American Cinematographer - April 2017 - 50

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Between Heaven and Hell

Executive producer/director Michael Slovis, ASC (with red bandana) checks the frame for a shot
of actor Adam Wang, who portrays a singer in a saloon that falls prey to the Saint of Killers.

ing for night interiors in the church,
where five 4' two-bank Kino Flos with
daylight tubes hung on trusses outside
either side of the set. Turning on just one
lamp behind a stained-glass pane would

50

generate the desired bluish night look,
though not without a few complications. "I wanted to give the windows a
glow, but also use that glow to light the
interior, so the windows would look

really bright, since I'm exposing to the
faces inside," he explains.
The church's ceiling was movable
on hinges and motors, and the crew was
able to raise it slightly to form a gap
between the ceiling and wall where they
could sneak in a few Kino Flos or 5K
Fresnels for fill or backlight. They could
also open up the ceiling, and in the
resulting space they rigged 10 Image
80s directed through a Light Grid
frame. The tubes were half daylight and
half tungsten so Grillo could control
color temperature and intensity,
depending on whether they were shooting day or night. This provided enough
top fill, so they could lower the window
lights. Five Arri T12s on trusses
provided daylight, so the crew could
switch easily from night to day.
Season one's climax sees Custer
trying to deliver on his promise to the
town that God himself will appear in
the church. In the finale, "Call and
Response," he sets up an "angel phone"


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Table of Contents for the Digital Edition of American Cinematographer - April 2017

Contents
American Cinematographer - April 2017 - Intro
American Cinematographer - April 2017 - Cover1
American Cinematographer - April 2017 - Cover2
American Cinematographer - April 2017 - 1
American Cinematographer - April 2017 - 2
American Cinematographer - April 2017 - Contents
American Cinematographer - April 2017 - 4
American Cinematographer - April 2017 - 5
American Cinematographer - April 2017 - 6
American Cinematographer - April 2017 - 7
American Cinematographer - April 2017 - 8
American Cinematographer - April 2017 - 9
American Cinematographer - April 2017 - 10
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American Cinematographer - April 2017 - 17
American Cinematographer - April 2017 - 18
American Cinematographer - April 2017 - 19
American Cinematographer - April 2017 - 20
American Cinematographer - April 2017 - 21
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American Cinematographer - April 2017 - 32
American Cinematographer - April 2017 - 33
American Cinematographer - April 2017 - 34
American Cinematographer - April 2017 - 35
American Cinematographer - April 2017 - 35A
American Cinematographer - April 2017 - 35B
American Cinematographer - April 2017 - 36
American Cinematographer - April 2017 - 37
American Cinematographer - April 2017 - 38
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American Cinematographer - April 2017 - 49
American Cinematographer - April 2017 - 50
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American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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