American Cinematographer - October 2016 - 18

Above: For the
extended
choreographed
takes, five
electrics and
two grips had
their hands
full as they
kept things
running
smoothly.
Right: Ozeas
measures the
light on set.

the underside of the basket on a 65-foot
articulating arm] - and then turn that key
light off and use the SkyPanels from above
to toplight the crowd with the fireworks
effect. And because we tiled the audience,
there were about eight to 10 takes of the
crowd in different positions so visual effects
could clone them and make it a much
deeper scene.
In addition, the NFL players' schedules are pretty unpredictable, so I knew the
motion control would come in handy in
order to return and shoot players by themselves and place them in later. We used tape
marks on the ground and each player had
his own lane to follow so they wouldn't overlap each other and the whole shot would
work together as one. [In addition to the
Gazelle crane, the production employed
Pacific Motion Control's Graphlite crane.]
What other lights did you use on
this production?
Ozeas: [Gaffer] Chris Conway
designed an 8-foot-by-4-foot soft box called
18

October 2016

a Monster Box, and I used two as backlights
and one as a hero light for Carrie as she
walks down the stadium stairs. The unit
contains 32 500-watt nook lights and is
heavily diffused with 129 [Heavy Frost], so
that it's an incredibly soft, contained light
that doesn't have to be bounced and is really
easy to move around. A large percentage of
the lights on the production were rented
from [Conway's] Monster Lighting.
All four of the cameras had ring lights
on them to serve as beauty lights; the two
motion controls had the larger 19-inch
LitePanels Cinema-series ring lights and the
Steadicam had a regular LitePanels ring light
onboard. We were able to dim all of these
remotely, adjusting on the fly during the
takes. Another unit was the Briese Focus 77
that we followed Carrie around with during
the bus and locker-room scenes and parts of
the field scene. One of our electrics, J.P.
Brennan, carried the Briese on a pole all day
and he did an amazing job. The 77 was
pretty heavy, but Chris came up with the
American Cinematographer

idea of using a fishing-pole holder that went
around J.P.'s waist.
At one point, J.P. led Carrie with the
77 into the 180 Briese hero spot [at a simulated loading dock] in front of the L.A. Rams
cheerleaders. We had two semi-trucks on
which we replaced the headlights with
Philips SL Nitro 510C LEDs. Carrie did a little
dance move with Antonio Brown, and we
cycled through the NBC peacock colors in
the background with the Nitros as if they
were coming from the headlights of the
truck. I'm a lifelong Steelers fan, so being
able to give Antonio Brown a little extra love
was nice.
Tell us about the final grade.
Although it's a bit of a sticking point
for me, the grade was handled in concert
with the effects work. Working this way I
find that I am not able to finesse the shots
and add the final touches that I would in a
traditional color session, which make
projects look as good as they can. It's a bit
frustrating, but with everyone having access
to color correctors these days, this workflow
has become more prevalent.
What do you most enjoy about
your work in general and about this
project in particular?
Shooting spots and short-format
projects provides an exciting opportunity to
create something new with each successive
job. A couple of days before Sunday Night
Football, I was shooting a spot for Ghostbusters - scary green lighting and all. How
different can you get? I work with different
directors every week, so I find one of the
most important first steps is listening closely
to what that director's goals are and specifically where they need my support.
I really enjoy developing the Sunday
Night Football concept with Tripp each year.
For several months, we go over what the
concept is and how to develop it visually and
make it interesting. On most of my other
jobs I'm brought in a couple of days before
the shoot; on this project I have much more
responsibility regarding scheduling and the
overall logistics. This is my favorite shoot of
the year. It's complex and high profile. Having
grown up in Pittsburgh, I'm also a huge football fan, so getting to shoot something that
I'm going to watch every Sunday night is an
●
added bonus!



