{"id":10007,"date":"2020-05-04T12:31:31","date_gmt":"2020-05-04T19:31:31","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=10007"},"modified":"2021-05-30T17:59:36","modified_gmt":"2021-05-31T00:59:36","slug":"all-hail-the-queen","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/all-hail-the-queen\/","title":{"rendered":"All Hail The Queen"},"content":{"rendered":"

There never was (or will be) another artist like Aretha Franklin, <\/span>as National Geographic Channel’s third season of Genius <\/em>makes clear.<\/span><\/p>\n

by Matt Hurwitz \/\u00a0<\/span>Photos and Framegrabs Courtesy of Richard DuCree \/ National Geographic Channel<\/span><\/p>\n

 <\/p>\n

\n

Veteran TV director Anthony Hemingway recalls a moment shooting inside Atlanta\u2019s historic Fox Theatre, for National Geographic Channel\u2019s Genius: <\/em>Aretha, <\/em>when Local 600 Steadicam Operator Michael Alba, SOC, was circling Cynthia Erivo (portraying Aretha Franklin) onstage. \u201cThe entire crew just stood there mesmerized, with their jaws dropped, watching and listening to her deliver,\u201d Hemingway says. \u201cEveryone is captivated, every moment we\u2019re shooting with her.\u201d<\/p>\n

Erivo \u2013 fresh off double 2019 Oscar nomination for playing another famously admired black woman, Harriet Tubman (www.icgmagazine.com\/web\/the-real-life-superhero\/) \u2013 embodies all aspects of the \u201cQueen of Soul\u201d in this eight-part series, originally slated to debut over four consecutive nights in late May, but pushed forward to an unspecified premiere date due to COVID-19. Shot by Director of Photography Kevin McKnight, ASC, who has worked extensively with Hemingway over the years, the visual approach, consistent with the past two seasons of Genius, <\/em>was to capture the inner journey of the artist, both personally and professionally.<\/p>\n

As McKnight describes: \u201cWe keep the camera within close proximity of our characters so that there is no wall between them and the audience. I do a lot of close-up work. I\u2019m not big on long lenses, poking in as a third-person perspective.\u201d<\/p>\n

\"\"<\/p>\n

Genius: Aretha <\/em>began shooting last December in Atlanta at Eagle Rock Studios. Location filming included historic churches and theaters. \u201cThere aren\u2019t too many older theaters around Atlanta anymore, maybe just three or four,\u201d notes production designer Tim Galvin. \u201cWe found them all.\u201d<\/p>\n

McKnight\u2019s Guild team included A-camera\/Steadicam Operator Alba, B-camera Operator Michael Hartzel, A-camera 1st<\/sup> AC Taylor Fenno, B-camera 1st<\/sup> AC Ross Davis and Chief Lighting Technician Tully McCulloch, who first worked with McKnight on Killers <\/em>(shot in Atlanta in 2010). McKnight says Alba possesses a \u201cgreat sensibility\u201d for telling a story with the camera. \u201cI move the camera a whole lot with Anthony, and on day one we had big Steadicam, 360 moves, and Michael brought it,\u201d he offers.<\/p>\n

Alba pours similar praise on his focus puller, Fenno, who apprenticed under Shelly Johnson, ASC, as did McKnight. \u201cTaylor comes from a competitive sports background, and he holds himself to a very high standard,\u201d Alba describes. \u201cIf he\u2019s not on focus, he\u2019s tough on himself about it, and it\u2019s on the very next take. He\u2019s amazing \u2013 he\u2019s like a machine.\u201d<\/p>\n

 <\/p>\n

\"\"
Director of Photography Kevin McKnight, ASC, says A-camera operator Michael Alba, SOC, possesses a \u201cgreat sensibility\u201d for telling a story with the camera. \u201cI move the camera a lot with [director] Anthony [Hemingway], and on day one we had big Steadicam, 360 moves, and Michael brought it.\u201d Above: Alba setting up a shot with Shaian Jordan as \u201cLittle Re\u201d (Young Aretha).<\/figcaption><\/figure>\n

