American Cinematographer - July 2021 - 69

AMERICAN CINEMATOGRAPHER ASCMAG.COM
" Ted will always be an outsider in some way. "
Left: Soccer team owner Rebecca Welton (Hannah
Waddingham) introduces her new coach to a skeptical
British press corps. Right: Ted cheerfully expresses his
unequivocal hatred of tea.
Hunt), he is ambushed with a press conference. This is juxtaposed with
a scene of Ted and Coach Beard walking into the team's locker room for
the first time. " The press room shows Ted up against it, " says Rom. " We
framed him often trapped through heads or center-framed fish-out-ofwater
and alone against the terrifying British tabloid media. Handheld
was used to reflect Ted's uneasy state while wider lenses - 18mm and
25mm Tokina [Cinema] Vistas - close to Ted also helped put us inside
his mind. In the locker room, however, Ted walks into a space that he
knows well, even if the deodorant has a different name. We see him wide
in his space [with the aid of 35mm and 50mm Vista lenses], and the
camera pushes in low, showing us that this is a place where he is powerful
and in control. Steadicam, low-angle shots, and steady framing help
show he's not as clueless as the press scene made him out to be.
" Ted will always be an outsider in some way, " the cinematographer
continues. " [Production designer] Paul Cripps' wonderful design
allowed me to photograph Ted in spaces isolated from the rest of the
team, such as through doorways and windows between his office and
the locker room. "
In Episode 7 (directed by Declan Lowney), one of Rom's favorites, " We
follow Ted going from the highs of winning to the lows of a panic attack
and facing the end of his marriage, " he says of a scene that takes place in
a karaoke bar. " These aren't classic topics for a sports comedy, and they
allowed me to use camera and lighting to [accentuate them]. As in the
pilot, specific lenses were used to get inside his head to signify the start
of his panic attack, " as were " chaotic light and darkness. " Here, again, the
cinematographer used the 18mm and 25mm Vista lenses, while " Astera
[LED units] were fixed to walls and controlled during takes to change
color and intensity as Ted's panic heightened. "
Rom, who alternated cinematography duties with John Sorapure,
photographed the series with Arri's Alexa LF. " There were many reasons
to choose a large-format system, from the sports photography - as
large-format wider lenses gave a sense of scale to the arenas and intensity
when moving on the field - to the ability to show actors in their
spaces even when close. We tested every large-format lens we could find
and decided on the Tokina Vista set. I loved how they responded to light
and color. They're fast, had a characterful flare and bokeh, and were light
enough for our Steadicam system. "
- S.D.
JULY 2021 / 69

http://www.ASCMAG.COM

American Cinematographer - July 2021

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Contents
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American Cinematographer - July 2021 - Cover2
American Cinematographer - July 2021 - 1
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