American Cinematographer - October 2013 - 72
◗
Naval Campaign
with the Primo 19-90mm zoom
mounted on the Arri Alexa. Webb operates the Steadicam himself. “I do it for
the creativity,” he says. “We’ll often
utilize [the Steadicam] in combination
with the dolly, and on location I’ll take it
on a Titan crane. We’ll buzz along at 15
mph in motor mode, stop, go into electric, boom down into a close-up as someone gets out of a car, and continue
straight into a walk-and-talk.”
This particular master isn’t quite as
complicated, and when it’s finished, the
crew breaks for lunch. Over a plate of
broccoli and chicken, Webb notes that
after seven seasons of shooting NCIS on
film, CBS and Paramount mandated a
switch to digital acquisition. He recalls,
“My producers were very supportive, as
they always are, and said, ‘Pick any
camera you want.’ So I looked at everything available at that time. Because of
my long relationship with Panavision, we
started with the Genesis, which seemed
to have the least distance to go to achieve
the look we’d been enjoying for seven
seasons.”
After shooting season eight with
the Genesis, Webb was invited to Arri’s
Burbank facility to take a look at the
Alexa. He opted to switch to the Alexa
for season nine and has used the camera
ever since. Upon making the change, he
shot comparison tests, recording from
the Alexa in ProRes 4:4:4 and 4:2:2, and
studied the results at Encore with colorist
George Delaney. “We determined that
the way our show is broadcast, we
couldn’t see a difference, but the time and
cost differential is pretty significant, so
we chose ProRes 4:2:2. Then, I tested the
camera and studied the format until I felt
I knew it as well as the film stocks we
used to use.” (The cameras record to
internally mounted SxS cards, which
loader Victoria Ketcham downloads and
QCs using 1 Beyond’s Wrangler.)
Webb has collaborated with
Delaney since JAG. He describes how
their communication has evolved: “I used
to send him microcassettes daily with my
notes about the light, and I even sent him
pieces of gel and diffusion I was using.
We would also go through scene-by-
Top: DiNozzo
and McGee
monitor the
interrogation
room, visible
through the
glass and lit
with the
custom
“Monster Light”
that hangs
above the
table. Middle:
An overhead
practical and a
clip light on the
worktable
motivate the
lighting for a
night scene
inside Gibbs’
basement.
Bottom: Webb
lights through
the set’s
windows for a
day-interior in
the basement.
72
October 2013
American Cinematographer
American Cinematographer - October 2013
Table of Contents for the Digital Edition of American Cinematographer - October 2013
Contents
American Cinematographer - October 2013 - Cover1
American Cinematographer - October 2013 - Cover2
American Cinematographer - October 2013 - 1
American Cinematographer - October 2013 - 2
American Cinematographer - October 2013 - Contents
American Cinematographer - October 2013 - 4
American Cinematographer - October 2013 - 5
American Cinematographer - October 2013 - 6
American Cinematographer - October 2013 - 7
American Cinematographer - October 2013 - 8
American Cinematographer - October 2013 - 9
American Cinematographer - October 2013 - 10
American Cinematographer - October 2013 - 11
American Cinematographer - October 2013 - 12
American Cinematographer - October 2013 - 13
American Cinematographer - October 2013 - 14
American Cinematographer - October 2013 - 15
American Cinematographer - October 2013 - 16
American Cinematographer - October 2013 - 17
American Cinematographer - October 2013 - 18
American Cinematographer - October 2013 - 19
American Cinematographer - October 2013 - 20
American Cinematographer - October 2013 - 21
American Cinematographer - October 2013 - 22
American Cinematographer - October 2013 - 23
American Cinematographer - October 2013 - 24
American Cinematographer - October 2013 - 25
American Cinematographer - October 2013 - 26
American Cinematographer - October 2013 - 27
American Cinematographer - October 2013 - 28
American Cinematographer - October 2013 - 29
American Cinematographer - October 2013 - 30
American Cinematographer - October 2013 - 31
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American Cinematographer - October 2013 - 33
American Cinematographer - October 2013 - 34
American Cinematographer - October 2013 - 35
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American Cinematographer - October 2013 - 38
American Cinematographer - October 2013 - 39
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American Cinematographer - October 2013 - 43
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