American Cinematographer - July 2015 - 39

Xavi and I did. I use 10-denier
Christian Dior sheer antiques, and I
don't stretch them - I rip them and
put the laddered strands on the internal
filter holder of the Alexa." This configuration, he notes, can create both flare
and diffusion, depending on the combination of torn threads and intact fabric.
McPolin also occasionally uses a ½
Schneider Classic Soft filter.
Under the mainly tungsten light,
the Alexa was set for 800 ISO. "I have
no problem changing it up or down,"
says Conroy. "I like to be wide open on
the wider lenses - I live on the 27mm
and 40mm. I reckon you could shoot a
whole film on those if you had to pick
two lenses."
McPolin agrees: "Most of the
time we were using 21mm or 27mm
lenses; when we went up and wide, we'd
sometimes go to the 16mm and put it
on a crane. If you want [someone] to
look scared, put the camera near the
eyeline and above it."
For B-camera and Steadicam
operation, McPolin worked with Roger
Tooley, and Conroy with Vince
McGahon. Grip equipment includes
Chapman/Leonard Hybrid dollies, and
the crew intermittently employs
MovieBird cranes, under the supervision of key grip Philip Murphy.
Both Conroy and McPolin serve
as A-camera operators. Conroy operates the crane work and A camera at all
times, and McPolin occasionally delegates when a shot becomes particularly
complex. Under such circumstances,
McPolin would hand the A camera to
Tooley, with Fionn Comerford acting
as B-camera operator. This type of situation arose during production of a
particularly difficult sequence in the
sixth episode of season two. "It was a
17- or 18-page scene, probably the
biggest I've ever shot," remembers
McPolin. "Dorian Gray announces a
grand ball to introduce his new girlfriend to society, and all the lead characters attend - including the
antagonists. It's called the 'Blood Ball,'
and the space we shot in was maybe 200
by 100 feet wide, 30 feet high, with


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Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
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