American Cinematographer - March 2014 - 60

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Espionage, Payback and Laughs
Right: Jack Porter
(Nick Wechsler),
one of Amanda's
childhood
friends, stands
behind the bar at
The Stowaway.
Below: The team
films Bowman
and Christa B.
Allen, who plays
Charlotte
Grayson, on the
Stowaway set.

seasons because we needed the Optimos
for Steadicam, but we still carry the
14.5mm, 21mm and 150mm Primo
primes." The team also occasionally uses
a LensBaby and two slant-focus lenses
- a 24mm and a 45mm.
A Mo-Sys Remote Head
brought in this season has allowed the
cinematographers to do more crane
shots on a regular basis despite the tight
TV budget. Key grip Stu Abramson
provides the 12', 20' and 30' cranes.
"That's been incredibly helpful in
designing shots this season that don't
require renting extra equipment," says
60

March 2014

Pusheck. "It also helps save time whenever we're shooting on Emily's porch
and need to get the camera up higher
without working off risers on the dolly."
The backyard patio at Grayson
Manor and the front deck at the
Stowaway (glimpsed mainly through
windows behind the bar) are also
soundstage sets, and both are pre-rigged
for day and night looks. "One of the
changes we made this season was to use
Ohm Space Lights, which are LEDs,
instead of regular space lights outside
Grayson Manor," notes Smith. "The
Ohm lights are dimmable from 10
American Cinematographer

percent to 100 percent and can be
switched from daylight 5,600K to tungsten 3,200K with a dimmer board. We
use them for ambient light. Not only are
they more energy efficient, but they also
give us the flexibility to choose our color
temperature."
Mac Techs hang outside the
Stowaway. "They aren't as flexible or
dimmable as the Ohms," Smith continues, "but they're really bright, and that's
what we need coming through the
tavern windows. We keep them at
3,200K so they appear very white, but
we also have a few [Arri] T12s and
20Ks hanging on some I-beam trusses
just outside the windows. We warm
those with Quarter to Full CTS to
contrast that with the white light farther
back. To create texture, we also use
smoke."
To help sell the illusion that there
is a marina outside the Stowaway, the
special-effects team this year built three
standing ships' masts at the far end of
the deck and rigged them on small
motors to rock back-and-forth. Small
mirrors strung on a wire against the
backing and blown with a fan give the
impression of light reflecting off the
water, and a large, slowly spinning
mirror creates the effect of light bounc-



American Cinematographer - March 2014

Table of Contents for the Digital Edition of American Cinematographer - March 2014

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American Cinematographer - March 2014 - Cover1
American Cinematographer - March 2014 - Cover2
American Cinematographer - March 2014 - 1
American Cinematographer - March 2014 - 2
American Cinematographer - March 2014 - Table of Contents
American Cinematographer - March 2014 - 4
American Cinematographer - March 2014 - 5
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