{"id":13169,"date":"2024-05-15T10:59:19","date_gmt":"2024-05-15T17:59:19","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=13169"},"modified":"2024-05-15T12:46:29","modified_gmt":"2024-05-15T19:46:29","slug":"fall-from-grace","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/fall-from-grace\/","title":{"rendered":"Fall From Grace"},"content":{"rendered":"

Netflix’s dramatic series, A Man in<\/em> Full<\/em> (based on Tom Wolfe’s 1998 novel), is a tale of Atlanta society \u2013 top to bottom and back again.<\/p>\n

by Margot Lester \/ Photos by Mark Hill \/ Netflix \/ Framgrabs Courtesy of Netflix<\/span><\/span><\/p>\n

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Netflix\u2019s A Man in Full<\/em>, based on novelist Tom Wolfe\u2019s<\/strong> late 1990s bestseller, tells the story of Atlanta real estate mogul Charlie Croker\u2019s (Jeff Daniels) struggle to save his empire and his reputation \u2013 while fending off opportunists hoping to capitalize on his sudden bankruptcy. As Director of Photography Tobie Marier Robitaille, CSC, describes: \u201cWhen I read the script, I knew it had to be filmed in a way that felt realistic and believable.\u201d To that end, Robitaille collaborated closely with Executive Producer\/Director Regina King to create the visual language in the show’s pilot episode.<\/p>\n

Robitaille says he and King\u2019s goal was \u201cto create an authentic world where camera movements were motivated by the actors\u2019 actions, not the other way around,\u201d he adds. \u201cIf there was glamor, it had to emanate from the opulent world of Charlie, rather than from elaborate camera work or lighting. We agreed to embrace imperfections; an image that\u2019s too polished or perfect can sometimes overshadow the story, and that\u2019s something we wanted to avoid. Additionally, we made great use of in-camera zoom-ins for specific scenes, always at pivotal moments in a character\u2019s dramatic arc.\u201d<\/p>\n

The pair shot the pilot and the finale together. Of the Oscar-, Emmy-, and Golden Globe-winning actress-turned-director, Robitaille says: \u201cRegina has this amazing ability to bring out the best in everyone around her. She creates a supportive atmosphere where everyone feels valued and inspired to do their best work. She\u2019s one of the greatest human beings I\u2019ve ever met and an incredibly collaborative director.\u201d<\/p>\n

Tommy Schlamme directed the remaining three episodes with Craig Wrobleski, ASC, CSC. (Schlamme had also worked with the same two cinematographers on Under the Banner of Heaven<\/em>.) Wrobleski likens the look of the show to a heightened documentary style. \u201cEveryone is, in some way, playing or has played a role in Charlie\u2019s narrative, and there is a performative element to all their personalities, as well as a transactional aspect to all their relationships,\u201d the Calgary-based filmmaker points out. \u201cIt felt like the cinematography should capture that heightened world in a way that was natural and unobtrusive but, in itself, heightened in proportion to the \u2018reality\u2019 of their world. Shooting 2.40 anamorphic, a choice made by Regina and Tobie, felt like a perfect match. It is a format that is equally powerful in both epic wide shots and intimate close-ups.\u201d<\/p>\n

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Working with Director Regina King on the pilot episode, Tobie Marier Robitaille, CSC,<\/span> says the goal was \u201cto create an authentic world where camera movements were motivated by the actors\u2019 actions, not the other way around. If there was glamour, it had to emanate from the opulent world of Charlie, rather than from elaborate camera work or lighting.”<\/figcaption><\/figure>\n

 <\/p>\n

To bring Creator\/Showrunner David E. Kelly\u2019s vision <\/strong>to life, the crew had to rely on camera innovations, advanced display technology, and on-set ingenuity. Robitaille chose the new (at the time) 24-V ALEXA 35. \u201cI\u2019ve always liked the look of Super 35,\u201d he explains. \u201cI don\u2019t see it as an inferior format compared to bigger ones, and I believed it was perfect for A Man in Full<\/em>.\u201d First AC Matt Heath was equally excited to use the ALEXA 35. \u201cIt opened up an avenue to use older, unexpanded lenses that were not compatible with our newly adopted large-format sensors,\u201d Heath explains. \u201cOverall, it\u2019s a fantastic camera with impressive features, such as left side display, articulating EVF bracket, and an abundance of power accessory ports.\u201d<\/p>\n

But there was one question: Would the first ALEXA 35 cameras off the shelf arrive in time to do camera tests and establish the LUT\u2019s? The answer was \u201cbarely,\u201d with a body arriving just a few days before filming commenced. \u201cAll of this happened within a very short timeframe because we couldn\u2019t begin working without the camera in our hands,\u201d Robitaille laughs. \u201cPanavision [Atlanta] really came through.\u201d<\/p>\n

