American Cinematographer - July 2022 - 43
AMERICAN CINEMATOGRAPHER ASCMAG.COM
Tech Specs:
2.39:1
Cameras | Sony Venice
Lenses | Panavision prototype spherical, G Series; Venus Optics
Laowa probe lens
captured with Panavision G Series anamorphics, which presented a
sharper, harsher world: " They were great in terms of sharpness and their
flaring, which I felt was not as intimate as the sphericals. "
The show was shot in 6K to retain image quality for the 2.39:1 extraction
from the spherical footage. " We created different LUTs after
having the spherical lenses manipulated by [ASC associate] Dan Sasaki
at Panavision, " Maddox-Upshaw adds. " They were designed to complement
our approach to skin tone, warmth and flares. "
The contrasting looks of the worlds were also reflected in the lighting.
" I tried to make sure there was always a level of warmth when it came to
the Falls family. I was a bit more aggressive in mixing colors, and I used
stronger sun backlight, in part because the scenes were in New Mexico.
After that, you can figure out what's cold and institutionalized in these
other storylines. " The production shot exteriors for these scenes in AlmerÃa,
Spain, while the rest of the show was produced outside London.
To pass the baton to the other cinematographers on the series -
Adam Gillham for Episodes 5, 6, 9, and half of 10; Balazs Bolygo, BSC,
HSC, for Episodes 7 and 8 - Maddox-Upshaw supplied a look bible detailing
his work. " I created a PDF that went through about six iterations
of the visual arc and design for the show, and then Alex shaped it with
his ideas. Once we got to a spot we both really liked, we presented it to
Showtime. "
Also key to maintaining a consistent look across 10 episodes were
gaffer Wayne Shields and key grip Robert Fischer, who worked on the
entire show. As new filmmakers cycled through the production, " they
kept people on point, " Maddox-Upshaw says.
JULY 2022 / 43
Collaborative Trust
Kurtzman and Maddox-Upshaw didn't meet in person until the cinematographer
landed in London for prep, and their Zoom conferences dovetailed
smoothly into a close in-person collaboration.
" If you ever find a collaborator [with whom] it's easy to create moments,
try to hold onto them, " Maddox-Upshaw advises. " Value that relationship. "
Like him, Kurtzman was nervous at the outset about doing
this update to the classic sci-fi feature. " It was like, 'Let's jump together,' "
the cinematographer says of their collaboration. " It was very Thelma &
Louise: You go off the cliff together, and neither of you holds back. "
http://www.ASCMAG.COM
American Cinematographer - July 2022
Table of Contents for the Digital Edition of American Cinematographer - July 2022
Contents
American Cinematographer - July 2022 - Cover1
American Cinematographer - July 2022 - Cover2
American Cinematographer - July 2022 - 1
American Cinematographer - July 2022 - Contents
American Cinematographer - July 2022 - 3
American Cinematographer - July 2022 - 4
American Cinematographer - July 2022 - 5
American Cinematographer - July 2022 - 6
American Cinematographer - July 2022 - 7
American Cinematographer - July 2022 - 8
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American Cinematographer - July 2022 - 20
American Cinematographer - July 2022 - 21
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American Cinematographer - July 2022 - 34
American Cinematographer - July 2022 - 35
American Cinematographer - July 2022 - 36
American Cinematographer - July 2022 - 37
American Cinematographer - July 2022 - 38
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American Cinematographer - July 2022 - 40
American Cinematographer - July 2022 - 41
American Cinematographer - July 2022 - 42
American Cinematographer - July 2022 - 43
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American Cinematographer - July 2022 - Cover3
American Cinematographer - July 2022 - Cover4
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