American Cinematographer - August 2014 - 63

Mexico. During the real eclipse, he
recalls, "the light was very sharp and
concentrated, and then it went into
dusk with a 360-degree sunset. It's an
extraordinary look."
One sequence that transpires
beneath the dusky sky finds
Goodweather stuck in traffic as masses
of people head to Times Square to view
the eclipse. Meanwhile, episode one's
airplane pilot, now a vampire, has
escaped the authorities - and with the
sun blocked, he's ready to binge.
The sequence was shot in
Hamilton, a one-hour drive from
Toronto, during the coldest winter in 20
years. The crew shot during the day, so
Beristain's approach was to underexpose
by two stops and have the sky further
darkened in post. In an effort to avoid
contrast from direct sunlight, the
production chose a street with buildings
tall enough to block out light from the
road. However, when sunlight hit the
buildings on the far side of the street,
Beristain had to fill the shadows. "I
couldn't have gigantic lights because I'd
get specular reflections on the cars," the
cinematographer explains. "Scotti and I
decided to go with more compact,
punchy fixtures." In this case, the main
light was an Arri M40, but the crew
also employed a few M18s and a
Cinemills Par-Nel.
Baszak (whose credits include
the feature Land of the Dead and the
series The Firm) stepped in beginning
with episode four, after shooting 2ndunit material alongside Del Toro for the
pilot so he could get a feel for The
Strain's visual language. He's enthused
to report that Del Toro afforded
creative freedoms to each of the series'
directors. "They each had their choices
and preferences, and the nature of each
episode is different," he says. "In the
end, there's what was required to maintain the look of the show, and there's
what each director brought. That was
exciting; I worked with very good directors who were so different [from one
another]," including Peter Weller, Keith
Gordon, Charlotte Sieling and John
➣
Dahl.

A digital version of The Master was created to match Del Toro's vision of the malevolent character,
who, Mr. X President Dennis Berardi explains, moves with "a spider-like walk, with tentacles
reaching out of him."

www.theasc.com

August 2014

63


http://www.theasc.com

American Cinematographer - August 2014

Table of Contents for the Digital Edition of American Cinematographer - August 2014

Contents
American Cinematographer - August 2014 - Cover1
American Cinematographer - August 2014 - Cover2
American Cinematographer - August 2014 - 1
American Cinematographer - August 2014 - 2
American Cinematographer - August 2014 - Contents
American Cinematographer - August 2014 - 4
American Cinematographer - August 2014 - 5
American Cinematographer - August 2014 - 6
American Cinematographer - August 2014 - 7
American Cinematographer - August 2014 - 8
American Cinematographer - August 2014 - 9
American Cinematographer - August 2014 - 10
American Cinematographer - August 2014 - 11
American Cinematographer - August 2014 - 12
American Cinematographer - August 2014 - 13
American Cinematographer - August 2014 - 14
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American Cinematographer - August 2014 - 16
American Cinematographer - August 2014 - 17
American Cinematographer - August 2014 - 18
American Cinematographer - August 2014 - 19
American Cinematographer - August 2014 - 20
American Cinematographer - August 2014 - 21
American Cinematographer - August 2014 - 22
American Cinematographer - August 2014 - 23
American Cinematographer - August 2014 - 24
American Cinematographer - August 2014 - 25
American Cinematographer - August 2014 - 26
American Cinematographer - August 2014 - 27
American Cinematographer - August 2014 - 28
American Cinematographer - August 2014 - 29
American Cinematographer - August 2014 - 30
American Cinematographer - August 2014 - 31
American Cinematographer - August 2014 - 32
American Cinematographer - August 2014 - 33
American Cinematographer - August 2014 - 34
American Cinematographer - August 2014 - 35
American Cinematographer - August 2014 - 36
American Cinematographer - August 2014 - 37
American Cinematographer - August 2014 - 38
American Cinematographer - August 2014 - 39
American Cinematographer - August 2014 - 40
American Cinematographer - August 2014 - 41
American Cinematographer - August 2014 - 42
American Cinematographer - August 2014 - 43
American Cinematographer - August 2014 - 44
American Cinematographer - August 2014 - 45
American Cinematographer - August 2014 - 46
American Cinematographer - August 2014 - 47
American Cinematographer - August 2014 - 48
American Cinematographer - August 2014 - 49
American Cinematographer - August 2014 - 50
American Cinematographer - August 2014 - 51
American Cinematographer - August 2014 - 52
American Cinematographer - August 2014 - 53
American Cinematographer - August 2014 - 54
American Cinematographer - August 2014 - 55
American Cinematographer - August 2014 - 56
American Cinematographer - August 2014 - 57
American Cinematographer - August 2014 - 58
American Cinematographer - August 2014 - 59
American Cinematographer - August 2014 - 60
American Cinematographer - August 2014 - 61
American Cinematographer - August 2014 - 62
American Cinematographer - August 2014 - 63
American Cinematographer - August 2014 - 64
American Cinematographer - August 2014 - 65
American Cinematographer - August 2014 - 66
American Cinematographer - August 2014 - 67
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American Cinematographer - August 2014 - 70
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American Cinematographer - August 2014 - Cover3
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