American Cinematographer - October 2016 - 15

shot so much blue- and greenscreen - this
year in particular, but even in years past
- and we're working on such tight time
schedules with the players, if you're not careful everything is going to end up feeling very
digital and post-heavy. So every year, no
matter what the concept is, it's always my
personal challenge to keep it as real as possible, and that's one of the things I think we
achieved this year.
What equipment was helpful in
achieving that realism?
Ozeas: Arri's SkyPanel has been one
of my favorite lights for the last six months.
It's such a versatile unit. On one set, Carrie is
walking up to the concourse - where the
greenscreen will be replaced with the whole
stadium preparing for Sunday Night Football
- toward a studio that Al Michaels and Cris
Collinsworth are in. For this sequence, we
created three huge soft boxes that we hung
from the perms, creating a large, open, soft
skylight for an interior late-day stadium. They
were 30 feet long by about 10 feet high, and
we put five SkyPanels in each. I added
golden hues to seven of the 15 SkyPanels
- scattering them randomly throughout the
three boxes - and we'd then dissolve back
and forth between the regular skylight that
was 4,000K and this golden hue to give the
feeling of late-day sun and moving clouds.
The second place we used the
SkyPanels was outside of the stadium when
Carrie walks out beneath the fireworks.
Lighting-console programmer Gideon
Markham fed footage of a fireworks show
into our High End Systems Full Boar 4 board,
and it automatically created the colors and
the decay that you would see at a real fireworks show. I was amazed at how realistic it
felt just standing there looking at the light on
your hands. I loved it.
What kind of planning was
involved in shooting each scene such
that they would stitch together for the
appearance of a single take?
Ozeas: The timing really became the
main issue - making sure that the transitions from one scene to the next would be
exactly timed out to the song - and that's
where the animatic from Soho VFX came in
handy. Because the song is created before
we shoot, if we extend one scene too long,
we're kind of stuck. In years past, you could
change the narrative of the edit after we shot

Top: Players from
different NFL
teams hit their
marks while
Underwood
performs the
opening song.
Middle: Soho VFX
created a full
animatic of the
spot to show how
much ground
Underwood had to
cover within each
shot. Bottom:
Cinematographer
Chuck Ozeas
monitors a scene.

www.theasc.com

October 2016

15



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American Cinematographer - October 2016

Table of Contents for the Digital Edition of American Cinematographer - October 2016

Contents
American Cinematographer - October 2016 - Intro
American Cinematographer - October 2016 - Cover1
American Cinematographer - October 2016 - Cover2
American Cinematographer - October 2016 - 1
American Cinematographer - October 2016 - 2
American Cinematographer - October 2016 - Contents
American Cinematographer - October 2016 - 4
American Cinematographer - October 2016 - 5
American Cinematographer - October 2016 - 6
American Cinematographer - October 2016 - 7
American Cinematographer - October 2016 - 8
American Cinematographer - October 2016 - 9
American Cinematographer - October 2016 - 10
American Cinematographer - October 2016 - 11
American Cinematographer - October 2016 - 12
American Cinematographer - October 2016 - 13
American Cinematographer - October 2016 - 14
American Cinematographer - October 2016 - 15
American Cinematographer - October 2016 - 16
American Cinematographer - October 2016 - 17
American Cinematographer - October 2016 - 18
American Cinematographer - October 2016 - 19
American Cinematographer - October 2016 - 20
American Cinematographer - October 2016 - 21
American Cinematographer - October 2016 - 22
American Cinematographer - October 2016 - 23
American Cinematographer - October 2016 - 24
American Cinematographer - October 2016 - 25
American Cinematographer - October 2016 - 26
American Cinematographer - October 2016 - 27
American Cinematographer - October 2016 - 28
American Cinematographer - October 2016 - 29
American Cinematographer - October 2016 - 30
American Cinematographer - October 2016 - 31
American Cinematographer - October 2016 - 32
American Cinematographer - October 2016 - 33
American Cinematographer - October 2016 - 34
American Cinematographer - October 2016 - 35
American Cinematographer - October 2016 - 36
American Cinematographer - October 2016 - 37
American Cinematographer - October 2016 - 38
American Cinematographer - October 2016 - 39
American Cinematographer - October 2016 - 40
American Cinematographer - October 2016 - 41
American Cinematographer - October 2016 - 42
American Cinematographer - October 2016 - 43
American Cinematographer - October 2016 - 44
American Cinematographer - October 2016 - 45
American Cinematographer - October 2016 - 46
American Cinematographer - October 2016 - 47
American Cinematographer - October 2016 - 48
American Cinematographer - October 2016 - 49
American Cinematographer - October 2016 - 50
American Cinematographer - October 2016 - 51
American Cinematographer - October 2016 - 52
American Cinematographer - October 2016 - 53
American Cinematographer - October 2016 - 54
American Cinematographer - October 2016 - 55
American Cinematographer - October 2016 - 56
American Cinematographer - October 2016 - 57
American Cinematographer - October 2016 - 58
American Cinematographer - October 2016 - 59
American Cinematographer - October 2016 - 60
American Cinematographer - October 2016 - 61
American Cinematographer - October 2016 - 62
American Cinematographer - October 2016 - 63
American Cinematographer - October 2016 - 64
American Cinematographer - October 2016 - 65
American Cinematographer - October 2016 - 66
American Cinematographer - October 2016 - 67
American Cinematographer - October 2016 - 68
American Cinematographer - October 2016 - 69
American Cinematographer - October 2016 - 70
American Cinematographer - October 2016 - 71
American Cinematographer - October 2016 - 72
American Cinematographer - October 2016 - 73
American Cinematographer - October 2016 - 74
American Cinematographer - October 2016 - 75
American Cinematographer - October 2016 - 76
American Cinematographer - October 2016 - 77
American Cinematographer - October 2016 - 78
American Cinematographer - October 2016 - 79
American Cinematographer - October 2016 - 80
American Cinematographer - October 2016 - 81
American Cinematographer - October 2016 - 82
American Cinematographer - October 2016 - 83
American Cinematographer - October 2016 - 84
American Cinematographer - October 2016 - 85
American Cinematographer - October 2016 - 86
American Cinematographer - October 2016 - 87
American Cinematographer - October 2016 - 88
American Cinematographer - October 2016 - Cover3
American Cinematographer - October 2016 - Cover4
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