American Cinematographer - July 2018 - 64

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Time Independent
Right: A
variation on
the "Boris
Light," the
"MB Light" -
which takes its
initials from
the first names
of Boris
Mojsovski and
gaffer Martin
Granilla - was
put to use
inside an
opulent
restaurant in
Prague. Below:
A Boris Light
moves around
the track in
time with a
circular dolly
move for a
shot of Kirk
Acevedo
(portraying
José Ramse).

he builds Boris Lights himself! It made
our show.
I learned how to 'dance' with
lights from David. We'd give actor
marks, dolly marks and lighting marks.
We had more electricians than normal
because they had to move lights on
wheels all the time. The alternative
would be to put in a toplight - that
would be easy, but it's the last thing we
64

July 2018

wanted to do. I'd go to David's set and
think, 'How can a human being figure
this out?' When you look at the shot, it's
a person walking around the room in
perfect light, but if you cut out of that to
an objective camera, you'd see 30
crewmembers moving lights and diffusion around them. And it's not enough
to know how to do it - you gotta do it
fast. I don't know if anyone else in the
American Cinematographer

world can do it as well as David can.
Greene: We always got scripts
very early on 12 Monkeys. On most
series, it's unfortunately common to be
prepping with an outline, but Terry
Matalas and Travis Fickett ran the writing department very well and were
always ahead. We started each season
with three or four scripts ready to read,
and they furnished us with synopses for
episodes that were coming up, so we
always understood the basic shape of a
season and the time periods it would
include. That helped us think ahead and
work ahead.
I would always kick off a season,
and then Boris and I would typically
divide episodes roughly in half. We also
had alternating gaffers, Bob McRae and
Doug Reid, and that saved us because
we had so much second-unit/crossoverunit work. These were seven- or eightday episodes but would often board out
at 10 or 11 days. So, for example, I'd start
crossover unit, which was really another
full main unit that would shoot the day
before the main unit started; then I'd
shoot seven to eight days of main unit;
then I'd finish the episode with the



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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American Cinematographer - July 2018 - 9
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American Cinematographer - July 2018 - 20
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American Cinematographer - July 2018 - 28
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American Cinematographer - July 2018 - 34
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American Cinematographer - July 2018 - 63
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American Cinematographer - July 2018 - 65
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American Cinematographer - July 2018 - Cover3
American Cinematographer - July 2018 - Cover4
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