American Cinematographer - July 2018 - 75

dolly 2 feet away, right in front of people,
with no shadow. If you go directly
through flat diffusion with a light, you're
going to have a shadow - I don't care
how heavy the bleached muslin is. You
don't lose a lot of stop when you use this
diffusion, and it's quick. I put the key
light up and we work from there. We use
LEDs, space lights and [Arri SkyPanel]
360s behind all these diffusions. And so
we can correct the color tones, I use a
bleached-white and a little strawcolored muslin, and the waffle blinds. If
I want to add a little blue to the light, it's
so much easier with the LEDs."
Blue Bloods is currently captured
in ProRes 4:4:4:4 Log C with Arri's
Alexa Plus and Mini - recording
1920x1080 to SxS and CFast cards,
respectively - and framed for the
1.78:1 aspect ratio.
The show is typically a threecamera shoot, with Engels lighting for
the A camera. "I create one lighting
setup, and the other cameras adapt to it,"
he says. "I worked for Gordon Willis on
The Godfather and Annie Hall. He used
to light the set once and shoot around,
and if one part of the set went dark -
well, that was the natural way it would
look."
Engels adds that this approach
also gives the actors greater flexibility. "I
light so that they can move wherever
they want, without having to be so
restricted to certain marks," he says. "It
makes the performances better, and
more natural."
One of Engels' priorities is
capturing the look he wants in-camera.
"I try to create a product that leaves
nothing to do in post," he says. "There's
not a scene that goes by where I don't
ride the iris - it's always in my hands.
Even in a static shot, I can create different emotions by adjusting it while we're
filming. Ryan and I are constantly working in every shot, putting in the colors
we want. We send memos [to postproduction] sometimes, saying, 'Don't
change this. It's exactly how it should
look.'"
Heide notes that his push to get
the production to adopt an in-house

Engels embraces a lighting style that allows the actors flexibility in their performances.
"I light so that they can move wherever they want, without having to be so restricted to
certain marks," he says.

www.ascmag.com

July 2018

75



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Table of Contents for the Digital Edition of American Cinematographer - July 2018

Contents
American Cinematographer - July 2018 - Cover1
American Cinematographer - July 2018 - Cover2
American Cinematographer - July 2018 - 1
American Cinematographer - July 2018 - 2
American Cinematographer - July 2018 - Contents
American Cinematographer - July 2018 - 4
American Cinematographer - July 2018 - 5
American Cinematographer - July 2018 - 6
American Cinematographer - July 2018 - 7
American Cinematographer - July 2018 - 8
American Cinematographer - July 2018 - 9
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American Cinematographer - July 2018 - 11
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American Cinematographer - July 2018 - 14
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American Cinematographer - July 2018 - 17
American Cinematographer - July 2018 - 18
American Cinematographer - July 2018 - 19
American Cinematographer - July 2018 - 20
American Cinematographer - July 2018 - 21
American Cinematographer - July 2018 - 22
American Cinematographer - July 2018 - 23
American Cinematographer - July 2018 - 24
American Cinematographer - July 2018 - 25
American Cinematographer - July 2018 - 26
American Cinematographer - July 2018 - 27
American Cinematographer - July 2018 - 28
American Cinematographer - July 2018 - 29
American Cinematographer - July 2018 - 30
American Cinematographer - July 2018 - 31
American Cinematographer - July 2018 - 32
American Cinematographer - July 2018 - 33
American Cinematographer - July 2018 - 34
American Cinematographer - July 2018 - 35
American Cinematographer - July 2018 - 36
American Cinematographer - July 2018 - 37
American Cinematographer - July 2018 - 38
American Cinematographer - July 2018 - 39
American Cinematographer - July 2018 - 40
American Cinematographer - July 2018 - 41
American Cinematographer - July 2018 - 42
American Cinematographer - July 2018 - 43
American Cinematographer - July 2018 - 44
American Cinematographer - July 2018 - 45
American Cinematographer - July 2018 - 46
American Cinematographer - July 2018 - 47
American Cinematographer - July 2018 - 48
American Cinematographer - July 2018 - 49
American Cinematographer - July 2018 - 50
American Cinematographer - July 2018 - 51
American Cinematographer - July 2018 - 52
American Cinematographer - July 2018 - 53
American Cinematographer - July 2018 - 54
American Cinematographer - July 2018 - 55
American Cinematographer - July 2018 - 56
American Cinematographer - July 2018 - 57
American Cinematographer - July 2018 - 58
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American Cinematographer - July 2018 - 60
American Cinematographer - July 2018 - 61
American Cinematographer - July 2018 - 62
American Cinematographer - July 2018 - 63
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American Cinematographer - July 2018 - 73
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American Cinematographer - July 2018 - Cover3
American Cinematographer - July 2018 - Cover4
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