American Cinematographer - June 2014 - 96
◗
Refined Savagery
Top: Lecter pays
Graham a visit at
the hospital.
Bottom: Graham
is transported to
another crime
scene that is
believed to be
the work of The
Chesapeake
Ripper.
Hawkinson. The prison's large "therapy
room," where Graham is placed in a
small cage to receive visitors, is illuminated by shafts of daylight falling
through high windows, light that acts as
a tease for Graham. The room is one of
the production's standing sets onstage,
and Hawkinson creates the dramatic
light using Arri T12s and bleachedmuslin bounces. "There's sunlight out
there, but we can't get to it," he says of
the effect.
96
June 2014
With Graham behind bars in the
therapy room and in his own cell, focus
puller Barrett Axford has his work cut
out for him, but Hawkinson's consistently shallow setting with wide-open
stop keeps him on his toes as it is. "A
shallow plane of focus softens the artifice in the sets and tells the viewer where
to look," says the cinematographer. "We
use a lot of focus pulls to help tell the
story. The pilot offers a very designed
example of this strategy as the focus
American Cinematographer
racks from Will looking down at a
crime scene, to the face of the murder
victim, and then back to Will, now in
his classroom." But knowing the beats
of the drama, Axford will often respond
on set by racking focus from one subject
to another in, say, a dirty over-theshoulder as the scene plays out.
Shallow focus is used even when
one may not expect to see it, as in a dayexterior crime scene in the pilot. As
Hawkinson describes the scene, "Crows
are eating a corpse that's stuck on the
antlers of a stag head in a field. To get a
very open T-stop, to have very shallow
focus, I put so many ND filters into the
camera it looked like welding goggles!"
The scene was finished on a crane shot
just as the sun was beginning to set.
Though a zoom lens might have been
used on the crane, "you'd be hardpressed to find a zoom shot in the
show," says Hawkinson. "I carry two
[Arri/Fujinon] Alura Zooms, an 1880mm and a 45-250mm, and if I use
one, I'll use it as an adjustable prime.
With the Master Primes, we use everything from a 14mm to a 150mm." A
Nikon 200mm T2 is also part of his kit.
Elaborate crime scenes have been
staged in almost every episode of
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
American Cinematographer - June 2014 - 6
American Cinematographer - June 2014 - 7
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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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