American Cinematographer - June 2020 - 56
Demons in L.A.
Maria implores an impassive Santa Muerte, whose arrival extinguishes the candles, to help prevent the coming troubles.
uted to the producers' monitors and
[wirelessly] to crew. The focus
stations received the log signal, and
the camera assistants could apply
whichever LUTs they wanted, if any."
"To avoid pulling focus looking
at a flat image, we'd apply a basic
Alexa [Rec] 709 LUT and then tweak
the image for optimal output," adds
Akers. "[B-camera 1st AC] Stephen
Taylor-Wehr preferred to view a
contrasting black-and-white image."
A-camera operator James Reid
says that in terms of camera move-
ment, "We got a creative note that the
work needed to look elegant, and
movement needed to feel at the level
of the subconscious. This made handheld work forbidden," and put a
premium on Steadicam, dolly and
crane - all supported by focus
pulling that Reid describes as "intuitive with excellence - so that the
camera was either a whisper or a
floating frame with precision."
"Everything had to be elegant,"
Conroy adds, "even in the most
visceral [action] moments, such as [a]
Digital-imaging technician Michael Sanchez reports that Conroy worked with
Light Iron colorist Jeremy Sawyer - who later performed the final color grade with
Blackmagic Design DaVinci Resolve - to build base LUTs for the show during preproduction. "Once we began principal photography, we would bring up the base LUTs
and begin working the [ASC] CDL to tweak the look," Sanchez says. "That is really
where the fun for a DIT begins. One of my favorite techniques is to work the CDL
against the LUT, using color differences to create or minimize contrast [for a given]
shot. The results were sometimes subtle, and sometimes a drastic departure from
the base LUT, yet all within John's vision."
56
June 2020
American Cinematographer - 100 Years
big foot-chase scene [that] goes on for
blocks."
The series shot in areas across
Los Angeles - including City Hall,
downtown's Skid Row, and the hills
near Dodger Stadium - as well as
Pasadena, beaches in Malibu, and
Ventura County's Lake Piru. Among
their adventures, the production
closed down two blocks of Broadway
in downtown and shot a huge
sequence with hundreds of cars and
extras. Yet despite this broad access to
real locations, Logan says, "It became
apparent to me early on that we
needed to build big chunks of Los
Angeles and the Los Angeles world
we were trying to represent, because
we wanted the show to have scope."
Thus, approximately half of the
production was shot on locations in
and around L.A., and the other half
on sets at Melody Ranch.
"At Melody Ranch," Logan
says, "we made the decision to build
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
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American Cinematographer - June 2020 - 8
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