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editors view

DiamonDs are ForeverJ udging our yearly NAB Best in Show Digital Video Black Diamond Awards isnt pretty. We shut our editors, writers and tech experts in a window-less room, bury them in brochures and spec sheets, and feed them nothing but Twizzlers and diet soda. Despite the Twizzlers hangover, every year I am excited about the discoveries made on the NAB Show exhibit floor and the technological innovations these products reflect. I love the moment when a judge extracts something from a backpack pocket and says, Can you believe nobody thought of this before? These are the innovations we think will allow you to work faster and smarter.

Well cover each of the Black Diamond Award-winning products in our June issue, but I couldnt wait to tell you about the tools and technologies we recognized. This years Black Diamond Award recipients are:

Editorial Director

Digital Video magazine

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p: 310-429-8484

e: [email protected]

Twitter: @DigitalVideomag

Pinterest: pinterest.com/digitalvideomag

eDitorialeditorial director Cristina Clapp [email protected]

managing editor Katie Makal [email protected]

tecHnical editor Jay [email protected]

Web editor Sarv Taghavian,[email protected]

contributing editors Jay Ankeney, Chuck Gloman, David Heuring, John Merli, Carl Mrozek, Oliver Peters, Geoff Poister, Dick Reizner, Stefan Sargent, Jon Silberg, Ned Soltz, Jennifer Wolfe, Joy Zaccaria

aDvertising east coast sales manager Susan Shores [email protected] 212. 378.0400 Ext. 528

West/central sales manager Jeff Victor [email protected] 224. 436. 8044

europe sales director Graham Kirk [email protected] +44 1223 911224

digital video expo sales Contact your Digital Video representative

classified ad sales Susan Shores [email protected] 212. 378. 0400 Ext. 528

art & proDuctionsenior art director Nicole Cobban associate art director Walter Makarucha, Jr.production manager Davis White 703. 852. 4615 [email protected]

advertising coordinator Caroline Freeland [email protected]

circulationgroup director, audience development Meg Estevezcirculation manager Kwentin Keenancirculation customer service Michele Fonville

subscriptions DV, P.O. Box 221, lowell, MA 01853Telephone: 888-266-5828 (uSA only, 8:30 a.m. - 5 p.m. EST) 978-667-0352 (Outside the uS) Fax: 978-671-0460 E-mail: [email protected]

newbay meDia viDeo/broaDcast groupexecutive vice president | group publisHer Carmel Kingvp sales | group publisHer Eric Trabbeditorial director - video Cristina Clappeditorial director - broadcast Paul J. MclaneWeb director Ragan Whiteside-Johnsononline production manager Robert Granger

newbay meDia corporatepresident & ceo Steve PalmcHief financial officer Paul Mastronardicontroller Jack leidkevice president of digital media Joe Ferrickvice president of audience development Denise Robbinsvice president of Human resources Ray Vollmervice president of production & manufacturing Bill Amstutz

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list rental 914. 925. 2449 [email protected] reprints anD permissions Please contact our Reprint Coordinator at Wrights Media: 877. 652. 5295 publisheD byNEWBAy MEDIA llC28 E 28th Street, 12th Floor New york, Ny 10016 Tel: 212. 378. 0400 Fax: 212. 378. 0470Web: www.nbmedia.com

videodigital

vol. 21 | no. 5 05.2013

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2S Zoom lens Astrodesign 4K Camera System axle Video axle Gear Blackmagic Design Blackmagic Pocket

Cinema Camera Blackmagic Design HyperDeck Studio Pro

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creativeplanetnetwork.com/dv | 05.20134

05.2013 | vol. 21 | no. 5

feature 18 Game of Thrones

The Reality of Production on HBOs Fantasy Series

departments 3 Editors View 6 Update 80 Company Index 81 Classifieds 81 Advertiser Index

Digital Video (ISSN 1541-0943) is published monthly by NewBay Media L.L.C. at 28 E 28th Street, 12th Floor, New York, NY, 10016. Telephone: 212-378-0400. Periodicals post-age paid at New York, New York, and at additional mailing offices. U.S. subscription rate is $29.97 for one year; Mexico and Canada are $39.97 (including GST); foreign airmail is $79.97; back issues $7. Prepayment is required on all foreign subscriptions in U.S. funds drawn on a U.S. bank. All rates are one year only. Digital Video, Videography, Digital Content Producer, Millimeter, Digital Cinematography, Cinematographer, 2-pop, Reel Exchange and Creative Planet Network are trademarks of NewBay Media L.L.C. All material published in Digital Video is copyrighted 2013 by NewBay Media L.L.C. All rights reserved. postmaster: Send address changes to Digital Video, Subscription Services, P.O. Box 221, Lowell, MA 01853. Return undeliverable Canadian addresses to Bleuchip International, P.O. Box 255542, London, ON N6C 6B2. Digital Video makes every effort to ensure the accuracy of all information published in the magazine; however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA.

LOOK26 Oh My God Shooting Louis C.K.s 360-Degree Stand-Up Special30 Cinema History and Mystery Seeing The Shining from Every Angle in Room 23733 Wall of Sound (And Visuals) Barbara Tulliver Edits Phil Spector36 Philip Roth: Unmasked Documenting the Authors Life, Literature and Legacy38 Data Streams and Bad Dreams Inside Hemlock Grove, Eli Roths Netflix Series

LUST42 Blackmagic Cinema Camera New Possibilities for Production and Post48 Package and Platform FxFactory 4 Offers an Innovative and Integrated Range of Effects

52 Finishing School In the Editing Suite with Autodesk Smoke 201356 When Your iPad Is Your Post House Three Apps for Education and Editing

61 Toolkit Showcasing New Gear

LEARN64 4K Forays First Footage from the Canon EOS-1D C Camera70 Tips to Clip71 Instant Expert: Capture, Share, Compare Social Video for Fun and Profit74 DV101: Filtration Situation Investigating Infrared-Cutting Filters for ARRIs Alexa

82 Production Diary: Ch Ch Ch Ch Changes Turn and Face the Strain

26

contents

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The immersive environment for the traveling museum exhi-bition Spectacle: The Music Video was designed by Alexei Tylevich and creative studio Logan. At the Museum of the Moving Image in Long Island City, New York, until June 23, Spectacle provides a look at the history-so-far of the music video, exploring more than 40 years of filmmaking and music with an absorbing collection of physical, web and print components.

Tylevich, Logans founder, collaborated with Jonathan and Meg Wells to create the exhibition, devising the show title, classifying and defining the thematic groupings within the show, and determining the best way to display the various videos. Logan was responsible for every aspect of the exhibition design, including 3D installations, projections, displays, typography, signage systems and 2D wall graphics. This exhibition gives a

fantastic overview of the origins and the history of the medium, Tylevich says.

