American Cinematographer - November 2016 - 34
◗
Return of the King
but it is also a comedy, so a lot of effort
was put into making the sets as believable
as possible while maintaining a slightly
whimsical comedic tone. They were
designed so that one establishing shot
told you everything you needed to know
about the space and who inhabited it.
Our scenic team did a great job of surface
texturing and aging. The attention to
detail is a credit to all departments."
The sets also had to accommodate
the show's bouts of dismemberment and
skewering. "They had to come apart for
camera and stunt access," Bassett notes.
"In Ash's trailer there were wire-rig points
and breakaway cabinets and windows,
while other sets had soft floors and flyable
ceiling pieces. We also had to consider the
many gallons of blood that get dumped
on the sets. Everything has to be sealed
up so the sets don't turn red over the
course of the shoot."
Cavill and Garbett worked with
Bassett and the art department to
prelight each set with domestic practicals,
including tungsten, fluorescent and LED
sources, embracing the "flaws" of each.
"We could walk onto a set with the base
exposure pretty much in the right place,"
explains Garbett. Bassett adds, "The sets
were 'plug-and-play' - 90 percent lit by
practicals. We didn't overthink the color
temperatures, so there is a great mix of
light that gives a kind of 1980s look, especially with atmosphere layered in. Prior to
Ash vs Evil Dead I had worked on a
succession of shows set before the advent
of electricity, so the chance to use neon
and fluorescent lighting was really exciting, and a lot of effort was put into choosing and building our own practicals."
The cinematographers tended to
maintain a shooting stop of T2.8, and on
sets where space was at a premium, the
actors were typically keyed by either 650watt lamps bounced off of calico sheets,
LiteGear LiteMat 1 LED units or -
most commonly - China balls. For
broader soft key lights, the crew turned to
5Ks or Source Fours again bounced off
thick calico sheets; they also used this
combination as fill in situations when
20Ks were employed to create sunlight or
➣
strong moonlight.
Above: Demon
Spawn surround
Ruby (Lucy
Lawless) as she
clutches the
Necronomicon
Ex-Mortis. Right:
The crew
captures a shot
of a Demon
Spawn attacking
Ruby.
34
November 2016
American Cinematographer
American Cinematographer - November 2016
Table of Contents for the Digital Edition of American Cinematographer - November 2016
Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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