Heath adds that the ALEXA 35 offered a new base design and none of the few SAM-7 plates were available. \u201cThankfully, we were able to have Ian Ruppieko at Panavision Atlanta machine-fabricate one so we could shoot Steadicam day one,\u201d Heath shares.<\/p>\n

Panavision also made a 24-V power cable to enable Steadicam Operator Tim Fabrizio, SOC, to power the camera from his sled. The crew carried an ARRI remote head full time, too, operated and maintained by Sebastian Lumme. Panavision outfitted the ALEXA 35 with two C Series anamorphic lens kits and a custom 40-mm close-focus lens crafted by Dan Sasaki, the company\u2019s senior vice president of optical engineering and lens strategy, based in Los Angeles. After initial emails and phone conversations with the DP\u2019s about the look and language, Sasaki got down to designing the bespoke glass.<\/p>\n

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\u201cWe\u2019ve been customizing lenses on the ALEXA 35 since the camera\u2019s inception,\u201d Panavision’s Dan Sasaki recounts. \u201cA Man in Full<\/em> was particularly interesting because it allowed us to mix anamorphic and spherical and to explore giving our C Series lenses a closer focus and a more vintage feel. We modified the way the lenses flared and brought the close focus in for a couple of focal lengths.\u201d<\/figcaption><\/figure>\n

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\u201cWe\u2019ve been customizing lenses on the ALEXA 35 since the camera\u2019s<\/strong> inception, starting as early as with Robert Richardson, ASC, on Air<\/em>,\u201d Sasaki recounts. \u201cA Man in Full<\/em> was particularly interesting because it allowed us to mix anamorphic and spherical and to explore giving our C Series lenses a closer focus and more vintage feel. We modified the way the lenses flared and brought the close focus in for a couple of focal lengths.\u201d<\/p>\n

The result was a different look in terms of close focus, field roll-off and flaring characteristics. Sasaki also fashioned the spherical Primo lenses to match the modified C Series for backup. \u201cThe Primo modifications resulted in a softer version of a stock lens, bridging the qualities of the two series in a way that would make the transition between them as seamless as possible,\u201d Sasaki adds.<\/p>\n

Nestled in an unpainted silver housing, the crew dubbed the custom lens \u201cThe Silver Fox, which,\u201d Wrobleski laughs, \u201cI\u2019m told was also a reference to my rapidly graying hair. Older anamorphics tend to have limitations when it comes to close focus, which can force you to use longer lenses for the close-up work.\u201d<\/p>\n

The Silver Fox enabled up-close-and-personal access while maintaining the aesthetic, as seen in Episode 102, when Charlie meets with an orthopedist about a knee replacement. \u201cCharlie\u2019s becoming a little unhinged at this point, and there\u2019s a shot where he demands a new knee,\u201d Wrobleksi adds. \u201cJeff played it where he leaned forward and down toward the desk, so we shot a special close-up on the Silver Fox. Jeff becomes very dominant in the frame \u2013 feeling uncomfortably close to the camera \u2013 and a desk lamp flares in a way that feels like a visual representation of his state of mind.\u201d<\/p>\n

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To create Croker’s executive office, towering above Atlanta, Robitaille suggested using an<\/span> LED Volume (in lieu of a static backdrop). “With no time to create a 3D environment in Unreal Engine, we shot plates that could be projected onto an LED wall. [The Volume] offered far more creative potential and flexibility, and was the only way to truly capture how light interacts with and reflects off the set as it would in real life.\u201d<\/figcaption><\/figure>\n

Another sequence showcasing the gear\u2019s capabilities occurs in Episode 2<\/strong> when Charlie learns of the bank\u2019s intention to shutter his business. \u201cIt isn\u2019t a showy scene or technical tour de force<\/em>,\u201d Wrobleski continues. \u201cIt\u2019s essentially a group of characters around a boardroom table \u2013 but it embodies the themes of power and interpersonal dynamics that Tommy and I were leaning into for our episodes.\u201d<\/p>\n

Wrobleski says he and Schlamme didn\u2019t want to shoot it in conventional matching coverage. \u201cSo, we worked with the operators [A-Camera] Tim Fabrizio and [B-Camera] Chris Arata, to challenge and scrutinize every setup to ensure we were making the best use of the tools of lensing, camera distance and height, and composition to put the audience in the middle of the power struggle,\u201d he adds. \u201cIt\u2019s a heavy dialogue scene, but my hope is that you could watch it without sound and still understand the power struggle and how the dynamic shifts.\u201d<\/p>\n

A Man in Full <\/em>was the latest production to use an LED Volume. Production Designer David Bomba [ICG Magazine June\/July 2020]<\/a> created the quintessential executive office for Charlie, including the requisite wall of windows showcasing the Atlanta skyline. It had everything except an actual view.<\/p>\n

