American Cinematographer - June 2020 - 43

On the set of Wireless, one of three identical Ford
Broncos is rigged vertically on a stage that was
chilled to 32°F at the SirReel Lima Studios in
Burbank, Calif.

contrast curve.
Production designer Craig
Stearns gave each set its own signature color, so that the audience could
stay oriented as the action cuts back
and forth between locations. Colors
were selected on the basis of contrast
values - e.g. reds versus blues - and
enhanced in post. Levy notes, "We
really pushed the intensity of the
color, knowing that the LUT would
desaturate it. In the color suite, we
could easily isolate those strong
colors and then desaturate them
further. My desired look was blackand-white, plus a flesh-tone and one
other color."
#Freerayshawn director of
photography Maz Makhani reports,
"The first thing I suggested was to
shoot the horizontal and vertical
separately and simultaneously, rather
than panning and scanning. But it
wasn't possible because [executive
producer] Antoine [Fuqua prefers a]
multi-camera [shoot]. We would have
ended up with six operators on set."
Makhani and Fuqua reteamed for the
Quibi show after working together on
What's My Name: Muhammad Ali.
#Freerayshawn follows an Iraq
War veteran, Rayshawn (Stephan
James), who finds himself in a showdown with a New Orleans SWAT
team, and tries to talk his way out of
the situation with the help of a
sympathetic
officer
(Laurence
Fishburne). Makhani estimates that
60-70 percent of the production is set
in Rayshawn's apartment - a
modest, low-income building. "The
bathroom and kitchen were small,"
the cinematographer says. "We went
with one camera for both frames."
Makhani and director Seith
Mann made the decision to shoot
with Sony Venice cameras from
Keslow Camera in full-frame 6K 3:2
X-OCN XT, from which 16:9 horizontal and 9:16 vertical aspects were
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June 2020

43



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American Cinematographer - June 2020

Table of Contents for the Digital Edition of American Cinematographer - June 2020

Contents
American Cinematographer - June 2020 - Intro
American Cinematographer - June 2020 - Cover1
American Cinematographer - June 2020 - Cover2
American Cinematographer - June 2020 - 1
American Cinematographer - June 2020 - Contents
American Cinematographer - June 2020 - 3
American Cinematographer - June 2020 - 4
American Cinematographer - June 2020 - 5
American Cinematographer - June 2020 - 6
American Cinematographer - June 2020 - 7
American Cinematographer - June 2020 - 8
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American Cinematographer - June 2020 - 19
American Cinematographer - June 2020 - 20
American Cinematographer - June 2020 - 21
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American Cinematographer - June 2020 - 38
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American Cinematographer - June 2020 - 41
American Cinematographer - June 2020 - 42
American Cinematographer - June 2020 - 43
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American Cinematographer - June 2020 - Cover3
American Cinematographer - June 2020 - Cover4
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