American Cinematographer - November 2023 - 30

THREE NIGHTS AT THE CONTINENTAL
Sun covers are mounted to a trio of lifts for an outdoor shoot.
Big Rigs
In preproduction, Boughton produced scale models of the Continental's
exterior - to be constructed at Origo Studios in Budapest - to
aid Rokseth and Episode 1 gaffer Levi Gawrock Trøite with their lighting
plans. (Balázs Vákár gaffed Episodes 2 and 3.) Rokseth centered his
approach on the cool, diffuse quality of natural Scandinavian light, describing
it as " soft light that enters through the windows and quickly
falls off into darkness, with almost no fill in between. Growing up with
soft, natural light around me, the 'Scandinavian' character of light has
become a part of my identity - and, of course, I was also deeply inspired
by another Scandinavian, Sven Nykvist, ASC, FSF. For us, using bigger,
softer sources helped separate the modern [world] of the John Wick films
from The Continental, set in the '70s. "
For daylight interiors, this was accomplished with 12K Fresnel and
18K HMIs, bouncing off 8'x8' or 12'x12' white duvetyn " eyebrows, " which
were rigged outside windows - augmented in close-ups with 4'x4'
white floppy booklights reflecting Arri SkyPanel S30-Cs or S60-Cs on
30 / NOVEMBER 2023
turtle stands. " In front of the booklights, I used various Grid Cloths, depending
on the day and scene, but mostly Full Grid, " says Rokseth. When
structural restrictions limited the use of overhead lighting - as was the
case at Budapest's Stern Studios, home to the Continental's rooftop set
- four 20'x20' bi-color balloon lights were used.
For exteriors filmed outdoors, large, overhead sources were hung
from construction cranes: as many as 25 Arri SkyPanel S60-Cs in 20'x40',
20'x60' and 30'x60' diffused soft boxes outside the Continental set; a
diamond-shaped rig with four S360-Cs and four Robe BFML Blade moving
heads on the Chinatown set at Origo; and a pair of Manitou cranes
with nine Arri SkyPanel S60-Cs in 12'x12' soft boxes could be tilted and
easily repositioned - while also serving as sun covers and rear kickers
- throughout the shoot. " The BFMLs, " Rokseth notes, " were used to
spot and kick background action, such as cars, walls and facades, [and
to] create pools of light [motivated by] practicals on the set. We also used
them to backlight haze in the background.
" I'd never worked with so many big rigs before, and I was afraid of not
PHOTO COURTESY OF PÅL ULVIK ROKSETH / LEVI TRØYTE GAWRON.

American Cinematographer - November 2023

Table of Contents for the Digital Edition of American Cinematographer - November 2023

Contents
American Cinematographer - November 2023 - Cover1
American Cinematographer - November 2023 - Cover2
American Cinematographer - November 2023 - 1
American Cinematographer - November 2023 - Contents
American Cinematographer - November 2023 - 3
American Cinematographer - November 2023 - 4
American Cinematographer - November 2023 - 5
American Cinematographer - November 2023 - 6
American Cinematographer - November 2023 - 7
American Cinematographer - November 2023 - 8
American Cinematographer - November 2023 - 9
American Cinematographer - November 2023 - 10
American Cinematographer - November 2023 - 11
American Cinematographer - November 2023 - 12
American Cinematographer - November 2023 - 13
American Cinematographer - November 2023 - 14
American Cinematographer - November 2023 - 15
American Cinematographer - November 2023 - 16
American Cinematographer - November 2023 - 17
American Cinematographer - November 2023 - 18
American Cinematographer - November 2023 - 19
American Cinematographer - November 2023 - 20
American Cinematographer - November 2023 - 21
American Cinematographer - November 2023 - 22
American Cinematographer - November 2023 - 23
American Cinematographer - November 2023 - 24
American Cinematographer - November 2023 - 25
American Cinematographer - November 2023 - 26
American Cinematographer - November 2023 - 27
American Cinematographer - November 2023 - 28
American Cinematographer - November 2023 - 29
American Cinematographer - November 2023 - 30
American Cinematographer - November 2023 - 31
American Cinematographer - November 2023 - 32
American Cinematographer - November 2023 - 33
American Cinematographer - November 2023 - 34
American Cinematographer - November 2023 - 35
American Cinematographer - November 2023 - 36
American Cinematographer - November 2023 - 37
American Cinematographer - November 2023 - 38
American Cinematographer - November 2023 - 39
American Cinematographer - November 2023 - 40
American Cinematographer - November 2023 - 41
American Cinematographer - November 2023 - 42
American Cinematographer - November 2023 - 43
American Cinematographer - November 2023 - 44
American Cinematographer - November 2023 - 45
American Cinematographer - November 2023 - 46
American Cinematographer - November 2023 - 47
American Cinematographer - November 2023 - 48
American Cinematographer - November 2023 - 49
American Cinematographer - November 2023 - 50
American Cinematographer - November 2023 - 51
American Cinematographer - November 2023 - 52
American Cinematographer - November 2023 - 53
American Cinematographer - November 2023 - 54
American Cinematographer - November 2023 - 55
American Cinematographer - November 2023 - 56
American Cinematographer - November 2023 - 57
American Cinematographer - November 2023 - 58
American Cinematographer - November 2023 - 59
American Cinematographer - November 2023 - 60
American Cinematographer - November 2023 - 61
American Cinematographer - November 2023 - 62
American Cinematographer - November 2023 - 63
American Cinematographer - November 2023 - 64
American Cinematographer - November 2023 - 65
American Cinematographer - November 2023 - 66
American Cinematographer - November 2023 - 67
American Cinematographer - November 2023 - 68
American Cinematographer - November 2023 - 69
American Cinematographer - November 2023 - 70
American Cinematographer - November 2023 - 71
American Cinematographer - November 2023 - 72
American Cinematographer - November 2023 - Cover3
American Cinematographer - November 2023 - Cover4
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