Adapting the three-dimensional design and layout of the show to each location is quite a challenge, he continues. The museum venues are all very different in terms of spatial layout, available floor space and available A/V equipment, so it was important that we created an exhibit that could transform and conform to each location but still

retain its defining aspects and look.

update

Logan Crafts Spectacle: the MuSic Video InstaLLatIon

onlineRead more about Spectacle: The Music Video at creativeplanetnet-work.com/dv/May2013

Re-created environment for the Steriogram video Walkie Talkie Man, directed by Michel Gondry, featuring production design by Lauri Faggioni, in the exhibition Spectacle: The Music Video at the Museum of the Moving Image.

photos by eric harvey brown / m

useum of the movin

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Beast, Company 3, method deliver for nike

B east, Company 3 and Method Studios collabo-rated on postproduction ser-vices for No Angel, a Nike commercial for the Los Angeles market directed by Brigg Bloomquist for agency Union Made Creative. The commercial brings together several storylines to create an evocative portrait of an athletes life.

Working with Bloomquist and Union Made CCO Keith Cartwright, Beast editor Morgan Bradley unified the narrative into an inspiring look at athletic determination. Method Studios senior Flame artist Bruno Fukumothi joined the project to add touches of drama and emotion to the visuals, and Company 3 colorist Tyler Roth graded the spot, noting, It was important for us to create a look that felt like Nike but at the same time was distinctly Los Angeles. We found that by sneaking hints of sunlight or gradated warmth into the sky, even the darker, grittier scenes took on an L.A. glow.

yU+co Crafts Titles for Oz the Great and Powerful

D irector Garson Yus main and end title sequences for Sam Raimis film Oz the Great and Powerful pay homage to the history of cinema, specifically the techniques and styles found in silent movies. We wanted to create a tone that was magicala surreal voyage that used traditional techniques of physical special effects to expose the trickery behind the magic, yU+cos Garson Yu explains. The sequence intentionally shows wires connected to floating bubbles and sticks attached to the levitated objects and typography.

Opening on the twinkling stars of the Disney logo, the sequence begins as the camera pulls back to reveal the audience is viewing the titles through a 3D dioramaa paper theater. To the music box-inspired score by Danny Elfman, the camera pushes through the diorama set as titles move in concert with ever-changing Oz images, such as floating bubbles, flying monkeys, swirling tornado winds and a crystal ball.

onlineExtended versions of these articles are available at creativeplanetnetwork.com/dv/May2013

Update

B roadcast live to 600,000 fans online, the King of Hammers race combines every off-road discipline imaginable, from desert racing to rock crawling and short course. This years event, held in February, was shot on a combina-tion of eight Sony NEX-FS700, NEX-VG20 and PMW-EX3 cameras. Producer Dan Campbell-Lloyds crew recorded segments of the race in the Apple ProRes 422 codec in the field, utilizing an ATV, a helicopter and AJAs Ki Pro Mini digital

video recorder.The Ki Pro Mini also played an integral

role in the playback workflow, which called on technology including an AJA Io HD, Apple MacBook Pro, Thunderbolt monitor and drive, eSATA drive and FireWire 800 hub. Signals from five satellite microwave dishes in the field were fed to a NewTek TriCaster 850 EX multi-camera production system using a combination of 30 AJA Mini-Converters.

king of hammers 2013 goes off road and online

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4@TheAVClub Before Midnight trailer: Ethan Hawke and Julie Delpy are still walking and talking avc.lu/ZrqExG

4@PBSAmerMasters Watch a preview for the upcoming #AmericanMasters film, Mel Brooks: Make A Noise to.pbs.org/10BTv4L

4@documentarysite J.D. Salinger to get the big-screen treatment in a new documentary usat.ly/WQeEKX

4@flavorwire Watch Pharrell Williams and Nile Rodgers Jam with Robots in Teaser for Daft Punks Random Access Memories bit.ly/16Uu3M4

4@iamcolinquinn Mad Men should have a future episode where Don dreams about having to do a viral campaign. Then he wakes up in a sweat. What a dream!

4@akstanwyck Why Filmmakers Should Think Beyond Facebook dlvr.it/3Cvxvk

4@filmcourage The Biggest Mistake Filmmakers Make Marketing Their Films, by Sheri Candler bit.ly/YLPfOE

4@DigitalDuckInc Through the Lens Conversations with Cinematographers ow.ly/jliH9

4@R1chardBentley 10 months of HARD slog. Worlds first sci-fi-lapse? fb.me/16s0ncIc8

4@simondumenco Syfy Bets on Social TV with Suite of Interactive Shows j.mp/10WlzPm

Twitter Feed

onlineDigital Videos Twitter feed is at twitter.com/DigitalVideomag

Update

Gordon Lonsdale, ASC, shoots Foxs Bones with ARRI Alexa cameras, Angenieux Optimo zooms and Leica primes, with Lonsdales two operators using OConnor 120EX fluid heads supplied by Otto Nemenz. Lonsdale often puts his cameras in challenging positions, especially on shots where the lead actors are investigating a grisly death. The cinematogra-pher explains, This is often where the strength of the heads allows us to use the long lenses and to put my Z-plate on the head and hang

it upside down with the camera, complete with zoom, skimming across the ground for many shots.

Ive gone to other extremes, putting the camera eye level with water in a stream or lake and have put down a tripod and the OConnor headall underwater, Lonsdale continues. I knew the head would continue to work and that my camera would be supported.

C lick 3X provided editing, graphics, visual effects and color grading for a four-spot campaign promoting this years MTV Movie Awards. Featuring 2013 VMA host Rebel Wilson and actor Channing Tatum, the campaign spoofs Tatums upcoming White House Down with spots portraying the action star outrunning his attackers in a bullet-riddled SUV, with an obliviously lovestruck Wilson as his passenger.

To create the scenes, Click 3X transformed a windshield-less SUV shot on rollers on a greenscreen stage into a fast-moving battle-scarred escape vehicle with the help of moving light rigs, stock and custom elements, and

greenscreen comps melded to background footage from White House Down. Click 3X creative director Mark Szumski then applied a color grade that emulates the feel of a blockbuster action film.

Click 3X Delivers Action-Packed VMA Promos

NEWs

Bones GEts support from oCoNNor

Brennan (Emily Deschanel) examines a skull found at a murder scene in the Bones episode The Maiden in the Mushrooms.

Director of photography Gordon Lonsdale, ASC

photo by ray mickshaw

/fox

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On the Creative Planet Network

4New York MiNute StretcheS iNto New York hour Artist James Nares film Street, screening at New York's Metropolitan Museum of Art through May 27, transforms three minutes of real-time video into an ethereal art piece. Using a Vision Research Phantom camera, Nares recorded material on the streets of Manhattan in six-second bursts. He then greatly slowed his source material and edited the results to 61 minutes of steady, continuous motion.