As for the machine used to capture, it was <\/strong>ARRI\u2019s popular ALEXA LF (large-format) system \u2013 two LF Minis used for A-camera and Steadicam capture, and a standard LF (allowing for 60-fps frame rate) used for B-camera.<\/p>\n

\u201cHaving that large-format sensor brings so much more to the image on every setup,\u201d the Atlanta-based Hartzel offers. \u201cThe capture is more immersive and dimensional than what we were getting out of Super 35 sensors.\u201d Fenno adds that the LF Mini is \u201csmall and lightweight, which makes it incredibly versatile. And they\u2019ve improved the design, moving the card slot to the smart side of the camera, instead of the rear, so it\u2019s easier to load and build-out.\u201d<\/p>\n

Large-format capture does introduce some challenges. \u201cYou have to be delicate with the frame,\u201d Alba explains. \u201cWhen you shoot with a longer lens, you\u2019re getting a wider field of view than a 35-millimeter full-frame, so any errors, like shakes or wobbles, are amplified; and on Steadicam, your horizon is more amplified. There\u2019s also a razor edge for focus [for the assistants], so Taylor just has to nail it, and he\u2019s great at it.\u201d<\/p>\n

McKnight rounded out the setup with ARRI\u2019s Signature Prime lenses, which, he says, when tested, \u201chave a dimensionality that other lenses just don\u2019t have.\u201d Fenno agrees, adding that \u201c[the Signature Primes] have this artistic sharpness, which is different than the technical sharpness of the Zeiss Supreme Primes. There\u2019s a rounder quality to the focus falloff that elicits a filmic look. And the way they\u2019re engineered, due to their coatings, you don\u2019t have a lot of bounce-back within the lens elements, or focus breathing.\u201d<\/p>\n

The limited depth of field of the 47- or 58-mm Signature Primes, in combination with the large sensor, also allowed McKnight and Hemingway to direct the audience\u2019s attention within the frame. \u201cIt\u2019s something Anthony and I have been using for five years \u2013 selective focus, to always guide the audience, rather than just giving them one plane of focus,\u201d McKnight explains. \u201cThe background melts away, and the ears and shoulders fall off on a close-up of a face. We tell them where we want them to look.\u201d Characters walk in and out of focus, which McKnight says is like \u201ca reveal, as opposed to just having one plane where everything\u2019s in focus.\u201d Cameras and lenses were provided by Keslow Camera, whom McKnight describes as \u201cincredibly supportive. If I have some crazy idea,\u201d he smiles, \u201cthey manufacture it for me.\u201d<\/p>\n

 <\/p>\n

\"\"
Shallow depth of field and large-sensor capture allowed McKnight and Hemingway to use “selective focus, and always guide the audience, rather than just giving them one plane of focus,\u201d McKnight explains. \u201cThe background melts away, and the ears and shoulders fall off on a close-up of a face. We tell them where we want them to look.”<\/figcaption><\/figure>\n

 <\/p>\n

Shallow focus was key to the central visual concept <\/strong>McKnight took with the series.<\/em> \u201cWe have a lot of dramatic content where I\u2019ll give A-camera a chance to get right in there and engage up close with Cynthia,\u201d he states. \u201c[Ervio] has these big, expressive eyes, and that comes through in subtle nuances. Bless her heart, we play that camera three feet away \u2013 I did that with her on The Outsider, <\/em>so she\u2019s more comfortable with the approach.\u201d<\/p>\n

