes based on the
placement of their specific camera.
"They start with number one on the first
page of the script," Langdon says.
"Whether or not each shot is coordinated with dialogue or action is decided
by the director."
"On other soap operas like Days
of Our Lives and The Young and the
Restless, every scene will start on shot
number one," Cosanella adds. "General
Hospital is the only one that I know of
that numbers them [based on the full
script]."
"We have pencils ready so we
can write down any modifications or
new adds given to us by the associate
director," Langdon continues. "We do



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
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