American Cinematographer - July 2018 - 65

crossover unit with that director. In
general, the first AD and director would
follow their respective episodes, and the
episode's cinematographer would be
with them on the crossover unit. We'd
often steal crew from main [unit]
because it was so valuable to have a few
faces that already got it.
We were also able to use the
crossover unit to move some crew along.
For example, one of our main focus
pullers, Rob Mountjoy, wanted to start
operating, and we brought him over to
second unit a couple of times to do it. As
cinematographers, we have to encourage
our crew to move forward. It's vital.
Mojsovski: David and I were
constantly working in unison. I'd
prelight his sets and he'd prelight mine;
I'd shoot one-third of his episode, and
he'd shoot one-third of mine. We got so
good at that, today we don't know who
shot what! [Laughs.] We understood the
look of the show, and that's what we
executed.
It was fun to challenge ourselves
sometimes, and reinvent a 'look inside
our look.' Terry Matalas and David
Grossman would also help with look
suggestions, and David [Greene] and I
would appropriate that to the show's
feel. To have a chance to talk cinematography with another cinematographer,
and form looks together, is the most
rewarding, rarest experience. That's
something television provides that a
movie never could.
Greene: We transitioned to [Arri]
Alexa Minis in Season 2 after using the
Alexa Classic for the first season. We
used Cooke 5/i primes for the first two
seasons, and we always carried two sets
of lenses so we could cross-shoot. As a
director, I know that approach is much
better for the actors because they're both
'on,' but it's also efficient for a TV schedule. We always went to a 40mm for a
close-up unless it was a B-camera shot
and they couldn't get in on the 40mm.
The 40mm has a bit of shape to it, and
it's a 'present' lens - you feel like you're
there with the actors.
[The Alexa Classics recorded
1920x1080 HD to Sony SxS cards. The

Jennifer Goines (Emily Hampshire) steps onto the Vaudeville stage in the 1920s.

Alexa Minis recorded 1920x1080 HD
to CFast 2.0 cards, with the exception of
greenscreen and visual-effects elements,
which were shot in Open Gate UHD.
The production primarily shot ProRes
4:4:4:4, with ArriRaw employed in
Season 3 for some visual-effects
elements.]
We would like to acknowledge
the work of our A-camera operators
David Sheridan on Seasons 1, 2 and 3
and Joe Turner on Season 4, and Bcamera operators Robert Stecko on
Season 1, Cudah Andarawewa on
Season 2, Jeremy Lyle on Season 3, and
David T. Sheridan on Season 4. I also
have to hand it to our focus pullers, Rob
Mountjoy and Andrew Macklin,
www.ascmag.com

because we constantly challenged them
with shallow focus. We were often
shooting at T2 or even T1.4 in very dark
sets, and they never disappointed us.
Mojsovski: 12 Monkeys is probably the darkest show on television. My
favorite observation came from Emily
Hampshire, who asked Terry, 'When
they start lighting, why does it take so
long to turn off all the lights?'
Season 3
Mojsovski: We switched to Leica
Summilux-C primes in Season 3
because they gave us a nice hard flare,
but didn't flare as much with our big soft
sources. We also needed a lighter lens
because we wanted to use the Movi. We
July 2018

65


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
American Cinematographer - July 2018 - 7
American Cinematographer - July 2018 - 8
American Cinematographer - July 2018 - 9
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American Cinematographer - July 2018 - 18
American Cinematographer - July 2018 - 19
American Cinematographer - July 2018 - 20
American Cinematographer - July 2018 - 21
American Cinematographer - July 2018 - 22
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American Cinematographer - July 2018 - 24
American Cinematographer - July 2018 - 25
American Cinematographer - July 2018 - 26
American Cinematographer - July 2018 - 27
American Cinematographer - July 2018 - 28
American Cinematographer - July 2018 - 29
American Cinematographer - July 2018 - 30
American Cinematographer - July 2018 - 31
American Cinematographer - July 2018 - 32
American Cinematographer - July 2018 - 33
American Cinematographer - July 2018 - 34
American Cinematographer - July 2018 - 35
American Cinematographer - July 2018 - 36
American Cinematographer - July 2018 - 37
American Cinematographer - July 2018 - 38
American Cinematographer - July 2018 - 39
American Cinematographer - July 2018 - 40
American Cinematographer - July 2018 - 41
American Cinematographer - July 2018 - 42
American Cinematographer - July 2018 - 43
American Cinematographer - July 2018 - 44
American Cinematographer - July 2018 - 45
American Cinematographer - July 2018 - 46
American Cinematographer - July 2018 - 47
American Cinematographer - July 2018 - 48
American Cinematographer - July 2018 - 49
American Cinematographer - July 2018 - 50
American Cinematographer - July 2018 - 51
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American Cinematographer - July 2018 - 53
American Cinematographer - July 2018 - 54
American Cinematographer - July 2018 - 55
American Cinematographer - July 2018 - 56
American Cinematographer - July 2018 - 57
American Cinematographer - July 2018 - 58
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American Cinematographer - July 2018 - 60
American Cinematographer - July 2018 - 61
American Cinematographer - July 2018 - 62
American Cinematographer - July 2018 - 63
American Cinematographer - July 2018 - 64
American Cinematographer - July 2018 - 65
American Cinematographer - July 2018 - 66
American Cinematographer - July 2018 - 67
American Cinematographer - July 2018 - 68
American Cinematographer - July 2018 - 69
American Cinematographer - July 2018 - 70
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American Cinematographer - July 2018 - 79
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American Cinematographer - July 2018 - 88
American Cinematographer - July 2018 - Cover3
American Cinematographer - July 2018 - Cover4
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