Table of Contents for the Digital Edition of American Cinematographer - October 2016

Contents
American Cinematographer - October 2016 - Intro
American Cinematographer - October 2016 - Cover1
American Cinematographer - October 2016 - Cover2
American Cinematographer - October 2016 - 1
American Cinematographer - October 2016 - 2
American Cinematographer - October 2016 - Contents
American Cinematographer - October 2016 - 4
American Cinematographer - October 2016 - 5
American Cinematographer - October 2016 - 6
American Cinematographer - October 2016 - 7
American Cinematographer - October 2016 - 8
American Cinematographer - October 2016 - 9
American Cinematographer - October 2016 - 10
American Cinematographer - October 2016 - 11
American Cinematographer - October 2016 - 12
American Cinematographer - October 2016 - 13
American Cinematographer - October 2016 - 14
American Cinematographer - October 2016 - 15
American Cinematographer - October 2016 - 16
American Cinematographer - October 2016 - 17
American Cinematographer - October 2016 - 18
American Cinematographer - October 2016 - 19
American Cinematographer - October 2016 - 20
American Cinematographer - October 2016 - 21
American Cinematographer - October 2016 - 22
American Cinematographer - October 2016 - 23
American Cinematographer - October 2016 - 24
American Cinematographer - October 2016 - 25
American Cinematographer - October 2016 - 26
American Cinematographer - October 2016 - 27
American Cinematographer - October 2016 - 28
American Cinematographer - October 2016 - 29
American Cinematographer - October 2016 - 30
American Cinematographer - October 2016 - 31
American Cinematographer - October 2016 - 32
American Cinematographer - October 2016 - 33
American Cinematographer - October 2016 - 34
American Cinematographer - October 2016 - 35
American Cinematographer - October 2016 - 36
American Cinematographer - October 2016 - 37
American Cinematographer - October 2016 - 38
American Cinematographer - October 2016 - 39
American Cinematographer - October 2016 - 40
American Cinematographer - October 2016 - 41
American Cinematographer - October 2016 - 42
American Cinematographer - October 2016 - 43
American Cinematographer - October 2016 - 44
American Cinematographer - October 2016 - 45
American Cinematographer - October 2016 - 46
American Cinematographer - October 2016 - 47
American Cinematographer - October 2016 - 48
American Cinematographer - October 2016 - 49
American Cinematographer - October 2016 - 50
American Cinematographer - October 2016 - 51
American Cinematographer - October 2016 - 52
American Cinematographer - October 2016 - 53
American Cinematographer - October 2016 - 54
American Cinematographer - October 2016 - 55
American Cinematographer - October 2016 - 56
American Cinematographer - October 2016 - 57
American Cinematographer - October 2016 - 58
American Cinematographer - October 2016 - 59
American Cinematographer - October 2016 - 60
American Cinematographer - October 2016 - 61
American Cinematographer - October 2016 - 62
American Cinematographer - October 2016 - 63
American Cinematographer - October 2016 - 64
American Cinematographer - October 2016 - 65
American Cinematographer - October 2016 - 66
American Cinematographer - October 2016 - 67
American Cinematographer - October 2016 - 68
American Cinematographer - October 2016 - 69
American Cinematographer - October 2016 - 70
American Cinematographer - October 2016 - 71
American Cinematographer - October 2016 - 72
American Cinematographer - October 2016 - 73
American Cinematographer - October 2016 - 74
American Cinematographer - October 2016 - 75
American Cinematographer - October 2016 - 76
American Cinematographer - October 2016 - 77
American Cinematographer - October 2016 - 78
American Cinematographer - October 2016 - 79
American Cinematographer - October 2016 - 80
American Cinematographer - October 2016 - 81
American Cinematographer - October 2016 - 82
American Cinematographer - October 2016 - 83
American Cinematographer - October 2016 - 84
American Cinematographer - October 2016 - 85
American Cinematographer - October 2016 - 86
American Cinematographer - October 2016 - 87
American Cinematographer - October 2016 - 88
American Cinematographer - October 2016 - Cover3
American Cinematographer - October 2016 - Cover4
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