American Cinematographer - October 2017 - 52

◗

Fear Itself

The Losers follow
Pennywise into
the Derry sewer
system.

on this project has included a chase
scene through the curving tunnel
system, as well as a shot through the
hallway at the protagonists' school, shot
in Ancaster, an hour south of Toronto.
Ideally, the cinematographer
prefers shooting with a single camera.
"The lighting is faster and more
intense," he explains. "If I want to keep
a lighting setup for one camera, I'll tell
Andy and we'll use one camera. But it's
usually not a problem making a little
sacrifice and having the second camera,
because directing the actors is also very
important. I don't want a movie that's
52

October 2017

just technically great. I want a good
balance and I'm happy to compromise."
The multiple-camera setup was
the impetus behind the placement of
permanent lights on the sewer set's ceiling. Galbraith's team has clamped 17
Kino Flo Image 85s with daylight tubes
to a pipe rigged to the ceiling around the
set's top hole - motivated by daylight
coming through - along with tungsten
Vari-Lite VL1000s to provide backlight
from any angle, and to slightly illuminate the walls and toy tower.
Atmospheric smoke gives shape to the
light. Sometimes as few as three of the
American Cinematographer

eight tubes in each Image 85 are turned
on, in order to keep the ambience down.
Andrew Read programs the lights
through a GrandMA console. "We
would turn on a handful at a time
depending on the direction of the shot,"
Chung later notes.
At a stopping point, Chung and
Galbraith discuss the level of intensity
of Kino Flo Celeb LED DMX lights
used to scrape the walls. "They allow us
to control the color temperature and
density pretty quickly," Galbraith later
explains. "And we're using egg crates
with most of them so the light doesn't
spill. We want it dark, but we also want
a touch of detail on the walls - 'movie
black,' if you will."
The sewer scene is further lit by a
flashlight held by one of the Losers.
Chung wanted the kind of flashlights
used 30 years ago, but the technology
has changed and the props department
couldn't find a manufacturer still
making them. As Galbraith explains,
"Our props people retrofitted some
modern LED-based flashlights into the
old-school housing. We then diffused
the front glass as needed, and added a
gel to get the color temperature we
wanted." The bright glare of the flashlight in the Cistern produces periodic



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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