4traciNg the Life of tiM hetheriNgtoN Shortly after the release of his documentary Restrepo in 2011, photographer and filmmaker Tim Hetherington was killed by mortar fire in Libya, where hed been covering the civil war. Illuminating the risks of the combat journalists profession, the documentary Which Way Is the Front Line from Here? is directed by Hetheringtons friend and frequent collaborator, Sebastian Junger. Tim was very brave, not only in combat but in life, says Junger. The artistic choices he made were incredibly risky, but he was very sure of himself and wound up completely reinventing his craft.

onlineGo online to read more and view additional images and video: creativeplanetnetwork.com/dv/May2013

Update

Bad Robot Productions, the production company behind the new Star Trek fran-chise, including the upcoming Star Trek Into Darkness, invested in an SGO Mistika conform and stereo 3D system. The system is installed in Bad Robots in-house production services

operation, Kelvin Optical. According to Bad Robot production executive Ben Rosenblatt, Mistika has opened up an entirely new world of workflow efficiency and quality control to us by bringing high-end finishing capabilities inside our facility.

Bad RoBot SelectS MiStika foR Star trek Into DarkneSS

G reg Barkers documen-tary Manhunt follows the decade-spanning journey toward the capture and killing of Osama bin Laden. The film debuted to positive reviews at the 2013 Sundance Film Festival. To augment the story, The Mill L.A. created graphic elements that included lay-ers of research data, Al Qaeda network information and CIA documents. I read all of the source material and some dense historical books that allowed me to understand the history of the manhunt, says Mill L.A. creative director and designer Manija Emran.

She adds that her collaboration with the director, editor, archive researcher and producers of the documentary enabled the titles to be even deeper and more layered, as the graphics needed to emphasize the key moments in the complex story.

NeWS

tim hetherington (left) and Sebastian Junger

Spock (Zachary Quinto) and captain kirk (chris Pine) in Star Trek Into Darkness

photo by zade rosenthal

The Mill Adds Graphic Texture to Manhunt

DV_05_13_v5.indd 12 4/18/13 1:00 PM

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3Our NixON: The ArT of The ArchiveThroughout Richard Nixons presidency, three of his White House aides documented their experiences with Super 8

cameras; this visual record was seized by the FBI during the Watergate investigation, then filed away and forgotten

for almost 40 years. The documentary Our Nixon from director Penny Lane, constructed entirely of archival material,

presents these movies for the first time, along with other rare footage, creating a complex portrait of the Nixon presidency.

The WhiTney To PresenT hockney video insTAllATionThis spring, New Yorks Whitney Museum presents the The

Jugglers, June 24th 2012, artist David Hockneys first video installation. Filmed with 18 fixed

cameras, the piece follows jugglers as they move in a procession across a grid of eighteen

screens. Curator Chrissie Iles explains, David Hockney surprises us once again, exploring

how multiple perspectives can transform our experience of the moving image.


SXSW StreamS With NeWtek triCaSter

The 10-day South by Southwest Festival (SXSW), held in Austin, Texas, in March, used NewTek TriCasters to broadcast events, including music showcases, keynote speakers and convergence panels, on the festivals live stream page at www.sxsw.com/live.

Fans of SXSW want more live content, says Russ Hull, pro media tech producer with SXSW. By using three TriCaster systems, our production team made some of the top festival content available to our loyal community members who werent able to make it to Austin this year.

SXSW is one of the most elite festivals of its kind and its increasing popularity makes it more important than ever to expand the show through live streaming, says Philip Nelson, senior vice president of artist and media relations at NewTek.

Gentleman Scholar Goes Wild for Spring Breakers

D irector Harmony Korine collaborated with creative studio Gentleman Scholar on the opening title sequence for his film Spring Breakers, and together they devised a testament to hallucinatory visual excess. The designers found inspiration in the day-glo aesthetics of their own Los Angeles surroundings. Recalls GS creative William Campbell, We went to a Santa Monica beach and explored around there, drawing on the kitschy local beach community look. We had illustrators and artists on the boardwalk create little things that we eventually drew from for the titles.

Mixing a neon color scheme with lettering that recalls both designer Lisa Frank and old-school Las Vegas, the Gentleman Scholar creatives worked with Korine to match the tone of the title sequence to the films story. Says GS creative Will Johnson, This is the kind of work we love to do.

Trending Online (Links at creativeplanetnetwork.com/dv/May2013)

Update NeWS

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Q&A

B est known for his portrayal of larger-than-life Baltimore mom Edna Turnblad in John Waters Hairspray, Divine, ne Harris Glenn Milstead, spent two decades as Waters muse, collaborator and leading lady. The documen-tary I Am Divine, produced and directed by Jeffrey Schwarz, offers a tender look at the life of an artist who was committed to an in-your-face style, and also committed to his friends, family and the sweet side of life.

Did you make specific choices for production equipment based on a look you were going for?Jeffrey Schwarz: This being an indie documentary, we filmed the interviews catch-as-catch-can with various cameras and different DPs over several years. I worked with some excellent cinematographers in Los Angeles, New York, San Francisco and Baltimore and bow down to their expertise. Our online and color maestro, Michael Garber, helped unify the look of the interviews and made them warm and hospitable.

Where did the films archival footage come from?That material came various archives around the country. Footage was taken on the set of Pink Flamingos and Female Trouble by Steve Yeager. Home movies were given to us by Divines mother. Many, many photographs came from various friends and professional photographers. Divine loved being photographed, so we had plenty to choose from. John Waters conducted a lengthy interview with Divine for his book, Shock Value, and the audio has survived, so we used that liberally. Whenever it was possible for Divine to tell his own story or comment on it, we used it.

What did you find most challenging in terms of the production process?Certainly the fundraising. Our producer, Lotti Pharriss Knowles, spearheaded an online fundraising drivethe entire film was funded by Divines fans from around the world. We spent

two years cultivating a lively community on Facebook, and now we have over 20,000 fans. We used Indiegogo and Kickstarter and provided some unusual incentives. We wanted fans to feel they had a stake in making sure the film got finished. The campaign was

a way for people to give back to Divine and feel personally connected to something special.

