American Cinematographer - November 2016 - 39
episodes of season one, so we decided
the best approach was to build everything, rather than go to location," says
Bassett. "The woods and cabin exterior
were constructed in an old equestrian
center, a large space approximately 144
feet by 260 feet, with the major advantage of having a dirt floor, which allowed
us to dig and shape the terrain. We built
three and a half sides of the cabin, with a
partial interior; the tool shed; and the
forest, which was made up of 120 trees
and many, many trailer-loads of ground
cover and windfall that our greens
department set up in record time." The
interior of the cabin and its cellar were
constructed on other stages.
Appropriately for the genre, Ash
arrives at the cabin as the daylight wanes.
Gaffer Tony Blackwood explains, "A
20K with Full CTS on a boom lift
provided our sun [source], playing over
and to either side of the cabin and casting a single shadow, suggesting the cabin
itself is an ominous entity. We then posi-
tioned T12s with Full CTS to rake
through the trees."
Sourceless night-light in the
woods was provided by a combination of
10 T12s and 20 5Ks, positioned on two
gantries that ran parallel down each side
of the equestrian center. The lamps were
skimmed across 12 20'x20' squares of
bleached-cotton bounces, six on each
side, that were held into the pitched ceiling by wires. "Not a lot of level was
required from this soft source,"
Blackwood continues. "We often only
used one side of the bounces to get some
subtle direction. Having the large surface
area of bounced light gives lovely reflections on the actors' skin."
The actors were often keyed by "a
10-by-10-foot sheet of calico suspended
on a T-bar and hit with 5Ks or T12s,
depending on the level we were after,"
says Blackwood. "The sides were flagged
to control [the bounce]. They were
called 'white sticks,' with 'black sticks'
being the negative-fill version. It's a
dead-simple, basic tool that worked very
effectively."
"The infamous cabin was an
important set to get right for the fans,"
Bassett stresses. "It was a direct replica of
the Evil Dead II set, with every prop and
furnishing lovingly re-created. Bruce
Campbell got totally nostalgic walking
into the space. It was a great way to end
the first season, in the very space where
it all began 30-plus years ago."
●
TECHNICAL SPECS
1.78:1
Digital Capture
Arri Alexa XT, Mini, Amira;
Sony CineAlta PMW-F55
Leica Summilux-C;
Panavision Primo, Ultra Speed
39
http://www.jlfisher.com
http://www.jlfisher.com
Table of Contents for the Digital Edition of American Cinematographer - November 2016
Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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