American Cinematographer - March 2016 - 41

over the rehearsal stage and hung "100,
maybe 200" era-appropriate Par cans.
"In the 1970s, the lighting was very
basic," he says. "We just got a good
dimmer-board operator to help us
program all that." The scene also made
dramatic use of Alice Cooper's actual
guillotine prop.
Vinyl 's most elaborate reconstruction was episode two's flashback to
Andy Warhol's Exploding Plastic
Inevitable multimedia extravaganza at
the Dom club, where Richie meets his
wife-to-be, Devon (Olivia Wilde).
Here, the Velvet Underground plays, as
Warhol's screen tests and short films
project onto the backdrop, along with
groovy gobo patterns.
Since the production did not
have rights to Warhol's original films,
Morano had to re-create them herself,
as well as the whole psychedelic show.
"It was really a kind of overwhelming
challenge to jump into on my first
episode," she says. To imitate Warhol's
screen tests of Nico, Baby Jane, et al.,
Morano used an Arriflex 16 SR3 with
Zeiss Super Speed MKIIs and Kodak
Tri-X black-and-white reversal 7266,
pushed two stops for extra grain. Then,
for the show, she armed herself with
unusual patterned gobos. "Andy had
these crazy-weird gobos - one was a
red projection with white cut-out
circles. We couldn't find one, so we
special-ordered it from Rosco." In addition, she says, "Andy was using certain
projectors to project images himself
during that show, so it was re-creating
that and, with the props department,
finding the right projectors for him to
hold. Also, finding the right angle at
which to project the screen tests on the
background [while ensuring that they
didn't project onto the band, and that
the gobos did] - it was an interesting
and trippy experiment."
Punk music is represented by the
Nasty Bits, whose front man - played
by Jagger's son James - gets a career
boost thanks to the (very personal)
attentions of an American Century
secretary. Wanting something "messy"
to contrast with the colorful glam rock


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American Cinematographer - March 2016

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

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