American Cinematographer - July 2019 - 65

Operating and focus pulling is very
hard under those circumstances, but
they didn't miss a beat - they were
actually too good, and I had to ask
them to 'try' to find the frame and
sharps more, as it looked too slick
when they nailed it right away every
time."
Following the pilot episode,
which Sprenger shot with Arri's Alexa
Mini camera at 3.2K, the series was
primarily shot with two Sony Venice
cameras, one handheld by Crosbie,
and the second operated on an Easyrig
by McCowan. Both cameras were
framed for the show's 1.78:1 aspect
ratio. Most footage was captured at 4K
17:9 with Sony's 16-bit X-OCN codec,
but 6K 17:9 was occasionally used for
specific visual-effects shots.
"We shot the movie back in
2014 on Red Epics, which were great,"
Stipsen recalls. "The Venice had only
just come out when the pilot was shot,
but by the time the series came about,
we felt the best camera for us to shoot

in an available-light documentary
style was Sony's Venice. With its high
base setting of 2,500 ISO, the Venice
could almost see in the dark, with
very little noise in the shadows."
Stipsen maintained a shooting
stop around T2.8, with the camera set
to its high base ISO of 2,500 and then
dialed-down to 1,600 ISO in the

menu. "The 1,600 ISO setting had a
little less noise in the shadows," the
cinematographer observes. "Knowing
how much night work and how many
available-light setups we would be
doing, having a bit more bias in the
shadow end was desirable."
Angénieux Optimo zooms -
15-40mm (T2.6), 28-76mm (T2.6) and

p Nandor, Guillermo and Laszlo stand in the foyer of the vampires' mansion. q A handheld Sony Venice captures a shot of Guillén suspended on wires.
"We needed ceilings throughout our sets so we wouldn't have any 'shoot-off' issues that might restrict the actors' movements during a scene, but all of the
ceilings had to be removable for wirework," Stipsen says. The ceiling pieces, he adds, "were stretched unbleached muslin - which the painters had aged -
over a wooden frame."

www.ascmag.com

July 2019

65


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American Cinematographer - July 2019

Table of Contents for the Digital Edition of American Cinematographer - July 2019

Contents
American Cinematographer - July 2019 - Cover1
American Cinematographer - July 2019 - Cover2
American Cinematographer - July 2019 - 1
American Cinematographer - July 2019 - Contents
American Cinematographer - July 2019 - 3
American Cinematographer - July 2019 - 4
American Cinematographer - July 2019 - 5
American Cinematographer - July 2019 - 6
American Cinematographer - July 2019 - 7
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American Cinematographer - July 2019 - 36
American Cinematographer - July 2019 - 37
American Cinematographer - July 2019 - 38
American Cinematographer - July 2019 - 39
American Cinematographer - July 2019 - 40
American Cinematographer - July 2019 - 41
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