What does this film mean to you?As a teenager, Divine was bullied mercilessly. When he met John Waters, he was able to take that trauma and channel it into the Divine character. With all the talk of bullying today, I wanted to show young people someone who was able to overcome all that and live an authentic and happy life by accepting and loving himself. Its kind of the ultimate it gets better story. Hes a poster child for misfit youth. dv

Spotlight:

Jeffrey SchwarzProducer/Director I Am Divine

Update NewS

JOY ZACCArIA

Divine

photo by lynn davis

photo by robyn beeche

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Tyrion Lannister (Peter Dinklage) in Littlefingers office photo by helen sloan

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GAME OF THRONES


David Heuring

The Reality of Production on HBOs Fantasy Series

T he television phenomenon that is HBOs Game of Thrones premiered in April 2011 and enjoyed immediate critical and fan praise. Filmed in exotic locales in Northern Ireland, Malta, Croatia, Iceland, Morocco and elsewhere, Game of Thrones features compelling characters, bravura production design and the feature-quality cinematography viewers have come to expect from HBO productions. Medieval fantasy never looked so good on television.

Among the series many accolades are two Emmy nominations for Outstanding Drama Series, among more than two dozen nods from the Television Academy in its first two seasons. The show looms large in the vibrant fantasy subculture, but has crossed over into mainstream successthrough season two, it is considered the third most-watched show in HBOs illustrious, awards-strewn history.

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With the launch of season three in March 2013, the contributions of three new cinematographers will hit TV screens: Anette Haellmigk, Robert McLachlan, ASC/CSC, and Chris Seager, BSC. They paid fealty to the cinematic look in earlier episodes created by cinematographers Jonathan Freeman, ASC, and Kramer Morgenthau, ASC (Morgenthau earned an ASC Award for his work), but inevitably added their own personal touches through their visual strategies and decisions, made in light of the new scripts and situations. Other cinematographers who have contributed in previous seasons include Alik Sakharov, ASC, Marco Pontecorvo, AIC, Sam McCurdy, BSC, P.J. Dillon and the late Martin Kenzie, BSC.

The production is scheduled in an unusual way. At the start of prep, at least ten scripts were ready to shoot. Actors are apt to stay with certain locations, while cinematographer-director teams work concurrently and fly between the various far-flung locales. At any given time, as many as five teams are prepping, shooting or rehearsing. A decent amount of prep time helps, as does two weeks, roughly, of shoot time per episode. Occasionally a shot made by one team will show up in an episode

credited to a different cinematographer, but the resulting efficiency is miraculous, according to McLachlan and Haellmigk.

Christopher Newman came up with this remarkable schedule, says McLachlan. Its absolutely genius. Youve got five episodes shooting concurrently. You bounce around a lot, and your 16 days per episode are spread over four months. Its very impressive.

To maintain a degree of consistency, producer Greg Spence distributed Apple iPads loaded with frame grabs from seasons one and two. As the season progressed, images from season three were added. The basic style of the show had been established, with naturalistic lighting, a sometimes-palpable atmosphere with shafts of daylight, and lots of firelight as a primary source.

Anette Haellmigk (Bunheads, State of Mind, The West Wing, The Nine) says that she was working on Big Love when she first saw Game of Thrones. She responded to the material and immediately wanted to work on it. It touched me, she says. In a weird way, I know what to do with this. I was very familiar with mythical sagas. I thought that the look established over the first two seasons was

very befitting of the show, and rather than change things, I wanted to enhance. Kramers episodes were the most inspirational to me.

Haellmigk describes the look as naturalistic, but with a bit more romance or harshness, depending on the needs of the scene. For the former, she emulates the warmth of Caravaggio, and for the northern, colder world, she tries to shoot in overcast conditions or block the sun out.

Both cinematographers praise the production design and art direction. When I first walked on, what impressed me were the sets, she says. The way they were built, and the way the textures and colors worked. Ive never seen anything like it, not even on big feature films. It was just so tasteful, and the detail was amazing.

Haellmigk came onto Game of Thrones with director Alex Graves, with whom she has a long professional history. She also had a working relationship with producer Bernadette Caulfield dating to Big Love.

The camera style of the show, especially in interiors, includes more tableau shots, she says. Its not like The West Wing, where you do it with long walk-and-talks. The tableau approach is good

Robb Stark (Richard Madden)

photo by helen sloan

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because, while you give up some movement, you gain a lot of ability to make beautiful compositions and create beautiful lighting. For some action scenes we went more handheld, and exteriors in general gave us opportunities for more camera movement.

Haellmigk says her episodes played more with shards of light angled through scenes and sometimes bounced onto actors. These shards worked well with the established smoky

atmosphere justified by the many flame and fire sources. The show often mixes cooler daylight and warmer tungsten or firelight. I love to do that anyway, and I think that gives it a realistic look, she says. Even though we might not be aware of it in our world, that is the reality. I dont like it when all the lights are the same color.

The cameras were ARRI Alexas. In season one, Game of Thrones became the first hour-long HBO series to be shot digitally. For season three,

the images were recorded using Codex Digital recorders via fiber optic cable. The ARRIRAW file format was deemed too data-intensive given the large number of units working. Simultaneously, the images are recorded to the cameras onboard SxS cards as a backup. Standard LUTs are used for basic situations, but the cinematographers are free to adapt them to the particular needs of a given scene. The images are finalized at Modern VideoFilm in Santa Monica with colorist Joe Finley.

The ALEXA is an absolute workhorse, says Haellmigk. We took that camera from Morocco to Iceland and shot in rain and sun and all types of conditions. The cameras we had never failed us, ever. In terms of the dynamic range, I was able to do everything that I wanted to. You still have more dynamic range on film, but its getting really close now. You see a very good image. You can judge your exposure on a monitor and that allows you to paint a little more. Because of this format, I think I have become more daring, because I know how far I can push it and still get an acceptable image.

Clockwise from upper left: Margaery Tyrell (Natalie Dormer, center); Stannis Baratheon (Stephen Dillane) in Dragonstone map room; Melisandre (Carice van Houten)

photo by keith bernstein



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You have to make sure that you make the post department happy, and find a happy medium in terms of exposure. But I was very happy with the camera.

McLachlan (Human Target, Harpers Island, The One, Final Destination 3) had worked with director David Nutter in the late 1990s on the visually innovative series Millennium. They reteamed for episodes nine and ten, the final installments of season three.

The wonderful episodes that Jonathan and Kramer had done lingered on elegantly composed and lit frames, says McLachlan. After looking at the episodes David had done in season two, I realized quickly that his style of shooting was much less static and much less proscenium than Game of Thrones generally.

Thats not to say that they werent careful about composition. David is much more about getting lots of pieces and telling the story that way, says McLachlan. Because we were doing the final

episodes of the season, we had comparatively massive scenes, including a wedding that has oodles of extras, a lot of dialogue, and not much time to shoot it. We had three cameras, and I had to light in way that worked from any angle. Stylistically, it will look different.

