American Cinematographer - May 2018 - 68
◗
High-School Horrors
Right: Archie and
Veronica stand on
stage at the Whyte
Wyrm to perform
the song "Mad
World" for FP
Jones' retirement
party in the
episode "House of
the Devil." Below
left: Director Kevin
Rodney Sullivan
and Uegama on
the Whyte Wyrm
set. Below right:
Uegama preps a
shot with camera
operator Steven
Deneault
(operating the
Movi rig) and dolly
grip Phoenix Black
(far right).
box ready to go for skin," he observes.
"We rarely use filtration on the lens
because we use so much atmosphere."
The production uses an Alexa
XT in studio mode and an Alexa Mini
on a Freefly Systems Movi Pro stabilizer, the latter of which captures "at
least 20 percent of every episode," says
Uegama. "It's a rare day when the Movi
doesn't come out, and some days we're
on it all the time. I've relied on it instead
of the Steadicam for about three years
now. I've worked with fantastic
Steadicam operators in the past, but I
68
May 2018
feel that what Steve Deneault does with
the Movi is hard to beat. It's so much
more open to spontaneous responses;
you can be down on the ground and
then up in the air very quickly, all in one
shot, with a rock-solid horizon. And it
never has a 'floaty' feeling."
Uegama shoots the majority of
Riverdale with Leica Summilux-C
prime lenses. (See sidebar, page 62.)
"We don't carry zooms; we just rent
them occasionally for specialty shots,"
he says. "We've used Angenieux zoom
lenses, all ranges, maybe four or five
American Cinematographer
times this season."
For a surreal moment in Episode
13, "The Tell-Tale Heart," when Betty
and her mother, Alice (Mädchen
Amick), try to clean up a crime scene in
their home, Uegama used Century
Precision
Optics'
Clairmont
Swing/Shift lenses. He explains, "The
characters are frantically trying to scrub
everything clean, and at one point Betty
starts to scrub a bowl of red apples on
the kitchen table because she's
convinced there's blood on them. We
used the Swing/Shift lenses to heighten
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
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American Cinematographer - May 2018 - Cover3
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