American Cinematographer - July 2018 - 63

Left: Since
Season 2, a
Best Boy light
unit has been
used to create
an interactive
beam of light
emanating
from inside the
time machine.
Below: The
table in the
"ready room,"
aka the
"evidence
room," is lit
from below
with bicolor
LED strips
placed
underneath
milk glass.

Season 2
Boris Mojsovski, CSC: Joining
David on 12 Monkeys in Season 2 was a
dream come true for me. He was several
years ahead of me at York University,
and he was a legend there. He had won
every student award possible. We were
all trying to be David Greene, you
know? Then, when I won a student
award from Kodak, I had a chance to
shadow a cinematographer of my
choosing, and I chose David because I
liked his style. People were surprised -
David was young, and they thought I
should shadow someone with a lot more
experience - but I insisted, and David
has been a mentor for me ever since.
Alternating episodes with
another cinematographer really depends
on finding someone you're compatible
with creatively, and that isn't easy. If you
look at a TV series as one long movie,
then it should look like the same movie
all the way through. It shouldn't look
different from episode to episode just
because one cinematographer likes
something and the other one doesn't.
David and I happen to love the same
things: sidelight, soft light and never
toplight. So, when I came onto 12
Monkeys, the style of the lighting and
framing David had established was
something we both naturally want to

do: extremely soft light as close as possible to the actors, and then lots of darkness in the rest of the frame.
Greene: Boris and I are quite
different people, but we have a very
similar visual brain, and we respect each
other. When I started looking for someone to alternate with in Season 2, he was
a natural choice. While I was prepping
Season 2, Boris happened to be shooting in the studio right beside ours, and
he came over and said, 'Davey, I built
this LED light. Come take a look at it.'
It was a 4-by-4 box on wheels with
bicolor LED ribbon going through
various layers of diffusion - a small
blanket light, basically. He'd built two of
them, and he called them 'Boris 1' and
www.ascmag.com

'Boris 2.' Gradually they just became
'Boris Lights,' but when I would take
over the set, I'd call them 'Super Daves.'
[Laughs.]
Mojsovski: For some reason,
people think there is a light called a
Super Dave. Not sure how this
happened. The Boris light came from a
need to have an instant soft light that
one can lean or hang very easily. 'Speed
plus style' was the engineering goal. It
has two layers of [Lee] 129 [Heavy
Frost] and white duvetyn, and sometimes I also put a frame of Light Grid in
front of it. I made the first two at home,
and when [gaffer] Bob McRae first saw
them, he said, 'Not a chance! Put those
away and we'll use the real lights.' Now
July 2018

63


http://www.ascmag.com

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

Contents
American Cinematographer - July 2018 - Cover1
American Cinematographer - July 2018 - Cover2
American Cinematographer - July 2018 - 1
American Cinematographer - July 2018 - 2
American Cinematographer - July 2018 - Contents
American Cinematographer - July 2018 - 4
American Cinematographer - July 2018 - 5
American Cinematographer - July 2018 - 6
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