McLachlan recalled a dungeon scene shot amid the ruins of an old castle. Davids feeling was that if its going to be completely dark, why are we in this location? says the cinematographer. You could do it on stage with black duvetyn. So I pushed a little bit of extra light in from a window at the end of a tunnel. It felt as if maybe it was bouncing off the ocean in front, so we got a bit of texture in the bricks, and added a couple of torches. We certainly didnt bring in any more electric lights. The wonder of the Alexa is that you can actually do that. I just love that camera. You take it out of the box, turn it on and it works perfectlyjust like a film camera, and unlike some other video cameras.

We tried to shoot at 800 ASA as much as possible, but it would depend on the situation.

For most scenes, McLachlan took the edge off a bit with Schneider Optics Hollywood Black Magic filters, which combine diffusion and softening

Tyrion Lannister (Peter Dinklage), Bronn (Jerome Flynn) and Podrick Payne (Daniel Portman); Inset: Catelyn Stark (Michelle Fairley)

photo by keith bernstein


DV_05_13_v5.indd 24 4/18/13 1:03 PM


effects. I think theyre terrific, he says. Theyre my favorite for shooting digital. I had very, very light ones on most of the time, and occasionally I went a tiny bit heavier if there were cosmetic issues.

Each shooting unit is equipped with a full set of Cooke S4 prime lenses and Optimo short, medium and long zooms. Basically thats what I carry myself when given a choice, says McLachlan. Ive got some of those same lenses in my own package, so I was very happy to work with familiar tools. David wants the flexibility to adjust the focal length between takes very quickly, so the Angenieux zooms were on a fair bit.

One troublesome set was a council room carved into the rocks overlooking the ocean far below. The cave ceiling offers no opportunity to hang lights. Torch and candlelight work for night scenes, but daytime was another story. A sky/sea horizon backing didnt work. When I had a scene that took place at sunrise, I decided to make it look like a J.M.W. Turner painting, says McLachlan, who is the son of an artist. So I threw a bit of blue light on the backing and then stuck a 5K ARRI Fresnel right smack in the shot, where it could light the whole cavernous set. We put a couple of Lee CTO gels on it and then added enough smoke to hide the stand. The Alexa was able to give a clean image without any more flaring than the filters and smoke created, and even held detail in the area around the sun. It was a last-ditch effort to not repeat what we had all done and been vaguely unhappy with. It worked perfectly for the scene, where a critical piece of information was handed over and the situation was seen in a new light.

In another scene that cant be described in detail due to the tight secrecy HBO maintains, McLachlan came up with a simple yet brilliant lighting strategy to foreshadow a dramatic turn of events. The scene begins with a relatively high-key interior, with twice as many candelabras and torches as was customary. McLachlan says the extra light coaxes the audience subconsciously to let their guard down. At a natural turning point, the cast

picks up most of the light sources and walks out, dropping the light level significantly, just in time for the darker, dramatic story point.

It worked really, really well, he says. I get goose bumps thinking about it because its been a long time since I had a forum with drama as good as this show, along with the terrific art direction, not to mention adequate time to think about it and plan it.

The whole experience of working on Game of Thrones reminded me of why I wanted to be a filmmaker, says McLachlan. When we got to Morocco, we were standing on locations where they shot Lawrence of Arabia and The Man Who Would Be King. When I saw that film as a kid, it just swept me away. We were absolutely transported. Just the thought of working on a project like this was beyond my wildest dreams. dv

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T he HBO special has become the top of the heap for stand-up comedians, a sign of true success. This April, Louis C.K. will appear in his fourth such stand-up comedy spe-cial, titled Louis C.K.: Oh My God. Topics dissected for humor reportedly will include the food chain, animals, divorce, morality, murder and mortality.

Louis C.K. is indeed a hot commodity. Last year his insightful writing won two Emmys: one for his FX series, Louie, and another for Louis C.K. Live at the Beacon Theatre. He also won a Grammy last year for his comedy album Hilarious.

Four live performances over two nights at the Celebrity Theatre in Phoenix were shot and edited to make up the HBO presentation. The venue features a theater in the round layout and was chosen in part as an homage to George Carlin, whose 1978 performance at the venue was recorded and broadcast as George Carlin: Again!

C.K.an English approximation of his actual surname, Szekelyis savvy about the filmmaking process, serving as writer, director and sometimes editor on his FX show. He demands complete control over the script. He owns his own RED EPIC camera and three sets of lenses: Cooke Panchros, ARRI/Carl Zeiss Ultras and Bausch & Lomb Super Baltars. Cinematographer Paul Koestner, who shoots the series as well as the stand-up shows, says that C.K. is knowledgeable about visual subtleties, and concerned about whether image quality will be adequate for tomorrows distribution and display standards.

These considerations were factored into the decision to shoot in Phoenix with ARRI Alexa cameras, a switch from the series, which is generally shot with RED EPICs. A 4K shoot was considered but abandoned due to the additional recording gear required and the challenges of recording and processing that much data, as well as related costs and schedule limitations. Eventually the team decided on shooting with a 4:2:2 HQ codec onto 64

OH MY GODShooting Louis C.K.s 360-Degree Stand-Up Special

DAvID HEURInG

Look Louis C.K.: oh My God

Louis C.K.

DV_05_13_v5.indd 26 4/18/13 1:03 PM


photo by kevin mazur

Louis C.K. finishes the show to yet another standing ovation.

Paul Koestner leads a pre-shoot strategy session.

photo by denn

is scullyphoto by den

nis scully

DV_05_13_v5.indd 27 4/18/13 1:04 PM


GB SSD cards. Higher-capacity 128 GB cards were attractive, but new and unproven.

Eight Alexas were configured around the room and set for exposure at 800 ASA. Each camera had an operator and an assistant to pull focus. Three were in a closer ring around the stage and three more were arrayed in a larger ring. These six were more or less stationary, mounted on tripods, and placed to minimize dead seats. The last two cameras were situated closer to the back of the house, fitted with zooms and mounted on small cranesone on a Jimmy Jib and the other on a CamMate.

During the scout, Koestner measured distances from various potential camera placements and used an iPhone app called pCAM Film+Digital Calculator to get an idea of what a particular lens would cover given the sensor size. The app was developed by David Eubank, a well known camera assistant, and earned an Emmy Engineering Plaque in 2010. Ultimately I decided to get six 24-290mm Optimo zooms, says Koestner. I knew we probably didnt need all that range, but that was the easiest thing, and we could sure get a really tight close-up if we wanted one.

With the Alexas, the big Optimos were too heavy for the jibs. The Jimmy Jib camera was equipped

with an 18-70mm Optimo, and the CamMate was paired with a 25-250mm Angenieux zoom. Louie is not a big fan of what we call the big Emmy swoops, says Koestner. But it was nice to be able to hover at eye level. In Louies opinion, staring up a performers nose from the orchestra pit is not an ideal perspective, and I tend to agree.

