American Cinematographer - September 2017 - 83
The camera and lens package was
provided by Panavision Hollywood,
with assistance from company marketing executive Cathy Peirce Ouellet.
In addition to this episode,
Flinckenberg has shot Episodes 6-9.
The pilot was shot by cinematographer
Ken Seng, known for his work on
Deadpool, and Episodes 2-5 were shot by
Jim Frohna, of Transparent fame.
Mortensen shows us the
Panavised Alexa's modular setup, which
easily converts between studio, handheld
and Steadicam, and features a custom
rear handle. He notes that he prefers to
be on the dolly when such shots are
called for, and to pull focus directly on
the camera whenever possible.
He further explains that Fogal
netting was employed "for every shot.
Panavision has a magnetic net holder in
the mount of the camera - the entire
season was shot with rear-mounted
Fogals. [The effect can be seen in] the
highlights, which was embraced."
During a reset, the Pearlescent
filter is removed, and the framing now
consists of two wide shots. A mirror is
adjusted so both characters are in the
reflection, as Flinckenberg notes the
quality and variation you can achieve "if
you take the time to set it up." Goldie
and Cassie trade veiled aggressions over
multiple takes until Davidson and
Flinckenberg deem they have what they
need.
Production moves on, and en
route Flinckenberg gives us a quick tour
of some of the other sets, many of which
are in phases of breakdown.
We visit the Cellar, where upstart
comics prove their chops. The area's
walls are designed with a dilapidated
cement veneer that's cracked and
exposed to reveal the bricks beneath.
The chairs are now stacked and other set
elements are wrapped in plastic and
ready for removal. Flinckenberg
describes some of the work done down
here, including a 180-degree crane shot
from the stairwell to the performance
space, enacted in these fairly close quarters. As Cross later explains, "This shot
was [performed] with a 35-foot
Club owner Goldie (Melissa Leo, top) meets with Cassie (above) in Goldie's office. The room was
designed to feature elements of the 1970s, as well as earlier eras - the latter evidenced by such fixtures
as the Tiffany lamp - to suggest Goldie's cross-generational sensibilities.
MovieBird telescoping crane from TCC
- Telescopic Camera Cranes."
On our way to the next setup,
production sound mixer Jay Patterson
stops for a quick word with the cinematographer. Flinckenberg enthuses
about the show's "awesome sound guys.
They're a big help."
www.ascmag.com
We arrive at the main club, with
its barroom-grade booths and chairs -
all adorned in burgundy pleather -
facing a black-curtained stage framed by
black brick walls with sconces mounted
on either side. There are built-in
recessed practicals on the ceiling, along
with Par cans and ellipsoidal spots. The
September 2017
83
http://www.ascmag.com
American Cinematographer - September 2017
Table of Contents for the Digital Edition of American Cinematographer - September 2017
Contents
American Cinematographer - September 2017 - Cover1
American Cinematographer - September 2017 - Cover2
American Cinematographer - September 2017 - 1
American Cinematographer - September 2017 - 2
American Cinematographer - September 2017 - Contents
American Cinematographer - September 2017 - 4
American Cinematographer - September 2017 - 5
American Cinematographer - September 2017 - 6
American Cinematographer - September 2017 - 7
American Cinematographer - September 2017 - 8
American Cinematographer - September 2017 - 9
American Cinematographer - September 2017 - 10
American Cinematographer - September 2017 - 11
American Cinematographer - September 2017 - 12
American Cinematographer - September 2017 - 13
American Cinematographer - September 2017 - 14
American Cinematographer - September 2017 - 15
American Cinematographer - September 2017 - 16
American Cinematographer - September 2017 - 17
American Cinematographer - September 2017 - 18
American Cinematographer - September 2017 - 19
American Cinematographer - September 2017 - 20
American Cinematographer - September 2017 - 21
American Cinematographer - September 2017 - 22
American Cinematographer - September 2017 - 23
American Cinematographer - September 2017 - 24
American Cinematographer - September 2017 - 25
American Cinematographer - September 2017 - 26
American Cinematographer - September 2017 - 27
American Cinematographer - September 2017 - 28
American Cinematographer - September 2017 - 29
American Cinematographer - September 2017 - 30
American Cinematographer - September 2017 - 31
American Cinematographer - September 2017 - 32
American Cinematographer - September 2017 - 33
American Cinematographer - September 2017 - 34
American Cinematographer - September 2017 - 35
American Cinematographer - September 2017 - 36
American Cinematographer - September 2017 - 37
American Cinematographer - September 2017 - 38
American Cinematographer - September 2017 - 39
American Cinematographer - September 2017 - 40
American Cinematographer - September 2017 - 41
American Cinematographer - September 2017 - 42
American Cinematographer - September 2017 - 43
American Cinematographer - September 2017 - 44
American Cinematographer - September 2017 - 45
American Cinematographer - September 2017 - 46
American Cinematographer - September 2017 - 47
American Cinematographer - September 2017 - 48
American Cinematographer - September 2017 - 49
American Cinematographer - September 2017 - 50
American Cinematographer - September 2017 - 51
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American Cinematographer - September 2017 - 53
American Cinematographer - September 2017 - 54
American Cinematographer - September 2017 - 55
American Cinematographer - September 2017 - 56
American Cinematographer - September 2017 - 57
American Cinematographer - September 2017 - 58
American Cinematographer - September 2017 - 59
American Cinematographer - September 2017 - 60
American Cinematographer - September 2017 - 61
American Cinematographer - September 2017 - 62
American Cinematographer - September 2017 - 63
American Cinematographer - September 2017 - 64
American Cinematographer - September 2017 - 65
American Cinematographer - September 2017 - 66
American Cinematographer - September 2017 - 67
American Cinematographer - September 2017 - 68
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American Cinematographer - September 2017 - 70
American Cinematographer - September 2017 - 71
American Cinematographer - September 2017 - 72
American Cinematographer - September 2017 - 73
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American Cinematographer - September 2017 - 76
American Cinematographer - September 2017 - 77
American Cinematographer - September 2017 - 78
American Cinematographer - September 2017 - 79
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American Cinematographer - September 2017 - 81
American Cinematographer - September 2017 - 82
American Cinematographer - September 2017 - 83
American Cinematographer - September 2017 - 84
American Cinematographer - September 2017 - 85
American Cinematographer - September 2017 - 86
American Cinematographer - September 2017 - 87
American Cinematographer - September 2017 - 88
American Cinematographer - September 2017 - 89
American Cinematographer - September 2017 - 90
American Cinematographer - September 2017 - 91
American Cinematographer - September 2017 - 92
American Cinematographer - September 2017 - 93
American Cinematographer - September 2017 - 94
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American Cinematographer - September 2017 - 97
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American Cinematographer - September 2017 - 101
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American Cinematographer - September 2017 - Cover3
American Cinematographer - September 2017 - Cover4
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