American Cinematographer - July 2018 - 67

In the episode "Thief" from Season 3, Eliza (Claire Cooper) dines with Athan in the late 1800s.

Terry that we be able to do 180-degree
camera moves in the space while the two
Coles interacted with each other. We
immediately turned to motion-control
with the Technodolly and needed to
adjust the lighting of the set to accommodate this. Normally we lit the show
from the floor, embracing sidelight and
backlight, but in this case, the masters
could not be lit that way because we
would start 180-degree sweeping shots
looking north in the set and swing
around to the south. [See rendering of
the set, page 66.]
Fortunately, we had a skylight
feature in the set where we'd installed
half daylight and half tungsten LEDs
that were controllable via our
GrandMA board and completely
dimmable. We heavily diffused this
skylight source so it could be very soft.
We dimmed these LED sources down
to about 2 stops under as an overall kiss
of light, and made the backgrounds
brighter and bolder daylight sources.
Towards the staircase, I put a 4K [MoleRichardson] Molebeam gelled with 1⁄4
CTS to match what I was getting from
the overhead source, and on the entrance
side, we had an 18K on a 45-foot scissor
lift through 129 hitting all the windows
at the front entrance. We also had two
20-by-20 Claycoats [Ultrabounces]
frontlit with diffused 4Ks for some day
ambience.
I then 'tricked' the camera with

color temperature to get a cooler look -
I believe I put it at 2,800K, maybe
2,600K. Once we were finished with the
wide masters on the Technodolly and
were on more coverage shots, I was able
to bring in some soft sidelight keys from
the floor. The great thing about the
Technodolly and motion-control is that
on occasion, you can actually put lights
in the shot - as long as they don't intersect with the cast - and do a clean plate
pass per shot to facilitate removal of the
lights. I felt a bit spoiled with this ability.
We worked as follows: Once the
shot was blocked with Aaron's stunt
double, Geoff Scovell, as Present Cole
and Aaron as Future Cole, we could
design the camera shot. Then we'd shoot
a pass with Future Cole and our standin. Then Aaron would change into his
Present Cole costume and makeup and
do the scene with Geoff dressed as
Future Cole. Then we'd do a clean plate
pass for removing the Technodolly track
- which was often framed in the shot
- and other cleanup work, including
eliminating Geoff from the scene, and
any grip and electric gear in shot. Geoff
is the best stunt match for an actor I've
ever seen, and he gave a wonderful
performance as both Coles. It helped
Aaron tremendously to be able to
perform this scene with someone.
Mojsovski: We shot all of 'Thief '
[Season 3, Episode 9] in Prague, and
that gave the show a great scope right
67

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

Contents
American Cinematographer - July 2018 - Cover1
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American Cinematographer - July 2018 - 1
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