American Cinematographer - June 2014 - 89
providing the only discernible light.
It is no surprise that paintings
influenced the pilot's visual concept -
specifically, the work of Caravaggio, a
master of chiaroscuro. "I showed David
a photo of Caravaggio's The Taking of
Christ and suggested our show should
look like that," Hawkinson recalls. The
arrestingly moody scene of Jesus being
seized in Gethsemane is glancingly lit
by what seems to be a single source,
leaving the background pitch black.
Slade agreed, and that became a strong
template. The chiaroscuro style is trumpeted in a first-season motel-room
scene, shot on location in Toronto,
where Hannibal is produced. Lecter
shares breakfast with Graham in the
room, which is lit by daylight peeping in
through the slenderest slit of parted
curtain. "That also gives the actors
something wonderful to play with," says
the cinematographer. "If they lean
forward, they suddenly come into a little
bit of sidelight, and then they can lean
back and be in shadow."
Hannibal 's use of shadows calls
on the viewer to put forth some effort.
"It's not all there, bright and presented
for you," says Hawkinson, who is a long
way from other TV series he has shot,
notably Arrested Development and
Community. "You really have to stare at
the screen and see into the shadows."
Consistently shallow focus intensifies
the effect, he adds. "You don't know
what's out there just out of focus. It
heightens the mystery.
"Achieving a cinematic look with
digital capture was my goal, and we use
the Arri Alexa [XT]," he continues.
"I've always felt Arri has a sensitivity to
motion-picture cinematography, and
that their engineering departments are
really on point programming in gamma
curves related to the latitudes of old film
stocks." Hannibal is captured in ProRes
4:4:4:4 Log C format to SxS Pro cards.
Especially while working at "the
toe of exposure," as he is wont to do,
Hawkinson finds the Alexa sensor
serves his purposes. "I rate the camera at
800 ISO but employ the zone system to
determine exposure," he notes. Also, he
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American Cinematographer - June 2014
Table of Contents for the Digital Edition of American Cinematographer - June 2014
Contents
1
American Cinematographer - June 2014 - 1
American Cinematographer - June 2014 - Cover2
American Cinematographer - June 2014 - 1
American Cinematographer - June 2014 - 2
American Cinematographer - June 2014 - Contents
American Cinematographer - June 2014 - 4
American Cinematographer - June 2014 - 5
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American Cinematographer - June 2014 - S1
American Cinematographer - June 2014 - S2
American Cinematographer - June 2014 - S3
American Cinematographer - June 2014 - S4
American Cinematographer - June 2014 - S5
American Cinematographer - June 2014 - S6
American Cinematographer - June 2014 - S7
American Cinematographer - June 2014 - S8
American Cinematographer - June 2014 - S9
American Cinematographer - June 2014 - S10
American Cinematographer - June 2014 - S11
American Cinematographer - June 2014 - S12
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American Cinematographer - June 2014 - Cover3
American Cinematographer - June 2014 - Cover4
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