American Cinematographer - July 2018 - 74

◗

Crime Family
Right: A
Steadicam is
employed for a
shot of
Wahlberg and
Ramirez in the
Season 8
episode "School
of Hard Knocks,"
in which a
student is shot
by a rival gang
member. Below:
For scenes that
focus on Danny,
Barrett explains,
"We shoot on
the wider side
of the lens and
frame more
aggressively,
with more
camera
movement and a
greater use of
negative space."

Reagan family are featured in one scene,
the eldest character generally gets
seniority in terms of the visual codification. If Selleck's character is in a scene
with one of his children, for example, it's
photographed according to the parameters laid out for his character.
"Frank exerts his 'authority' over
the camera and guides its fluidity," the
director explains of the character's
particular codification. "He's always shot
at eye level, with movement motivated
by his point of view. Donnie Wahlberg
[who portrays Danny Reagan], on the
74

July 2018

other hand, is more unwieldy, so we
shoot on the wider side of the lens and
frame more aggressively, with more
camera movement and a greater use of
negative space."
Erin (played by Bridget
Moynahan), who is both a poised and
strong prosecutor, is shot with camera
movements tailored to her actions. As
with Frank, her scenes rely primarily on
the longer end of the zoom. When
shooting her, the camera is situated
"below the eyeline, extra soft, using a set
of waffle blinds that you can actually buy
American Cinematographer

at Home Depot," Engels says. "It's the
most incredible diffusion I've ever used
for lighting anybody. I light her with
one light. I don't put in fill - no backlight and nothing on the other side.
[Any backlight you see] is just residual.
"I have never set a backlight
purposely in eight years," the cinematographer continues. "I don't see
many backlights in real life, unless
you're in a ballroom or something, or
walking down the street - you might
have a little glint - [so] I only let that
happen naturally. If you see a backlight
in Blue Bloods, it's only residual from
other lights coming through, but I have
never set one purposely."
The textured look that Engels
strives for is largely achieved with the
aid of his favorite diffusion - rippled
muslin. "I've been using it for a long
time," he says. "It's an 8-by-20 on an 8or 10-foot pipe, [and] bunched up
together like a curtain would be in your
living room. You shoot across that, at an
indirect angle, and it 'fractures' the light
to come out in all directions, so it can
wrap around objects much easier.
When you light at an off-angle, you get
a much bigger source. You can also



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
American Cinematographer - July 2018 - 10
American Cinematographer - July 2018 - 11
American Cinematographer - July 2018 - 12
American Cinematographer - July 2018 - 13
American Cinematographer - July 2018 - 14
American Cinematographer - July 2018 - 15
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
American Cinematographer - July 2018 - 59
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
American Cinematographer - July 2018 - 71
American Cinematographer - July 2018 - 72
American Cinematographer - July 2018 - 73
American Cinematographer - July 2018 - 74
American Cinematographer - July 2018 - 75
American Cinematographer - July 2018 - 76
American Cinematographer - July 2018 - 77
American Cinematographer - July 2018 - 78
American Cinematographer - July 2018 - 79
American Cinematographer - July 2018 - 80
American Cinematographer - July 2018 - 81
American Cinematographer - July 2018 - 82
American Cinematographer - July 2018 - 83
American Cinematographer - July 2018 - 84
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
http://www.nxtbook.com/nxtbooks/ac/ac1119
http://www.nxtbook.com/nxtbooks/ac/ac1019
http://www.nxtbook.com/nxtbooks/ac/ac0919
http://www.nxtbook.com/nxtbooks/ac/ac0819
http://www.nxtbook.com/nxtbooks/ac/ac0719
http://www.nxtbook.com/nxtbooks/ac/ac0619
http://www.nxtbook.com/nxtbooks/ac/ac0519
http://www.nxtbook.com/nxtbooks/ac/ac0419
http://www.nxtbook.com/nxtbooks/ac/ac0319
http://www.nxtbook.com/nxtbooks/ac/ac0219_v2
http://www.nxtbook.com/nxtbooks/ac/ac0219
http://www.nxtbook.com/nxtbooks/ac/ac0119_v2
http://www.nxtbook.com/nxtbooks/ac/ac0119
http://www.nxtbook.com/nxtbooks/ac/ac1218
http://www.nxtbook.com/nxtbooks/ac/ac1118
http://www.nxtbook.com/nxtbooks/ac/ac1018
http://www.nxtbook.com/nxtbooks/ac/ac0918
http://www.nxtbook.com/nxtbooks/ac/ac0818
http://www.nxtbook.com/nxtbooks/ac/ac0718
http://www.nxtbook.com/nxtbooks/ac/ac0618
http://www.nxtbook.com/nxtbooks/ac/ac0518
http://www.nxtbook.com/nxtbooks/ac/ac0418
http://www.nxtbook.com/nxtbooks/ac/ac0318
http://www.nxtbook.com/nxtbooks/ac/ac0218
http://www.nxtbook.com/nxtbooks/ac/ac0118
http://www.nxtbook.com/nxtbooks/ac/ac1217
http://www.nxtbook.com/nxtbooks/ac/ac1117
http://www.nxtbook.com/nxtbooks/ac/ac1017
http://www.nxtbook.com/nxtbooks/ac/ac0917
http://www.nxtbook.com/nxtbooks/ac/ac0817
http://www.nxtbook.com/nxtbooks/ac/ac0717
http://www.nxtbook.com/nxtbooks/ac/ac0617
http://www.nxtbook.com/nxtbooks/ac/ac0517
http://www.nxtbook.com/nxtbooks/ac/ac0417
http://www.nxtbook.com/nxtbooks/ac/ac0317
http://www.nxtbook.com/nxtbooks/ac/ac0217
http://www.nxtbook.com/nxtbooks/ac/ac0117
http://www.nxtbook.com/nxtbooks/ac/ac1216
http://www.nxtbook.com/nxtbooks/ac/ac1116
http://www.nxtbook.com/nxtbooks/ac/ac1016
http://www.nxtbook.com/nxtbooks/ac/ac0916
http://www.nxtbook.com/nxtbooks/ac/ac0816
http://www.nxtbook.com/nxtbooks/ac/ac0716
http://www.nxtbook.com/nxtbooks/ac/ac0616
http://www.nxtbook.com/nxtbooks/ac/ac0516
http://www.nxtbook.com/nxtbooks/ac/ac0416
http://www.nxtbook.com/nxtbooks/ac/ac0316
http://www.nxtbook.com/nxtbooks/ac/ac0216
http://www.nxtbook.com/nxtbooks/ac/ac0116
http://www.nxtbook.com/nxtbooks/ac/ac1215
http://www.nxtbook.com/nxtbooks/ac/ac1115
http://www.nxtbook.com/nxtbooks/ac/ac1015
http://www.nxtbook.com/nxtbooks/ac/ac0915
http://www.nxtbook.com/nxtbooks/ac/ac0815
http://www.nxtbook.com/nxtbooks/ac/ac0715
http://www.nxtbook.com/nxtbooks/ac/ac0615
http://www.nxtbook.com/nxtbooks/ac/ac0515
http://www.nxtbook.com/nxtbooks/ac/ac0415
http://www.nxtbook.com/nxtbooks/ac/ac0315
http://www.nxtbook.com/nxtbooks/ac/ac0215
http://www.nxtbook.com/nxtbooks/ac/ac0115
http://www.nxtbookMEDIA.com