American Cinematographer - April 2017 - 68

◗

Legal Power
Right: In an
episode of sister
show Chicago
P.D., State's
Attorney Mark
Jefferies (Carl
Weathers) gets a
drink at local bar
Molly's - a set
shared by all of
creator Dick
Wolf's Chicago
series. Below:
Kevin Atwater
(LaRoyce
Hawkins) and
Dawson converse
on a bench in the
Windy City.

"We wanted a different energy in
the visuals than a rescue show like Fire,"
the cinematographer notes. "And we
wanted a different feel than the downand-dirty grittiness of Chicago P.D. or
the clinical feel they have on Chicago
Med."
To capture that new feel,
Wiegand worked with Arri Alexa Plus
cameras, sourced from VER Camera in
Chicago. The show typically employed
two cameras, with a third joining the
68

April 2017

fray during courtroom-trial scenes. "I've
been using Alexa almost exclusively ever
since it came out," says Wiegand. "I love
that camera and don't understand why
anyone would want me to shoot on
anything else."
Not a fan of higher resolutions,
Wiegand opted to record 1920x1080
HD ProRes 4:4:4:4 files onto Sony
Pro+ SxS cards. "I know at some point
[a requirement to shoot 4K] will
become a truth, but to me the whole
American Cinematographer

fight over resolution at this point is
bulls---," she opines. "I don't need more
sharpness in peoples' skin. There's
plenty already. I don't see that much
sharpness when I'm talking to people in
real life." To further soften the image,
Wiegand periodically employed Tiffen
Glimmerglass and Black Satin filters;
the Black Satins typically only go to a
factor of 3, but Tiffen created two sets of
level 4 and 5 filters for Wiegand back
on Chicago Fire.
The only 4K footage on Chicago
Justice came courtesy of a Sony FDRX3000 4K Action Cam, which was
used for an episode in which the camera
was mounted to a helmet to provide a
first-person point of view of a character
firing a machine gun. Wiegand knew
just who to strap the helmet to in order
to get the shots. "That's like Tari Segal's
dream," Wiegand says. "She used to be
in ROTC, she loves guns, and she loves
camera operating."
Segal adds, "Wardrobe dressed
me in full camo fatigues, and props gave
me a working M4 to fire full-load
blanks. They gave me some training, but
I already had experience handling
firearms so it was fairly easy to just enjoy



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
American Cinematographer - April 2017 - 11
American Cinematographer - April 2017 - 12
American Cinematographer - April 2017 - 13
American Cinematographer - April 2017 - 14
American Cinematographer - April 2017 - 15
American Cinematographer - April 2017 - 16
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
American Cinematographer - April 2017 - 22
American Cinematographer - April 2017 - 23
American Cinematographer - April 2017 - 24
American Cinematographer - April 2017 - 25
American Cinematographer - April 2017 - 26
American Cinematographer - April 2017 - 27
American Cinematographer - April 2017 - 28
American Cinematographer - April 2017 - 29
American Cinematographer - April 2017 - 30
American Cinematographer - April 2017 - 31
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
American Cinematographer - April 2017 - 39
American Cinematographer - April 2017 - 40
American Cinematographer - April 2017 - 41
American Cinematographer - April 2017 - 42
American Cinematographer - April 2017 - 43
American Cinematographer - April 2017 - 44
American Cinematographer - April 2017 - 45
American Cinematographer - April 2017 - 46
American Cinematographer - April 2017 - 47
American Cinematographer - April 2017 - 48
American Cinematographer - April 2017 - 49
American Cinematographer - April 2017 - 50
American Cinematographer - April 2017 - 51
American Cinematographer - April 2017 - 52
American Cinematographer - April 2017 - 53
American Cinematographer - April 2017 - 54
American Cinematographer - April 2017 - 55
American Cinematographer - April 2017 - 56
American Cinematographer - April 2017 - 57
American Cinematographer - April 2017 - 58
American Cinematographer - April 2017 - 59
American Cinematographer - April 2017 - 60
American Cinematographer - April 2017 - 61
American Cinematographer - April 2017 - 62
American Cinematographer - April 2017 - 63
American Cinematographer - April 2017 - 64
American Cinematographer - April 2017 - 65
American Cinematographer - April 2017 - 66
American Cinematographer - April 2017 - 67
American Cinematographer - April 2017 - 68
American Cinematographer - April 2017 - 69
American Cinematographer - April 2017 - 70
American Cinematographer - April 2017 - 71
American Cinematographer - April 2017 - 72
American Cinematographer - April 2017 - 73
American Cinematographer - April 2017 - 74
American Cinematographer - April 2017 - 75
American Cinematographer - April 2017 - 76
American Cinematographer - April 2017 - 77
American Cinematographer - April 2017 - 78
American Cinematographer - April 2017 - 79
American Cinematographer - April 2017 - 80
American Cinematographer - April 2017 - 81
American Cinematographer - April 2017 - 82
American Cinematographer - April 2017 - 83
American Cinematographer - April 2017 - 84
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American Cinematographer - April 2017 - 100
American Cinematographer - April 2017 - 101
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American Cinematographer - April 2017 - 104
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American Cinematographer - April 2017 - 106
American Cinematographer - April 2017 - 107
American Cinematographer - April 2017 - 108
American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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