American Cinematographer - November 2013 - 82

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Hard-Rock Apocalypse

Top: As the band
performs
"Cyanide," a
wash of green
light envelops
the stage and
coffin-shaped
lighting rigs -
projecting video
footage of actors
trapped "inside"
them - descend
toward the
stage. Bottom: A
closer view of
the coffin rigs
before they are
deployed.

use hard-edged fixtures in most of my
work," he says. "I like the Vari-Lite
because it's a bright, powerful unit with
pure colors."
Each song in Through the Never
receives its own dramatic presentation.
"Enter Sandman" opens with dreamlike
sweeps of light across the audience.
During "Master of Puppets," the overhead lights are turned off, save for a
82

November 2013

single Lycian 3K follow spot on singer
Hetfield and 12 blue, glowing LED
crosses that rise out of the stage. Flames
fly every which way during the band's
fiery performance of "Fuel." The song
"One," an anti-war number based on
Dalton Trumbo's book Johnny Got His
Gun, opens with massive pyrotechnics
that simulate a terrifying battlefield,
with sweeping red flares, fireworks,
American Cinematographer

eruptions of fire and smoke, and flashing
strobes.
Broderick had already done the
work of establishing the show's color
balance and contrast, so Pados was careful to keep the lighting as designed.
However, he did fine-tune the setup so
the effects could be captured as well as
possible by his camera of choice, the
Arri Alexa. "We were able to swap out
some lights and change the colors -
making them warmer or cooler - if
needed," says the cinematographer, who
notes that he used the Alexa M on the
show's Steadicam rigs and standard
Alexas for the rest of the rigs. "The only
real concern I had was that the nature of
a live show calls for follow spots on the
band so the audience can see them
clearly. John created a wonderful atmosphere, but eliminating [some of ] the
spots really made the stage feel more
dramatic and cinematic.
"Most of the time I was asking for
less light to create more depth and
contrast," continues Pados, who shot all
the performances between a T2.8 and
T5.6 at the Alexa's native ISO 800.
"Most of the overhead lamps were being



American Cinematographer - November 2013

Table of Contents for the Digital Edition of American Cinematographer - November 2013

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
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American Cinematographer - November 2013 - 11
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American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
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American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
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