To create options for the editing room, the closer ring of cameras generally stayed a little tighter, catching facial expressions and maybe backing out to a waist-up shot. The outer ring framed for medium shots and cowboysfrom the mid-thigh upwith at least one camera maintaining a head-to-toe composition.

We did change things up from time to time because I wanted to keep the guys fresh, says Koestner. You dont want to say to a camera operator, Follow that guy head-to-toe for two days. So the guys had some flexibility to follow their instincts. With six stationary cameras, I thought we should let the jib operator play with his arm a bit, open up some and let it breathe, and get a sense of the place and the audience if theres a big round of applause. He was also good at tracking with LouieI found it a very pleasant effect, like you were taking a walk with him.

The show was not live-switched; each camera

recorded the entirety of all four shows. Koestner sat before a large screen with an eight-way split, whispering occasional instructions to his operators via radio. We amassed a great bunch of guys, he says of the crew. They all seemed tickled to be working together. The trick was figuring out how to place the cameras and make assignments so that no matter where Louie roamed on the stage, we had a suitable shot. Its much more straightforward in a proscenium situation, where you know he is essentially going to be looking out in one direction.

Koestner enlisted the help of digital imaging technician Clint Litton and lighting designer Tom Beck, who brought experience in theater-in-the-round situations. I was amazed with what Tom did, says Koestner. He came with a sizable crew, pulled everything down off the existing grid, and put up modern stuff he could remotely control on the fly. That made things interesting. He kept the audience light off our camera operators, which helped keep them hidden.

Post was handled at Running Man in New York. Louis C.K. encountered some difficulty in switching from Apple Final Cut Pro to Avid Media Composer for his editing. Koestner found that the color needed only slight tweaks. We had to cover

DIT Clint Litton synchs eight cameras while ACs take focus marks. Paul Koestner at monitor

photo by denn

is scully

photo by denn

is scully

DV_05_13_v5.indd 28 4/18/13 1:04 PM

him with neutral lightbecause his front light in one shot will become his back light when he turns around, says Koestner. The trick was to let it fall off at times so hed be a little contoured. Tom and his guys followed Louie with three spots, but they also ringed the place so they could fill in the holes with white light. Toms lights were reading about 5,000 Kelvin, so you figure its going to be a warm look, and a color the cameras enjoy. Later, we could put it where we wanted it, but Louie seemed fine with it. I didnt get any notes from him, which is often the case with his intense schedule, so Im sure hoping he likes the look of the show when it airs.

Oh My God premiered on HBO on April 13. Meanwhile, Louie, the FX Network television series, is slated to go on hiatus until 2014. I

want the show to keep getting better, C.K. has been quoted as saying. I want season four to go somewhere new. dv

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Louis C.K. assesses camera shots and lighting from the stage with a wireless monitor, with lighting designer Tom Beck looking over his shoulder and Paul Koestner at right.

photo by clint litton

DV_05_13_v5.indd 29 4/18/13 1:04 PM


Room 237look

A monument to complexity, Stanley Kubricks 1980 masterpiece The Shining has so many layers and cultural points of reference that it practically invites the viewer to read his own subconscious directly into the film. In the decades since its release, a cult of devotees has emerged, fans who claim to have decoded the movies secret messages addressing everything from the genocide of Native Americans to a range of government plots, including a cover-up of the purportedly faked 1969 Apollo Moon landing.

In a deconstruction of Kubricks still-controversial Stephen King adaptation, director

Rodney Aschers conspiracy documentary Room 237 explores five of the most widely held theories via interviews with cultists and scholars alike. Interview voiceover is juxtaposed with footage from The Shining and other Kubrick films, along with maps, diagrams and floor plans. The results distinctly evoke the Kuleshov effect, a film editing effect famously demonstrated by Russian filmmaker Lev Kuleshov in the 1910s and 1920s by which he established montage as a basic tool of the art of cinema.

Following its debut at the 2012 Sundance Film Festival, Room 237 made festival headlines at

Cannes, Toronto, New York, Chicago, AFI and Fantastic Fest, and received the IDA Documentary Award for Best Editing. The film began its limited theatrical release under the IFC Midnight banner in March, followed by a national rollout that included cable VOD, iTunes and other digital outlets.

The poster art, designed by CalArts graduate Carlos Ramos, who also created the animations in the film, echoes the eye-catching Saul Bass design for The Shinings film poster, a yellow sheet that remains a landmark of simple, effective design. The disclaimer on the Room 237 poster alone is worth the price of admission.

CINEmA HISToRY AND mYSTERYSeeing The Shining from Every Angle in Room 237

JENNIFER WOLFE

The daughters of the Overlooks former caretaker (Lisa and Louise Burns) in a scene from The Shining Director Stanley Kubrick and Jack Nicholson on the set of The Shining

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Ascher went into the project unsure of what the final result would be. We didnt know if this would be a full-length feature, or a short film or a series of shorts, but over the course of about eight months of research and development of the project, we decided that we wanted to do this multiple-perspective thing that explored all the different symbolic metaphorical analyses of The Shining that we could find, and see what happens when we compared and contrasted them, he says. Would it be a demolition derby? Would they become mutually exclusive? Will they reinforce each other, or will one rise to the top?

Working alongside Room 237 producer Tim Kirk, Ascher made the decision early on to avoid the use of talking heads, just as he had done with his previous short film project, The S from Hell. I liked the stripped-down aesthetic. There were no talking heads in the short, and I liked the way that worked, and the way that it made me work harder to

find visuals to complement things, he explains. Sometimes the visuals would illustrate things very literally, or sometimes in a more roundabout way, in a more subjective way, or from another point of view. Sometimes the films point of view might be entirely different from the speakers point of view.

Ascher edited material converted to Apple ProRes 422 format at 1080p in Final Cut Pro 7. While doing so, he sought ways to overcome the challenges of creating the visuals for the film, which, in addition to Kubricks footage, include various diagrams and architectural plans. It became a very interesting game for me, finding how far I could stretch the material and still get the

Jack Nicholson as Jack Torrance in The Shining

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The Room 237 film poster, designed by Carlos Ramos, echoes the work of Saul Bass in the original poster for The Shining.

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audience to go along, he says. It seems that the audience is already doing a lot of work for youits helping you make connections. So if a narrator off-screen is saying something about himself, and theres a character on the screen, and hes not talking about that character, then the assumption is therefore that the character represents him.

Its like the Kuleshov effect, the Russian idea that the audience can see the same image differently in a different context, which is great, because in a way thats exactly what were doing with The Shining, Ascher continues. Different people see The Shining differently, and then were able to get the audience to see scenes from The Shining or scenes from other movies differently because were putting them in a new context.

