American Cinematographer - April 2021 - 34
SITCOM LIMBO
Hall at work on the Brady Bunch-inspired set.
would frequently use practicals as key lighting. Matt was looking for a
patina of gritty realism to permeate these sequences, whilst maintaining
precise color control and achieving the T2.81/2-T4 shooting stop that was
optimal for the Ultra Panatar lenses. "
They surrounded the pop-up base with 19 elevated Digital Sputnik
DS6 units dressed to look like emergency-assistance lights, which created pools of hot light. Bebee Night Light trucks were positioned at the
west and south ends of the base with the HMIs gelled with Rosco CalColor
Inside the Look
The Dick Van Dyke Show was shot on Eastman Plus-X 5231 stock, which, Hall says,
" influenced some of the characteristics I was
aiming for, including a lower contrast curve,
softer grayscale, and an expanded range of
midtones. " This look was ultimately achieved
through a combination of lighting, color science and LUTs, Mark Worthington's production design, and Mayes C. Rubeo's costume
30 Cyan to make them look like mercury-vapor fixtures one might find
at a military setup in a disaster zone. Low-key practical sources inside
the base included large visual-display monitors, as well as hanging LED
Astera Titan Tubes, smaller Helios Tubes and LiteGear hybrid ribbon.
All of these fixtures were housed in practical light fixtures that could
be photographed in-camera, and that Hall developed with Worthington.
" It was a long conversation among Jess, Mark Worthington, John Vecchio and me to make sure whatever we had in [terms of] design would
design. Says Worthington, " Jess spent days
with me in the art department reviewing
every detail of the color palette, textures and
layout of the sets to make sure our intentions
were realized in the final product. "
Tests began well in advance, with Hall
devising LUTs for WandaVision's various
television eras alongside ASC associate Josh
Pines of Technicolor. Prep was 12 weeks,
with color-science work, camera and lens
testing commencing immediately. They
kept in mind that the full highlight range of
4K HDR would not be period-correct for
the retro segments. " We put the 4K HDR
signal within a kind of envelope, " Hall says,
" capping out the highlights around 100 nits
and doing that with a soft roll-off curve so
we never got into the kind of white highlights
that wouldn't have existed on film. Highlights
for the modern MCU material were placed
between 400 to 800 nits. "
34 / APRIL 2021
p.24-35 Wandavision V5 DONE.indd 34
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
American Cinematographer - April 2021 - 6
American Cinematographer - April 2021 - 7
American Cinematographer - April 2021 - 8
American Cinematographer - April 2021 - 9
American Cinematographer - April 2021 - 10
American Cinematographer - April 2021 - 11
American Cinematographer - April 2021 - 12
American Cinematographer - April 2021 - 13
American Cinematographer - April 2021 - 14
American Cinematographer - April 2021 - 15
American Cinematographer - April 2021 - 16
American Cinematographer - April 2021 - 17
American Cinematographer - April 2021 - 18
American Cinematographer - April 2021 - 19
American Cinematographer - April 2021 - 20
American Cinematographer - April 2021 - 21
American Cinematographer - April 2021 - 22
American Cinematographer - April 2021 - 23
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
American Cinematographer - April 2021 - 39
American Cinematographer - April 2021 - 40
American Cinematographer - April 2021 - 41
American Cinematographer - April 2021 - 42
American Cinematographer - April 2021 - 43
American Cinematographer - April 2021 - 44
American Cinematographer - April 2021 - 45
American Cinematographer - April 2021 - 46
American Cinematographer - April 2021 - 47
American Cinematographer - April 2021 - 48
American Cinematographer - April 2021 - 49
American Cinematographer - April 2021 - 50
American Cinematographer - April 2021 - 51
American Cinematographer - April 2021 - 52
American Cinematographer - April 2021 - 53
American Cinematographer - April 2021 - 54
American Cinematographer - April 2021 - 55
American Cinematographer - April 2021 - 56
American Cinematographer - April 2021 - 57
American Cinematographer - April 2021 - 58
American Cinematographer - April 2021 - 59
American Cinematographer - April 2021 - 60
American Cinematographer - April 2021 - 61
American Cinematographer - April 2021 - 62
American Cinematographer - April 2021 - 63
American Cinematographer - April 2021 - 64
American Cinematographer - April 2021 - 65
American Cinematographer - April 2021 - 66
American Cinematographer - April 2021 - 67
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American Cinematographer - April 2021 - 69
American Cinematographer - April 2021 - 70
American Cinematographer - April 2021 - 71
American Cinematographer - April 2021 - 72
American Cinematographer - April 2021 - Cover3
American Cinematographer - April 2021 - Cover4
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