American Cinematographer - May 2017 - 20

Production Slate

Living Situation
By Jean Oppenheimer

The Netflix series Grace and Frankie stars Jane Fonda as disciplined, imperious businesswoman Grace, and Lily Tomlin as free-spirited Frankie. Polar opposites, the two are forced to live under the
same roof after their husbands of 40 years (played by Martin Sheen
and Sam Waterston) announce that they are gay, have been deeply
in love with one another for years, and - now that same-gender
marriage is legal in California - plan to divorce their wives and marry
each other. The show's third season streamed in late March, and
season four is currently in production.
When director of photography Gale Tattersall was hired to
shoot season one, he knew what his first task would be. Netflix
mandates shooting 4K, but he felt that none of the 4K digital
cameras available in 2014 - a mere three years ago, but practically
the Mesozoic Era in technological terms - was suitable for showcasing the iconic actresses around whom the half-hour episodic
comedy series was specifically built.
"It is in everybody's interest to make Jane, Lily, Sam and
Martin look wonderful - and of course the rest of the cast - but
4K cameras back then were probably the worst choice because they
produced images [so crisp that] they were almost medically analytic,"
says Tattersall during a conversation with AC at Paramount Studios.
20

May 2017

"High resolution and contrast are the last things you want when
shooting actors of such distinguished stature. What you want is the
forgiveness of film."
Accompanied by gaffer Luke Miller and 1st AC Tony Gutierrez, the British-born cinematographer - known for his work on
House, From the Earth to the Moon, Ghost Ship and The Commitments - discussed how he and his crew create the soft, cinematic
look the show demands.
For the first two seasons, Tattersall used the Red Epic Dragon,
relying on French silk stockings as rear lens netting, and an innovative lighting concept he and Miller developed to obtain the aesthetic
they desired. For season three, they switched to Canon's Cinema
EOS C300 Mark II.
Canon had introduced the camera in the fall of 2015 and
Tattersall fell in love with it. The new Super 35mm CMOS sensor
produced a filmic look without the need for filtration, while its
dynamic range of 15 stops provided plenty of opportunities in post.
When capturing with either the Red or the Canon, 90
percent of the show has employed 17-80mm (T2.2) and 24-290mm
(T2.8) Angenieux Optimo zooms. A Steadicam is pressed into service
a few times per episode - more frequently when the production
goes on location - and it is usually paired with one of two Angenieux lightweight zooms: a 15-40mm or a 28-76mm (both T2.6).
Four cameras are always on hand: the A and B, which are

American Cinematographer

Grace and Frankie photos by Karen Ballard, SMPSP and Melissa Moseley, SMPSP, courtesy of Netflix.

In the Netflix
comedy series
Grace and
Frankie, freespirited Frankie
(Lily Tomlin,
center) and the
disciplined,
imperious
Grace (Jane
Fonda) move in
together after
their husbands
reveal that
they are in love
with one
another and
plan to marry.
Actor Peter
Gallagher
(right) guest
stars in season
three.

Table of Contents for the Digital Edition of American Cinematographer - May 2017