So-called \u201cgenius moments,\u201d which bring viewers inside pivotal depths of the subject\u2019s life, are central to the series. \u201cI call them her \u2018psychological moments,\u2019 when we separate Aretha from the realm,\u201d McKnight continues. \u201cThere are no \u2018a-ha\u2019 moments for her genius. It\u2019s about something important emerging out of many conditions of her life,\u201d such as watching her famous father, C.L. Franklin (Courtney B. Vance) preaching in church when she\u2019s a child, or later, dealing with challenges from her husband, Ted White (Malcolm Barrett). \u201cIf we highlight a moment, it\u2019s to be more in her head, through our lensing, composition and selective focus.\u201d<\/p>\n

Alba says McKnight creates a look \u201cwhere we get so close, maybe even with a diopter, and alienate everybody out, at very minimum focus.\u201d The shots require Fenno to be in constant communication with Alba, whom he describes as an \u201coperator with no fear. If Michael sees something, he\u2019s going in,\u201d Fenno smiles. \u201cAnd that means I always have to be ready. If there\u2019s a look, a line that\u2019s going to be spoken, be ready. There will be times where we\u2019ll do a little bit of a push-in, and then Michael will take that next step, and get right in there, to get that look that Cynthia is showing. And you can see it in her eyes.\u201d<\/p>\n

 <\/p>\n

\"\"
Hemingway (looking through finder) says he and McKnight always begin with how a character’s psychology translates through the narrative. “This means truly thinking about how [that psychology] inspires every choice: every lens used, every lighting decision, every composition and how we capture each frame, and what it does to the energy of the performance, blocking, and camerawork,” the director explains.<\/figcaption><\/figure>\n

No doubt the combination of shooting with a shallow focus and wide lenses, along with an open aperture and sensor, make Fenno\u2019s job that much more demanding. \u201cWhen we move in, we like to open it up a little bit,\u201d the AC continues. \u201cWe\u2019ll use 40-, 47-, 58-millimeter \u2013 close to the face, and usually around 2.5 or 2.0, for these striking compositions that reveal the thought process of the character, thinking about her life, her childhood, or that moment to shine.\u201d<\/p>\n

McKnight will also sometimes put the LF on an Aurora LT or Mo-Sys L40 remote head to capture the \u201cgenius moments.\u201d<\/p>\n

\u201cIt\u2019s not only a matter of not casting shadows,\u201d Alba observes. \u201cIt removes the operator from the camera and lets the actors be in their space. There\u2019s a lot less technical influence on them.\u201d Alba communicates with Dolly Grip Evan Russell via HME headset, and if any correction is needed, \u201cI can just whisper it to Evan, rather than making a disruptive hand gesture,\u201d he adds.<\/p>\n

Fenno is also away from the actors, standing beside Alba as he controls the remote head. \u201cIt\u2019s fun because I get to be next to my operator. He can tell me, \u2018Okay, we\u2019re pushing in here.\u2019 And I can hear what he\u2019s saying to his dolly grips,” Fenno observes. “My second, Caitlin Trost, is also next to the camera, and she\u2019s my eyes and ears on the set.\u201d Alba says the shooting style impacts the way the story is told. \u201cYou don\u2019t have three technicians right up in the face of an actress. There\u2019s just a quiet camera that makes no noise, which pans and tilts a bit, and is not disruptive to performers during dramatic scenes.\u201d<\/p>\n

 <\/p>\n

\"\"
Chief Lighting Technician Tully McCulloch says using longer lenses allowed for better falloff and out -focus-background elements to help highlight Erivo’s beauty. \u201c[Erivo’s] skin tones are fabulous,\u201d he enthuses. \u201cYou could use a flashlight and she\u2019d still look beautiful.\u201d Above Erivo with Malcolm Barrett as husband Ted White.<\/figcaption><\/figure>\n

Lighting for key scenes, like when Erivo<\/strong> is at FAME Recording Studios in Muscle Shoals, AL, and discovering important musical moments at the piano, was achieved through a combination of elements by McCulloch using a Kino Flo Celeb 850 LED with a Chimera and snap grid. \u201cWe also have a Kino Flo FreeStyle 41, which is a big light that Kevin likes to use a lot, and we let it wrap her face and fall off,\u201d McCulloch adds. \u201cThe longer lenses, the better the falloff \u2013 you can have out-of-focus lights in the background, and it\u2019s just beautiful.\u201d Lighting Erivo to take advantage of her extraordinary skin tone is almost effortless. \u201cHer skin tones are fabulous,\u201d he enthuses. \u201cYou could use a flashlight and she\u2019d still look beautiful.\u201d<\/p>\n

