American Cinematographer - April 2021 - 30
SITCOM LIMBO
Tech Specs:
1.33:1, 1.78:1 and 2.39:1
Cameras: Arri Alexa LF, Mini LF; Blackmagic Design Pocket Cinema Camera 6K
(handheld for the sitcom opening of Episode 5 and for surveillance footage on monitors);
DJI Inspire 2 (drone work).
Lenses: Panavision PVintage primes, Ultra Panatar Prism 1.25x
Anamorphic, Panaspeed; Cooke/Panavision Super Panazoom 28-140mm T4.5;
Fujinon Premista 28-100mm T2.9, Premista 80-250 T2.9
Lighting diagram for The Dick Van Dyke Show-inspired set.
Lighting for Retro Hues
To help achieve the vibrant colors desired for the Brady Bunch-style
Episode 3, Hall keyed using the Mole-Richardson 10K Big Eye with
Quarter, Light or Full Tough Spun, and Cosmetic Peach and Cosmetic Burgundy gels for the correct hue, saturation and high-key
quality of light on the skin tones, with contrasting, cool shadows.
While the cinematographer wanted to avoid modern LEDs when
creating the retro looks for the show, in this case the crew built
12'x12', 8'x8' and 4'x8' light boxes outfitted with Arri SkyPanels
adjusted to 5,500-6,000 Kelvin - for fill and to evoke the cool
reflective sheen of a film print. More fill was provided by 2K and 4K
Mole Softlite units with Cosmetic Rouge.
[The lights were also] good directly on skin. The egg crates enabled me
to create separation, so they could walk out of one source and into another and remain evenly lit, even from one room to another. "
Above the back of the set, the crew lined up a series of Mole Junior
2K Fresnels for edge lighting that Hall could easily turn on and off. The
filmmakers used period-correct Rosco Cinegel Tough Frost and Spun
diffusion. " The purpose of the edge light, " Vecchio says, " is to bring some
contrast and accent to the soft front key light. " Adds Hall, " A subtle edge
light was an essential component of the look, as it created separation
in the classical tradition typical of black-and-white photography of the
period, but also because it provided reflective sheen on the actors' hair
- and a subtle halation on Elizabeth Olsen, at times. "
The stressful job of handling the live lighting cues fell to lighting
30 / APRIL 2021
p.24-35 Wandavision V5 DONE.indd 30
3/9/21 1:03 PM
American Cinematographer - April 2021
Table of Contents for the Digital Edition of American Cinematographer - April 2021
Contents
American Cinematographer - April 2021 - Cover1
American Cinematographer - April 2021 - Cover2
American Cinematographer - April 2021 - 1
American Cinematographer - April 2021 - Contents
American Cinematographer - April 2021 - 3
American Cinematographer - April 2021 - 4
American Cinematographer - April 2021 - 5
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American Cinematographer - April 2021 - 21
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American Cinematographer - April 2021 - 24
American Cinematographer - April 2021 - 25
American Cinematographer - April 2021 - 26
American Cinematographer - April 2021 - 27
American Cinematographer - April 2021 - 28
American Cinematographer - April 2021 - 28a
American Cinematographer - April 2021 - 28b
American Cinematographer - April 2021 - 29
American Cinematographer - April 2021 - 30
American Cinematographer - April 2021 - 30a
American Cinematographer - April 2021 - 30b
American Cinematographer - April 2021 - 31
American Cinematographer - April 2021 - 32
American Cinematographer - April 2021 - 33
American Cinematographer - April 2021 - 34
American Cinematographer - April 2021 - 35
American Cinematographer - April 2021 - 36
American Cinematographer - April 2021 - 37
American Cinematographer - April 2021 - 38
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American Cinematographer - April 2021 - Cover3
American Cinematographer - April 2021 - Cover4
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