American Cinematographer - September 2017 - 48
◗
Sacred and Profane
Mr. World (Crispin Glover, top), Media and Technical Boy enter a police-station interrogation
room for a group discussion with Shadow and Wednesday.
48
September 2017
American Cinematographer
figure out how the set was going to be
built around two support beams that
were holding up the roof. We talked to
Rory Cheyne, who was production
designer on that episode, and we used a
flyaway set piece, but trying to get a
crane in there, it was inch by inch by
inch. But they did it, and there was
never any frustration about these things;
there was always an excitement. It was a
very healthy and positive atmosphere to
work in.
Michael McDonald's job was
never straightforward, either. Like the
sequence of Laura saving Shadow [from
Episode 4] - they had already touched
on it in Episode 1, and we went back
and multiplied it by six. We were doing
a night shoot with heavy rain, so we
drew up a plan of where the LRX lights
[supported on LRX I and II lighting
trucks] were going to be, and we shot in
[the complementary direction] for as
long as possible - but it was quite easy
to adjust them. The LRX II has six
heads and the LRX I has four; it was
very easy to pan and tilt them, and if we
had too much light in one direction we
could switch one off really quickly. I
actually had to move one of the units in
the middle of the night, and it only took
25 minutes; for a rig that size, it was
incredible.
Our DIT was Rob Stronghill; I
had a chance to work with him on a
pilot before American Gods, so I knew
him well. I want a DIT to be a collaborator, not just in a van downloading
stuff. I want the DIT to be on set, I want
them to watch the shots, I want them to
speak up when there is an issue or problem. We used Pomfort LiveGrade, and
we had banks and banks of looks. They
didn't always work for each scenario, but
we could adjust them quickly, and that
saved time because everybody was
comfortable with the look.
We generally shot 3.2K Log C,
and I grade from Log C, not from Rec
709. I think Rec 709 is antiquated, and
it's the wrong base to start any look.
Working from Log C creates some
problems for the assistants, but they jack
up their monitor peaking and increase
Table of Contents for the Digital Edition of American Cinematographer - September 2017
Contents
American Cinematographer - September 2017 - Cover1
American Cinematographer - September 2017 - Cover2
American Cinematographer - September 2017 - 1
American Cinematographer - September 2017 - 2
American Cinematographer - September 2017 - Contents
American Cinematographer - September 2017 - 4
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