To distinguish various phases of Franklin\u2019s life, McKnight and Hemingway developed three separate LUT\u2019s to use in on-set monitoring (in the absence of a DIT). \u201cAnthony wanted to denote our different timelines very significantly, as we had done on another show,\u201d McKnight reflects. \u201cThe audience knows, right up front, where they are, in time and space.\u201d<\/p>\n

Developed with Technicolor PostWorks New York senior colorist John Crowley (remotely, via T-VID, with McKnight in Atlanta), the LUT\u2019s were created following test shooting by McKnight, rooted in a basic Alexa Capture LUT he\u2019d created and been using for years. (They were also applied by dailies colorist Nels Carlson at Mango Color in Atlanta.)<\/p>\n

The series unfolds non-linearly, with black-and-white scenes representing Franklin\u2019s earlier life \u2013 1942 to 1954 \u2013 intercut with current sequences, as the singer reflects on her roots. \u201cIt\u2019s a warmer, nostalgic black and white,\u201d Crowley explains, \u201cnot the modern crashed blacks and higher contrast \u2013 a smoother base.\u201d For the \u201c1967 LUT,\u201d from 1954 to the early 1970s, Crowley says McKnight \u201chad an idea for one with warmer tones. So there\u2019s a hint of cyan in the shadows, to give it that vintage feel. And we\u2019ve rolled off the highlights a little bit, to make it less video feeling.\u201d The later 1970s look brings the saturation up and takes the blacks down a bit, playing more into the \u201cjewel tones of celebrity,\u201d McKnight adds.<\/p>\n

 <\/p>\n

\"\"
Colorist John Crowley (Technicolor NY) developed various LUT’s (remotely, via T-VID, with McKnight in Atlanta), to distinguish different stages of Franklin’s life. For scenes between 1942-1954, Crowley describes “a warmer, nostalgic black and white; not the modern crashed blacks and higher contrast \u2013 a smoother base.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

Genius: Aretha <\/em><\/strong>is no music documentary, but<\/strong> more, as McKnight<\/strong> insists, a \u201ccharacter study.\u201d As such, the music scenes, reproducing both key concerts and recording sessions, are shot from Franklin\u2019s emotional perspective.<\/p>\n

\u201cThey aren\u2019t free-standing performance pieces,\u201d McKnight offers. \u201cThey\u2019re intercut with shots about her struggles with her relationship with her husband and from her childhood, all of which are reflected in her performance.\u201d<\/p>\n

Scenes such as a show at Chicago\u2019s Regal Theatre where Franklin was crowned \u201cThe Queen of Soul\u201d (shot at the Fox Theatre as Hemingway noted above) contain period-accurate lighting. When McCulloch and McKnight scouted the theater (where the chief lighting technician had filmed many times), the in-house lighting crew was installing a new show. \u201cI went back,\u201d McCulloch recalls, \u201cgot their scheme, and we just went through it: \u2018Okay, we want to keep this, this and this, and let\u2019s eliminate this.\u2019 They, of course, had LED\u2019s and moving lights, which weren\u2019t correct for the time \u2013 and we wanted to show the lights in our shots,\u201d replacing them with traditional PAR cans and Lekos. While the Fox\u2019s house crew, made up of IATSE 927 stagehands, did the installation, McCulloch brought in his dimmer-board operator, Patricia Tuckwiller, who connected her board to the system, providing smooth operation for the shoot.<\/p>\n

