American Cinematographer - July 2015 - 41

The cast and crew work on the greenscreen set for the "Blood Ball."

was very soft and modeled without
being blanket-lit."
The live blood effects were shot
on the green set from a MovieBird
crane equipped with a Scorpio threeaxis gyro-stabilized head. The blood
would be digitally composited onto the
conventional set, where scenes were
being shot as this interview was
conducted. "What worried me,"
McPolin says with a frown, "was that if
the floor was slick, you'd see the entire
rig overhead. Of course, I was also
thinking, 'If we don't do this right, I'm
going to be fired.' Thankfully, when the
rain of blood hits the floor, the reflection breaks up."
While discussing the show's
exotic set pieces, both McPolin and
Conroy credit the work of the art
department, which operates under
production
designer
Jonathan
McKinstry. "Without good production
design," Conroy submits, "there is no
good cinematography."
McPolin recalls, "Jonathan was
instrumental in making sure that the
dressing, colors and textures were
right. His crew used real brickwork

and real stone."
In discussing his role on the
show, McKinstry demonstrates a keen
sensitivity to the requirements of the
camera department. "On the whole,
I'm conscious of how cinematographers want to light things, with threequarter backlight and so forth, so I try
to design sets that will work for that
kind of approach," McKinstry says.
"And since we're working in the horror
genre, I try to introduce as many
textures as possible - reflective
surfaces, Damask fabrics, wallpapers -
so you never get into a flat, dark hole."
McKinstry further confirms that
John Logan's influence is felt on every
aspect of the production. "He was very
hands-on in the first season," the
production designer continues. "It was
his baby, and he was concerned about
every last detail and color and the
choice of absolutely everything. We
gradually managed to win his confidence."
The overlap between units keeps
McKinstry busy. He explains, "I have
to be running around a lot. To pack the
shooting days in the schedule there has



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American Cinematographer - July 2015

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
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American Cinematographer - July 2015 - 14
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American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
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American Cinematographer - July 2015 - 48
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American Cinematographer - July 2015 - 50
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