American Cinematographer - July 2015 - 37

tungsten even on daylight work - and
also 250-watt tungsten China balls."
These China balls, he is quick to
emphasize, were not specialty fixtures.
"I went to Ikea," he says. "I love square
lanterns that can fit flat against the
wall; they're quick and easy to rig
because they're light. There's no big
engineering job to put up three or four
lights."
Practical light sources on Penny
Dreadful range from the relatively
everyday candles, gas lamps and firelight to more esoteric sources: the
limelight of a period theater, and the
life-creating lightning channeled
through Frankenstein's laboratory.
Conroy's approach to shooting
fire is perhaps slightly counterintuitive:
"One of the problems with period
work is that if you shoot candlelight,
you're wide open if that's your only
light source, so the candle flame is
white - and it looks fake. You have to
light things up so you can see the fire.
I think the best candle stuff is tungsten-assisted so you can see the detail
in the flame."
The theater set's follow spots,
recalls McPolin, were 1K tungstens
with 1⁄8 Plus Green "to give them the
slight lime-y color the original spotlights had." To simulate hand lanterns,
"we converted practical lighting -
Tilley lamps. Instead of having a gas
lantern, we used small 12-volt Pygmy
lights, which were all battery-operated
and dimmable. Production design put
a small gauze over the bulb to give it
the look of a gas mantle." Eager to
avoid conventionally blue-tinged night
scenes, McPolin reveals that "we
combined a sort of Steel Green and
Half Blue on all the tungsten lamps."
This green-tinged darkness was
used extensively during McPolin's
work on the first second-season
episode, part of which was shot in
brick-arched tunnels beneath the
Dublin Connolly railway station. The
setting represented a place where "the
underbelly of London society, the poor
and the marginalized, live in squalor,"
McPolin says. He remembers the deli-

Ives volunteers
in the tunnels
below London,
where she
befriends
Frankenstein's
Creature, who
now uses the
name John Clare.

www.theasc.com

July 2015

37



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Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
American Cinematographer - July 2015 - 10
American Cinematographer - July 2015 - 11
American Cinematographer - July 2015 - 12
American Cinematographer - July 2015 - 13
American Cinematographer - July 2015 - 14
American Cinematographer - July 2015 - 15
American Cinematographer - July 2015 - 16
American Cinematographer - July 2015 - 17
American Cinematographer - July 2015 - 18
American Cinematographer - July 2015 - 19
American Cinematographer - July 2015 - 20
American Cinematographer - July 2015 - 21
American Cinematographer - July 2015 - 22
American Cinematographer - July 2015 - 23
American Cinematographer - July 2015 - 24
American Cinematographer - July 2015 - 25
American Cinematographer - July 2015 - 26
American Cinematographer - July 2015 - 27
American Cinematographer - July 2015 - 28
American Cinematographer - July 2015 - 29
American Cinematographer - July 2015 - 30
American Cinematographer - July 2015 - 31
American Cinematographer - July 2015 - 32
American Cinematographer - July 2015 - 33
American Cinematographer - July 2015 - 34
American Cinematographer - July 2015 - 35
American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
American Cinematographer - July 2015 - 39
American Cinematographer - July 2015 - 40
American Cinematographer - July 2015 - 41
American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
American Cinematographer - July 2015 - 44
American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
American Cinematographer - July 2015 - 52
American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
American Cinematographer - July 2015 - 59
American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
American Cinematographer - July 2015 - 64
American Cinematographer - July 2015 - 65
American Cinematographer - July 2015 - 66
American Cinematographer - July 2015 - 67
American Cinematographer - July 2015 - 68
American Cinematographer - July 2015 - 69
American Cinematographer - July 2015 - 70
American Cinematographer - July 2015 - 71
American Cinematographer - July 2015 - 72
American Cinematographer - July 2015 - 73
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American Cinematographer - July 2015 - 77
American Cinematographer - July 2015 - 78
American Cinematographer - July 2015 - 79
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American Cinematographer - July 2015 - 82
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American Cinematographer - July 2015 - 84
American Cinematographer - July 2015 - 85
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American Cinematographer - July 2015 - 87
American Cinematographer - July 2015 - 88
American Cinematographer - July 2015 - Cover3
American Cinematographer - July 2015 - Cover4
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