American Cinematographer - July 2018 - 73

Left: In the
Season 7
finale, "The
Thin Blue
Line," Danny
Reagan
(Donnie
Wahlberg, far
right) becomes
the target of a
drug cartel
after he
intercepts a
shipment of
several million
dollars. Below:
Daylight floods
through the
windows for a
scene with
Danny and
partner Maria
Baez (Marisa
Ramirez) from
the Season 8
episode "Pick
Your Poison."

we shoot Will and Vanessa - handheld
on vintage 29mm and 40mm
Panavision Ultra Speed primes, to separate them from the other characters." As
matching colors between the two lenses
can be an issue, Engels reports, it "takes
a little bit of work and a little more time
when we're [recording scenes with] Will
and Vanessa. It's a little tediously done,
but we get there, with digital-imaging
technician Ryan Heide and myself
going back and forth with how to light
them, and [adjusting] diffusions and
colorations."
Although Barrett gives all of the
guest directors specific instructions in
terms of composition, camera movement and lenses, Engels reports that he
has a lot of flexibility to respond in the
moment, and relies upon those around
him for ideas on how to keep the frame
lively. "I get a lot of input from my operators and grips," the cinematographer
says. He adds with a smile, "You probably shouldn't doubt a guy who's been
operating for more than 25 years. He
might actually know something."
The cornerstone of each episode
is the family dinner, at which Frank sits

at the head of the table while his kids,
grandchildren and father - himself a
former police commissioner - debate
and discuss matters related to their work
and personal lives. The idea is to honor
all points of view, no matter how
disparate, a concept Engels tries to
bring across in his lighting.
"With the family dinners, I try
not to give too much emphasis to any
one person, and I try not to be distracting," he says. "It's not the place to try
new things or bring in fancy gizmos.
The idea is to show the stability and the
www.ascmag.com

warmth of the family, so the lighting
doesn't change there. We've been shooting the family dinners the same way for
eight years, and that gives the audience
the sense that the family is a source of
support and comfort."
The show as a whole has a
markedly specific visual design that was
mapped out by Barrett when he came
on board as producing director. Each
character has his or her own visual codification, which Barrett believes gives the
series an overall cohesiveness - and
when multiple characters from the
July 2018

73



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 - 11
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American Cinematographer - July 2018 - 14
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American Cinematographer - July 2018 - 16
American Cinematographer - July 2018 - 17
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
American Cinematographer - July 2018 - 23
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
American Cinematographer - July 2018 - 52
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 - 70
American Cinematographer - July 2018 - 71
American Cinematographer - July 2018 - 72
American Cinematographer - July 2018 - 73
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American Cinematographer - July 2018 - 78
American Cinematographer - July 2018 - 79
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American Cinematographer - July 2018 - 85
American Cinematographer - July 2018 - 86
American Cinematographer - July 2018 - 87
American Cinematographer - July 2018 - 88
American Cinematographer - July 2018 - Cover3
American Cinematographer - July 2018 - Cover4
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