 <\/p>\n

\"\"
Alba describes Erivo as “a pro” who will give it her all for as many takes as are required for onstage performance \u00a0scenes. “But it\u2019s hard for anyone to sing a song 25 times, from four different angles across a huge theater, and then six inches away from her face,” he adds. “So we tried to get those shots when everybody \u2013 as a creative collective \u2013 is peaking, and then go back and get our coverage.”<\/figcaption><\/figure>\n

 <\/p>\n

For Erivo\u2019s onstage performances, Alba first filmed up close with Steadicam or handheld, before wider shots and coverage were captured by the two- or three-camera team. \u201cI\u2019ve done a lot of live TV, where you only get one take,\u201d Alba describes. \u201cFor this show, there was a moment where you peak, usually by \u2018take three,\u2019 and everything comes together. Cynthia is a pro and will give it her all for as many takes as are required. But it\u2019s hard for anyone to sing a song 25 times, from four different angles across a huge theater, and then six inches away from her face. So we try to do that, as a creative collective, to get those shots, right when everybody\u2019s peaking, and then go back and get our coverage.\u201d<\/p>\n

Hartzel, using a Fujinon Premista 28-100 mm or 80-250-mm zoom lens, worked alongside his 1st AC, Ross Davis, to gather tons of great material for editorial. \u201cBecause I don\u2019t know where I\u2019m going \u2013\u00a0like an extra I see in the audience or reacting to a band member onstage \u2013 unless those beats are scripted,\u201d Hartzel relates, \u201cRoss and I are in constant communication. And I try not to get the same thing each take, to give the editor as much material as possible.\u201d<\/p>\n

The results are staggering, delivering not just Aretha Franklin\u2019s music, but the essence of the performer\u2019s soul to the audience. \u201cThose were tumultuous times,\u201d McKnight concludes. \u201cSo much was changing. All of that configured into who Aretha became, and how she emerged from it all. She truly was the Queen.\u201d<\/p>\n

 <\/p>\n

\"\"
Franklin’s genius was earned by her lasting transformative effect on people.\u00a0“Recording the music live,” Hemingway explains, “was a decision that Cynthia and I keyed in on from our first sit-down together. She said, ‘I have to sing live,’ and I was, like, ‘I want you to sing live.’\u201d<\/figcaption><\/figure>\n

 <\/p>\n

GENIUS: ARETHA<\/u><\/em><\/strong> (Season Three, Limited Series)<\/u><\/p>\n

Director of Photography: Kevin McKnight, ASC<\/p>\n

A-Camera Operator\/Steadicam: Michael Alba, SOC<\/p>\n

A-Camera 1st<\/sup> AC: Taylor Fenno<\/p>\n

A-Camera 2nd<\/sup> AC: Caitlin Trost<\/p>\n

B-Camera Operator: Michael Hartzel<\/p>\n

B-Camera 1st<\/sup> AC: Ross Davis<\/p>\n

B-Camera 2nd<\/sup> ACs: Nelson Moncada, Peter Johnston<\/p>\n

Data Manager: Emily Gurley<\/p>\n

Utility: Samantha Gardella<\/p>\n

Still Photographer: Richard DuCree<\/p>\n

Unit Publicist: Shelly Williams<\/p>\n","protected":false},"excerpt":{"rendered":"

There never was (or will be) another artist like Aretha Franklin, as National Geographic Channel’s third season of Genius makes clear. by Matt Hurwitz \/\u00a0Photos and Framegrabs Courtesy of Richard DuCree \/ National Geographic Channel   Veteran TV director Anthony Hemingway recalls a moment shooting inside Atlanta\u2019s historic Fox Theatre, for National Geographic Channel\u2019s Genius: Aretha, when Local 600 Steadicam Operator Michael Alba, SOC, was circling Cynthia Erivo (portraying Aretha Franklin) onstage. \u201cThe entire crew just stood there mesmerized, with […]<\/p>\n","protected":false},"author":2,"featured_media":10039,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-10007","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nAll Hail The Queen - 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