American Cinematographer - May 2017 - 22

The camera rolls
for a scene
between Tomlin
and Sam
Waterston
(playing Frankie's
ex-husband, Sol).

crawled on their stomachs."
"Even though Grace and Frankie
has a half-hour format, in terms of lighting
it has a single-camera look, as opposed to
[the look of] a live three-camera show,"
Gutierrez adds. "I consider our way of
shooting to be a throwback to how shows
used to be made: we do rehearsals, lay
marks, then send the first team away. Gale
does his lighting, we rehearse with the
second team, the actors come back,
rehearse again [until] everybody feels
comfortable, and then we shoot."
The production, which is framed for
a 1.78:1 aspect ratio, averages 40-50 setups
a day. The C300 Mark II captures in Canon
Log 2, and the cameras record internally to
CFast cards.
The fact that Canon's C300 Mark II
can shoot at a much higher ISO without
introducing grain has been a huge plus on
many fronts, including the ability to use lesspowerful lighting fixtures at night. "The two
extra stops we get when we go to 3,200
ISO is just awesome," Tattersall enthuses,
"although we have found that our optimum situation is 400 ISO; we discovered
there is a tiny reduction in noise compared
to shooting at 800 ISO." Most of the show
22

May 2017

is shot between T2.8 and T4.5.
"Until season three, we didn't have a
color-correcting monitor at video village,"
the cameraman acknowledges. "All we
were able to see there was Rec 709 and
there was a lot of concern among producers
and directors, who urged us to light to the
monitors. All we could do to correct what
they saw on the monitor was to turn down
the brightness. Thanks to Canon, we now
have a fantastic Canon 4K monitor and an
[on-set color-correcting methodology] for
the A camera." The B-monitor remains Rec
709.
"Our wonderful [final-grade] color
timer over at Technicolor is Roy Vasich,"
Tattersall says. Vasich performed the final
grade at Technicolor with Blackmagic
Design DaVinci Resolve at 4096x2160 (4K)
resolution.
Tattersall notes with admiration that
"showrunner Marta Kauffman has a fantastic eye for style, which art direction, set
dressing and wardrobe bring to life. Marta
and Howard J. Morris created the series and
write the season opener and season finale.
And then there is my extraordinary crew,
which works seamlessly together. I worked
with my remarkable A-camera operator
American Cinematographer

Chris Murphy on House, Randy Nolen is Bcamera and Steadicam operator, and Deats
is key grip. And then, of course, there's Luke
and Tony. It is rare that one is lucky enough
to work with such iconic actors, but we are
blessed by having created a wonderful
family of talented people. Our producer
Randall Winston and unit production
manager Joan Van Horn go all the way to
help us make the best show that we can,
and our other main producers, Robbie Tollin
and Hannah K.S. Canter, inspire us to do
our best work."
Tattersall is an avid champion of
Canon and is looking forward to trying out
the company's new Cinema EOS C700 at
some point on season four. "I think this is a
really defining moment for Canon," he
says. "With the C300 Mark II - and now
the C700 - this really is the company's
coming-of-age in Hollywood."

TECHNICAL SPECS
1.78:1
Digital Capture
Canon C300 Mark II
Angenieux Optimo, Canon Cinema
Compact Zoom

➣



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

Contents
American Cinematographer - May 2017 - Cover1
American Cinematographer - May 2017 - Cover2
American Cinematographer - May 2017 - 1
American Cinematographer - May 2017 - 2
American Cinematographer - May 2017 - Contents
American Cinematographer - May 2017 - 4
American Cinematographer - May 2017 - 5
American Cinematographer - May 2017 - 6
American Cinematographer - May 2017 - 7
American Cinematographer - May 2017 - 8
American Cinematographer - May 2017 - 9
American Cinematographer - May 2017 - 10
American Cinematographer - May 2017 - 11
American Cinematographer - May 2017 - 12
American Cinematographer - May 2017 - 13
American Cinematographer - May 2017 - 14
American Cinematographer - May 2017 - 15
American Cinematographer - May 2017 - 16
American Cinematographer - May 2017 - 17
American Cinematographer - May 2017 - 18
American Cinematographer - May 2017 - 19
American Cinematographer - May 2017 - 20
American Cinematographer - May 2017 - 21
American Cinematographer - May 2017 - 22
American Cinematographer - May 2017 - 23
American Cinematographer - May 2017 - 24
American Cinematographer - May 2017 - 25
American Cinematographer - May 2017 - 26
American Cinematographer - May 2017 - 27
American Cinematographer - May 2017 - 28
American Cinematographer - May 2017 - 29
American Cinematographer - May 2017 - 29A
American Cinematographer - May 2017 - 29B
American Cinematographer - May 2017 - 29C
American Cinematographer - May 2017 - 29D
American Cinematographer - May 2017 - 30
American Cinematographer - May 2017 - 31
American Cinematographer - May 2017 - 32
American Cinematographer - May 2017 - 33
American Cinematographer - May 2017 - 34
American Cinematographer - May 2017 - 35
American Cinematographer - May 2017 - 36
American Cinematographer - May 2017 - 37
American Cinematographer - May 2017 - 38
American Cinematographer - May 2017 - 39
American Cinematographer - May 2017 - 40
American Cinematographer - May 2017 - 41
American Cinematographer - May 2017 - 42
American Cinematographer - May 2017 - 43
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American Cinematographer - May 2017 - 47
American Cinematographer - May 2017 - 48
American Cinematographer - May 2017 - 49
American Cinematographer - May 2017 - 50
American Cinematographer - May 2017 - 51
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American Cinematographer - May 2017 - 54
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American Cinematographer - May 2017 - Cover3
American Cinematographer - May 2017 - Cover4
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