American Cinematographer - October 2017 - 51

After Pennywise is
spotted at the
Neibolt house, the
Loser's Club returns
to the site to
confront the
malevolent spirit.

feel the volume of their faces. It brings
me closer to their circumstance, their
spirit and soul. But sometimes if a
21mm close-up looked funny, we might
go up to a [35mm]."
AC is on set for the 51st day of
shooting, and we are observing the
action in Pinewood Toronto's cavernous
15,000 square-foot Stage 2. This
sequence is set in a sewer called the
Cistern, which Paré has transformed
into a hellish vision of filth and decay.
The former reservoir is now Pennywise's
lair, where he will appear and engage the
kids in battle. Around the room are various sewer mouths - some with water
pouring down and backlit with a variety
of small, hidden Kino Flos.
"We used [the Kino Flos] to
provide a backlight to the trickles of
water," gaffer Michael Galbraith says.
"We started off using 2-foot doubles
with daylight bulbs and used only one
bulb set to low output, but we started to
be very selective with which sewer pipes
would have the trickle of water running,
so if there was no water we would turn
the fixtures off."
The Cistern floor is muddy and
full of puddles - most of the crew wear
rubber boots - and in the center, atop
an old circus wagon, stands a towering
pile of old children's toys and clothes
from Pennywise's victims, spanning at
least a century. A hole in the ceiling
ostensibly extends, funnel-like, to the
surface above. Greenscreen is in place
along the set for digital extension.
In the scene, the Losers emerge

from a tunnel into the Cistern. Their
flashlight reveals Beverly suspended
high off the ground, in the grip of
Pennywise's supernatural powers - and
as such, Lillis is held up by cables that
will be removed in post. The Losers pull
down the catatonic girl, as the crew
captures a wide low-angle shot and various close-ups. With each new take,
water starts flowing again and Lillis is
hoisted back up.
www.ascmag.com

Though the crew usually runs
two cameras - as Muschietti likes
coverage of his ensemble cast - today
they bring in a third for a while as well.
The setup has the A camera on a
Technocrane 50 for an angle on the
floating Beverly, while two other
cameras on dollies cover the action on
the ground.
Though generally not a fan of
Steadicam movement, Chung's use of it
October 2017

51



http://www.ascmag.com

Table of Contents for the Digital Edition of American Cinematographer - October 2017

Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
American Cinematographer - October 2017 - 10
American Cinematographer - October 2017 - 11
American Cinematographer - October 2017 - 12
American Cinematographer - October 2017 - 13
American Cinematographer - October 2017 - 14
American Cinematographer - October 2017 - 15
American Cinematographer - October 2017 - 16
American Cinematographer - October 2017 - 17
American Cinematographer - October 2017 - 18
American Cinematographer - October 2017 - 19
American Cinematographer - October 2017 - 20
American Cinematographer - October 2017 - 21
American Cinematographer - October 2017 - 22
American Cinematographer - October 2017 - 23
American Cinematographer - October 2017 - 24
American Cinematographer - October 2017 - 25
American Cinematographer - October 2017 - 26
American Cinematographer - October 2017 - 27
American Cinematographer - October 2017 - 28
American Cinematographer - October 2017 - 29
American Cinematographer - October 2017 - 30
American Cinematographer - October 2017 - 31
American Cinematographer - October 2017 - 32
American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
American Cinematographer - October 2017 - 47
American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
American Cinematographer - October 2017 - 52
American Cinematographer - October 2017 - 53
American Cinematographer - October 2017 - 54
American Cinematographer - October 2017 - 55
American Cinematographer - October 2017 - 56
American Cinematographer - October 2017 - 57
American Cinematographer - October 2017 - 58
American Cinematographer - October 2017 - 59
American Cinematographer - October 2017 - 60
American Cinematographer - October 2017 - 61
American Cinematographer - October 2017 - 62
American Cinematographer - October 2017 - 63
American Cinematographer - October 2017 - 64
American Cinematographer - October 2017 - 65
American Cinematographer - October 2017 - 66
American Cinematographer - October 2017 - 67
American Cinematographer - October 2017 - 68
American Cinematographer - October 2017 - 69
American Cinematographer - October 2017 - 70
American Cinematographer - October 2017 - 71
American Cinematographer - October 2017 - 72
American Cinematographer - October 2017 - 73
American Cinematographer - October 2017 - 74
American Cinematographer - October 2017 - 75
American Cinematographer - October 2017 - 76
American Cinematographer - October 2017 - 77
American Cinematographer - October 2017 - 78
American Cinematographer - October 2017 - 79
American Cinematographer - October 2017 - 80
American Cinematographer - October 2017 - 81
American Cinematographer - October 2017 - 82
American Cinematographer - October 2017 - 83
American Cinematographer - October 2017 - 84
American Cinematographer - October 2017 - 85
American Cinematographer - October 2017 - 86
American Cinematographer - October 2017 - 87
American Cinematographer - October 2017 - 88
American Cinematographer - October 2017 - Cover3
American Cinematographer - October 2017 - Cover4
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