AMERICAN CINEMATOGRAPHER ASCMAG.COM refers to as " LED Wendys " - and 24Ks; the former were bounced into Full Silk to give a soft throw of light, and the latter were employed when hard light was desired. A candle-laden chandelier was rigged overhead with gas flames, and smaller sources dotted the room to illuminate specific areas. To create shafts of light, 10K Molebeams were blasted through haze pumped onto the set. Greenscreen was placed outside the throne-room windows when necessary - but Wagner favored either blowing out the windows for daytime scenes by overexposing the white background outside, or darkening them for night by placing black material over the white. This marked the first time Wagner had used Luxor Lights, and he quickly became enamored with them. " The throw and the quality of the light is amazing. I also liked them for practical reasons. We were shooting through the summer, and it would have been incredibly hot in those sets if we used actual Wendys or purely tungsten lights. " Del Pino was equally impressed with the fixtures. " The rigging gaffer showed me these super punchy LED lights that were round and about 2 feet in diameter, " he says. " I started using them on almost every set. I would make a row of eight or nine of them and put a little bit of thin diffusion in front so it would basically become a 12'x2' source. I liked to put them above windows, just out of frame. " Rhaenyra contends with private grief. NOVEMBER 2022 / 27http://www.ASCMAG.COM http://www.bromptontech.com