American Cinematographer - July 2021 - 53

AMERICAN CINEMATOGRAPHER ASCMAG.COM
sequence, and the VFX team digitally extended the set and mimicked the
color-shifting effect.
Complex Horror
In Episode 3 ( " Day 4 " ), Lucky, in need of respite, visits her husband's
cousin Hazel (Paula Jai Parker) in nearby Watts. Afterwards, amid a
thunderstorm, she boards a bus for home and dozes off. She wakes as
the bus arrives in Compton, and finds herself alone - there's not even a
driver, only the Black Hat Man (Christopher Heyerdahl), a sinister apparition.
She tries to leave, but he drags her to the back of the bus, where
she writhes on the floor as lightning flashes and the interior bus lights
go off and on.
It is the episode's most dramatic scene, and Varese realized he was
going to need help. So he suggested handing over the rest of the episode
to Medencevic (Stuck in the Middle, The Great Water), who had been
shooting 2nd unit, plates and additional photography for the series, so
that he could focus on prepping and shooting the bus sequence.
" At the beginning of prep, it was clear to me that someone would have
to concentrate 100 percent on that big scene, and Suki was already part
of the team, so it was only natural for me to have him complete Episode
3, which was right up his alley, while I completed the complex task of
shooting the bus sequence. It was a win-win. "
The entire bus sequence was shot on a soundstage at L.A.'s Quixote
Studios using a vintage bus in front of LED video walls. " There's a misunderstanding
that when shooting with LED walls you don't need any
additional lighting, but that isn't true if it's just a single back-projection
wall, " Varese says. " If you're not surrounded by emitting screens behind
the camera and on the ceiling, then you still have to light the character.
And shooting in a bus that's supposed to be moving at night in front of
a pretty dark video wall required interactive light. It was a very complex
process, but in the end extremely satisfying. "
Plates were shot from a car driving through Los Angeles. Modern
signs were erased by the VFX team, but cars weren't a concern because
they were below the frame line.
An additional chief lighting technician, Ryan French, was brought in
for the sequence to lessen the load for Kaat, and a team led by rigging
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JULY 2021 / 53
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American Cinematographer - July 2021

Table of Contents for the Digital Edition of American Cinematographer - July 2021

Contents
American Cinematographer - July 2021 - Cover1
American Cinematographer - July 2021 - Cover2
American Cinematographer - July 2021 - 1
American Cinematographer - July 2021 - Contents
American Cinematographer - July 2021 - 3
American Cinematographer - July 2021 - 4
American Cinematographer - July 2021 - 5
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American Cinematographer - July 2021 - 37
American Cinematographer - July 2021 - 38
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American Cinematographer - July 2021 - 40
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American Cinematographer - July 2021 - 43
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American Cinematographer - July 2021 - Cover3
American Cinematographer - July 2021 - Cover4
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