Another significant challenge for Ascher was deciding how to weave together the various theories and competing explanations about Kubricks film. For each interviewee, I put together 10 or 12 two- to three-minute sections, he says. We tried to organize these things in a way that added up to something bigger. Ultimately we were able to group these sequences into three acts divided into the nine chapters of the film.

Each of these people represents countless others who may have experienced the same thing, Ascher concludes. Its less about these people being exceptional or unusual and more about them being representative. dv Room 237 uses floor plans to illustrate features of The Shinings production.

An animation from Room 237

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Phil SPector look

P hil Spector became famous as a music industry icon. The legendary producer, who originated the wall of sound pro-duction technique of densely layered musical arrangements, worked with a wide range of acts, including the Ronettes, the Righteous Brothers and the Beatles. Unfortunately, fame can also have its infamous side. Spector abruptly returned to pub-lic notice through the circumstances of the 2003

death of actress Lana Clarkson and his subsequent criminal trials, culminating in a 2009 conviction for second-degree murder.

The story of his first murder trial and the relationship between Spector (Al Pacino) and defense attorney Linda Kenney Baden (Helen Mirren) form the basis for the new movie by HBO Films. Phil Spector, which is executive produced by Barry Levinson (Rain Man), was directed by

celebrated screenwriter/director David Mamet (The Unit, The Shield, Hannibal, Wag the Dog). Rather than treat it as a biopic or news story, Mamet chose to take a fictionalized approach that chronicles Spectors legal troubles as a fall from grace.

One key member of the production team was editor Barbara Tulliver (Too Big to Fail, Lady in the Water, Signs), who has collaborated previously

WAll oF SoUND (AND ViSUAlS)Barbara Tulliver Edits Phil Spector

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Al Pacino and Helen Mirren with director David Mamet

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with Mamet. She started as a film editor working on commercials in New York, but quickly transitioned into features. According to Tulliver, I assisted on Davids first two films and then cut my first feature as an editor with him, so we have established a relationship. I also cut Too Big to Fail for HBO and brought a lot of the same editorial crew for this one, so it was like a big family.

As with most television productions, Phil Spector was shot and completed in a timeframe and with a budget akin more to a well funded independent feature than a typical studio film.

Tulliver explains, Our schedule to complete this film was between that of a standard TV project and a feature. If a studio film has six weeks to complete a mix, a film like this would have three. The steps are the same but the schedule is shrunk. I was cutting during the 30-day production phase, so I had a cut ready for David a week after he wrapped. HBO likes to see things early, so David had his initial cut done after five weeks instead of the typical ten-week timeframe. Like any studio, HBO will give us notes, but they are very respectful of the filmmakers, which is why they can attract the caliber of talent that they do for these films. At that point we went into a bit of a hold because David wanted some additional photography and it took awhile until HBO approved it.

The production itself was handled like a film

shoot, using ARRI Alexa cameras in a single-camera style. An on-set DIT generated the dailies used for the edit. Although you wouldnt consider this a visual effects film, it still has its share of effects shots. Tulliver says, There were a lot of comps that are meat-and-potatoes effects these days. For instance, the film was shot in New York, so in scenes when Spector arrives at the courthouse in Los Angeles, the visual effects department had to build up all of the exteriors to look like L.A. There are a number of TV and computer screens, which were all completed in post. Plus a certain amount

of frame clean-ups, like removing unwanted elements from a shot.

Mamet wrote a very lean screenplay, so the length of the cut didnt present creative challenges for Tulliver. She continues, Davids scripts are beautifully crafted, so there was no need to rearrange scenes. We might have deleted one scene. David makes decisions quickly and doesnt overshoot. Like any director, he is open to changes in performance, but the actors have such respect for his script that there isnt a lot of embellishment that might pose editing challenges in another film. Naturally with a cast like this, the performances were all good. The main challenge we had was to find ways to integrate Spectors songs into the story, to use the music to open up scenes in the film and add montages. This meant all of the songs had to

be cleared. We were largely successful, except with John Lennons Imagine, where Yoko Ono had the final say. Although she was open to our using the song, ultimately she and David couldnt agree to how it would be integrated creatively into the film.

Phil Spector was cut digitally on Avid Media Composer. Like many feature editors, Barbara Tulliver started her career cutting film. She says, Im one of the last editors to embrace digital editing. I went into it kicking and screaming, but so did the directors I was working with at the time. When I finally moved over to Avid,

it was pretty well established as the dominant nonlinear edit system for films. I do miss some things about editing on film, though. Theres a tactile sense of the film thats almost romantic. Because it takes longer to make changes, film editing is more reflective. You talk about it more, and often in the course of these discussions you discover better solutions than if you simply tried a lot of variations. In the film days, you talked about the dramatic and emotional impact of these options. This is still the case, but one has to be more vigilant about making that happenas opposed to just re-cutting a scene 20 different ways because it is easy and fast, and then not knowing what you are looking at anymore.

Today, I cut the same way I did when I was cutting film. I like to lay out my cut as a road map.

Phil Spector (Al Pacino) and defense attorney Linda Kenney Baden (Helen Mirren)

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Ill build it rough to get a sense of the whole scene rather than finesse each single cut as I go. After Ive built the scene that way, Ill go back and tweak and trim to fine-tune the cut. Digital editing for me is not all about the bells and whistles. I dont use some of the Avid features, like multicamera editing or ScriptSync. While these are great features, some are labor-intensive to prepare. When you have a minimal crew without a lot of assistants, I prefer to work in a more straightforward fashion.

Tulliver concludes, Although I may be nostalgic about the days of film editing, it would be a complete nightmare to go back to that. In fact, several years ago one director was interested in trying it, so I investigated what it would take. Its hard to find the gear anymore, and when you do, it hasnt been properly maintained because no one has been using it. Not to mention finding mag stripe and other materials that you would need. The list of people and labs that actually know how to handle a complete film project is getting smaller each year, so going back would just about be impossible. While film might not be dead as a production medium, it has passed that point in post. dv Editor Barbara Tulliver and director David Mamet during postproduction on the film Redbelt

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PHILIP ROTH: UNMASKEDlook

P ulitzer Prize- and National Book Award-winning novelist Philip Roth has remained elusive and controversial since his entre on the literary scene more than 50 years ago. Hes granted relatively few interviews for someone of his stature. In the closest hes come to a mem-oir, the deceptively titled The Facts: A Novelists Autobiography, he lays out the story of his life. Then, in a long epilogue in the voice of alter ego Nathan Zuckerman, he assaults the validity of the narrative.

