American Cinematographer - May 2018 - 61

Left: Jughead
and Betty meet
during the day
at Pop's Chock'lit
Shoppe. Below:
At night, Pop's is
bathed in
colorful hues
motivated by
the diner's neon
lights. Uegama
used RGB LED
fixtures to
realize the
effect.
Bottom: The
cinematographer
discusses a scene
with Pop Tate
himself, actor
Alvin Sanders.

Blossom [Madelaine Petsch] is sent for
conversion therapy," he adds. "To
underscore the drama of those scenes,
we used Congo Blue mixed with Half
CTB to create a deep-cobalt-like
moonlight."
The show's saturated color
scheme is perhaps best showcased at
Pop's Chock'lit Shoppe, a diner and
gathering place bathed in neon. "I
always love being in Pop's," says
Uegama. "That's a practical building
that was built on our back lot in Season
1. We have our own studio space in
Langley [southeast of Vancouver],
where we share a building with [the
CW series] Supergirl. Riverdale has
three stages, and Pop's is our only exterior practical set on the lot.
"Generally speaking," the cinematographer continues, "the main
approach [to Pop's] is to set the ambient
mood for the scene using the neon signs
surrounding the diner as motivation.
On the south wall of Pop's, there was a
large, red neon 'Diner' sign, and at the
beginning of this season, we replaced
that with an RGB LED. It's quiet, and
we can control the brightness of it,
which allows us to hold detail when
looking straight at it or brighten it up to
augment the lighting of a scene when
it's off-camera.
"For scenes in Pop's at night, I
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May 2018

61



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Table of Contents for the Digital Edition of American Cinematographer - May 2018

Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
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American Cinematographer - May 2018 - 17
American Cinematographer - May 2018 - 18
American Cinematographer - May 2018 - 19
American Cinematographer - May 2018 - 20
American Cinematographer - May 2018 - 21
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American Cinematographer - May 2018 - 24
American Cinematographer - May 2018 - 25
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American Cinematographer - May 2018 - 28
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American Cinematographer - May 2018 - 30
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American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
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American Cinematographer - May 2018 - 38
American Cinematographer - May 2018 - 39
American Cinematographer - May 2018 - 40
American Cinematographer - May 2018 - 41
American Cinematographer - May 2018 - 42
American Cinematographer - May 2018 - 43
American Cinematographer - May 2018 - 44
American Cinematographer - May 2018 - 45
American Cinematographer - May 2018 - 46
American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
American Cinematographer - May 2018 - 51
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American Cinematographer - May 2018 - 61
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American Cinematographer - May 2018 - 63
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American Cinematographer - May 2018 - 88
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