Literary journalist Livia Manera, who co-directed (with documentarian William Karel) Philip Roth: Unmasked, had her work cut out for her when she set out to interview Roth. The 90-minute film, an episode of PBS American Masters, premiered on March 29 in honor of the novelists 80th birthday. She had interviewed Roth a number of times for print publications and had developed a friendship with him, but shed found that even with no cameras rolling, the writer could be a less than ideal interview subject. He would let you know after maybe 45 minutes or an hour that hed had enough, she recalls of her previous sit-downs with Roth. Maybe you could stay and chat about something else for awhile and he might be very open and funny, but hed make it very clear hed had enough of being interviewed.

Unknown to her, the on-camera interviews she conducted along with director of photography Franois Reumont and sound recordist Theo Caris, were with a Philip Roth easing into the idea of retirement. As he says in the film, she recounts, whenever he was between books, he tended to be depressed and anxious. So he was not an ideal interviewee. And when he was writing a book, he wanted to concentrate, and something like an interview was just a nuisance that came between him and serious work.

But when she sat down with the writer, first for ten hours over a five-day period in his Connecticut home and then for five hours over three days in

PHILIP ROTH: UNMASKEDDocumenting the Authors Life, Literature and Legacy

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Philip Roth is interviewed in his Manhattan apartment for American

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his New York apartment, she was dealing with a Philip Roth who had completed what he says is his last book, Nemesis, and no longer felt his normal compulsion to start another. Who would have guessed that he was at a moment of his lifeeven he didnt knowin which he could really take pleasure in remembering and talking about the past? the interviewer muses.

Initially produced in a shorter form for French production company Cintv, the project was picked up by PBS American Masters and expanded to include interviews with Roths friends, including the actress Mia Farrow, and young American writers including Jonathan Franzen and Nicole Krauss.

While the author famously mixes autobiography and fiction in ways designed to obscure his true nature, Manera insists that the man captured in her documentary is, in fact, the real Philip Roth. Ive known him for many years, she explains, and I always noticed the difference between Philip Roth the professional writer and Philip Roth the person with whom I would have dinner around the corner from his apartment. The professional writer is very controlled. Cold. Hard. Hes always interesting but often impatient. The friend is very talkative and generous and unguarded.

And that, she declares, is the person I was lucky enough to get in front of the camera for this documentary. dv

Left: Philip Roth and co-director and co-writer Livia Manera during filming for American Masters Philip Roth: Unmasked; Right: Philip Roth poses next to a photo of author Franz Kafka, whom he resembles in appearance and whom he owes much in the way of inspiration as a writer.

Philip Roth revisits areas where he grew up in Newark, New Jersey. (Archival photo seen in American Masters Philip Roth: Unmasked.)

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Hemlock Grovelook

N etflix wasted no time in the wake of its highly publicized (and reportedly quite successful) launch of House of Cards as an exclusive original series in February. Its next original series, the 13-episode Hemlock Grove, debuted on April 19. Like the earlier Kevin Spacey vehicle, all episodes of Hemlock Grove were released for streaming simultaneously (and com-mercial-free) to Netflixs 30 million subscribers in

North America, the United Kingdom, Ireland, Latin America, Brazil and Scandinavia.

The eerie mystery thriller from Gaumont International Television and executive producer Eli Roth (based on a Brian McGreevy novel) co-stars Famke Janssen (X-Men), Bill Skarsgard (Simon & The Oaks) and Dougray Scott (Mission: Impossible II). The series focuses on the eccentric residents of a ramshackle former Pennsylvania

steel town and the murder of teenager Brooke Bluebell. Through the investigation, the towns seamier side is exposed, revealing that nothing is what it seems.

Fernando Arguelles, series director of photography, says his main camera was an ARRI Alexa. His second unit typically deployed the Alexa and a Canon EOS 5D, and the crash camera was a GoPro.

DATA STreAmS AND BAD DreAmSInside Hemlock Grove, Eli Roths Netflix Series

JOHN MERLI

Roman Godfrey (Bill Skarsgard) and Peter Rumancek (Landon Liboiron) in Netflixs Hemlock Grove

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I had used the Alexa before while working on Breakout Kings for A&E, and I decided it was best for me on this project too, Arguelles says. I think its the best camera around to emulate filmI come from a film background. I like the texture that film provides, and I think the Alexa has the most forgiveness of camerasmeaning mixing different lighting colors and highlightsas well as its overall range.

The fast-emerging consumer option of accessing all the episodes of a season at oncevia download or streaming on televisions and various devicesinstead of watching one per week over the course of a season is enabled by subscription services like Netflix. Reportedly viewers binged on marathon viewings of Netflixs previous original series, House of Cards, when it became available on February 1. Did the potential of viewers watching episodes back-to-back affect Arguelles approach to directing Hemlock Grove?

No, not at all. Each episode picks up exactly where the last one ended, and however frequently one choses to view them, it all works out in the end, he says. More importantly, on this type of production we are not pressured in any way into

producing any particular type or look or have anyone telling us that something may or may not be suitable for this type of viewer or that type. We had none of that. Thats a very important factor and I believe it really helps the show, Arguelles says.

Chris Pares job as digital management tech is to collect and manage all the productions digital content on a daily basis. Once the cameras fill out their cards, Im called down to the set. I remove the cards and bring them to my computer, load all the footagealways three copies for safetyand then color correct it to look like the final product, says

Pare. Then I would transfer stills of the video to my iPad and bring it to Fernando [Arguelles] to be either okayed or changed.

Once content is approved, Pare says, he saves it in his project files and sends the footage to Technicolor in Toronto. I use basically a data management kit that we rent from Technicolor that rolls around like a big coffin on wheels. It opens up with a 26-inch monitor, a computer, a color correcting panel and all the hard drives for backing up. The only equipment I bring to the production myself is the iPad for

showing the [dailies] stills to Fernando.Color correction can be the most difficult part of

his job, Pare says. Some days everything is perfect, but on other days it can get complicated, especially when were shooting outside. Its very hard to keep a scene consistent when one part was shot in the sun and then suddenly it gets cloudy. But it helps when you have a great DP like Fernando to help you out, Pare continues. As far as the unique look of it being a dark show and other-worldly, most of those effects are done in-camera on the set, along with [skillful] lighting, so I didnt have to make huge color changes. dv

Above: Director of photography Fernando Arguelles, Penelope Mitchell and Bill Skarsgard

Right: Fernando Arguelles, Dougray Scott and director T.J. Scott

Famke Janssen as Olivia Godfrey

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40

In light of shrinking production budgets, it is common to hear of three- or even two-man crews, but life-style photographer and videographer Kristen Jensen recently took to Africa to shoot a short documentary for Build Tanzanian Family Futures, a non-profit orga-nization that supports the illiterate and poor families and children of Northern Tanzania. She had no crew. It was just her, a Canon EOS 7D, some equipment, and a couple of new rigs, which she had the

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