\u201cWhile the first thought was to use a backdrop, I couldn\u2019t quite bring myself to go that route,\u201d Robitaille recounts. \u201cSo I proposed the idea of using a Volume LED wall. With no time to create a 3D environment in Unreal Engine, we opted to shoot plates that could be projected onto an LED volume wall. Since we\u2019d be filming in this set for several days per block, it offered far more creative potential and flexibility. It\u2019s the only way to truly capture how light interacts with and reflects off the set as it would in real life.\u201d<\/p>\n

To enhance the authenticity, Bomba added more reflective surfaces to the set, and Light Iron Colorist Ian Vertovec graded the content without the show LUT, choosing instead a perceptually objective Display Reference Transform to enable the widest spectrum possible for secondary capture and light-source emission. Vertovec, King and Robitaille had developed a base LUT off of hair and makeup tests in prep. Then Vertovec used Baselight for final color and Lattice for adjusting and testing exported show LUT\u2019s. \u201cI always make sure to have an honest conversation about middle gray \u2013 keeping it as close to neutral as possible, unless we\u2019ve explicitly decided for the LUT to push or pull the effective ISO of the camera,\u201d explains Vertovec, who worked with King on One Night in Miami<\/em> [ICG Magazine Deep Dive #5]<\/a> and Wrobleski on Tales From the Loop<\/em>.<\/p>\n

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Light Iron Colorist Ian Vertovec says it “can be tempting to grade test footage into a nice place and want to use that for a show-LUT. But you could be baking in something that won\u2019t work for every scene. Keeping middle gray neutral means the DP can rely on camera metadata ISO and Kelvin for what is getting recorded to RAW, even though the output image is going through a show-LUT.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

Vertovec takes the same approach to color temperature unless<\/strong> decided otherwise. \u201cIt can be tempting to grade some test footage into a nice place and want to use that for a show LUT,\u201d Vertovec continues. \u201cBut you could be baking-in something that won\u2019t work for every scene.\u00a0Keeping middle gray neutral means the DP can rely on camera metadata ISO and Kelvin for what is getting recorded to RAW, even though the output image is going through a show LUT.\u201d<\/p>\n

The Volume\u2019s functionality was most useful in the pilot episode, which features an intense sequence between Coker and his assistant Jill Hensley (Chant\u00e9 Adams). As Robitaille describes: \u201cWe captured a stunning plate at dusk, with ominous dark clouds, but there was an obvious gap on the horizon where a vibrant orange sunset was breaking through. It\u2019s a prime example of how this technology enables us to achieve truly realistic cinematography. With this setup, not only do you get this endless sunset effect, but when you observe all the reflections on the set, it looks incredibly lifelike. You just can\u2019t achieve that level of realism using green screens or backdrops.\u201d<\/p>\n

The series was Wrobleski\u2019s first production in the ATL. As he recalls: \u201cThe crew was one of the most wonderful I had ever collaborated with. Southern hospitality is real, and everyone went out of their way to make me feel welcome and to help immerse me in the world of A Man in Full<\/em>.\u00a0Not only are they professionals of the highest order, but they are also all incredible human beings who gathered around me like a family when I was facing some personal challenges during prep and the shoot. Their kindness and generosity is something I will never forget. It\u2019s different in every city, but the built-in common ground of everyone being a filmmaker means we are never strangers for long.\u201d<\/p>\n

 <\/p>\n

\"\"<\/p>\n

\"\"
“It felt like the cinematography should capture [Coker’s] world in a way that was natural and unobtrusive but also heightened \u2013 proportionally to the people in Charlie’s life,” Wrobleski concludes. “Shooting 2.40 anamorphic, a choice made by Regina and Tobie, felt like a perfect match. It’s a format that is equally powerful in both epic wide shots and intimate close-ups.\u201d<\/figcaption><\/figure>Local 600 Camera Team \u2013 A Man in Full<\/em><\/span><\/strong><\/p>\n

Directors of Photography: Tobie Marier Robitaille, CSC, <\/span>Craig Wrobleski, ASC, CSC<\/span><\/p>\n

A-Camera Operator\/Steadicam: Tim Fabrizio, SOC<\/p>\n

A-Camera 1st AC: Matt Heath<\/p>\n

A-Camera 2nd AC: Mike Fitzgerald<\/p>\n

B-Camera Operator: Chris Arata<\/p>\n

B-Camera 1st AC: John Metcalfe<\/p>\n

B-Camera 2nd AC: Becca Bennett<\/p>\n

DIT: Ted Viola<\/p>\n

Loaders: Cory Blake, Danna Garcia<\/p>\n

Utilities: Ashley Hedges, Bala Maji<\/p>\n

Stabilized Head Tech: Sebastian Lumme<\/p>\n

Unit Still Photographer: Mark Hill<\/p>\n

Unit Publicist: Denise Godoy<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Netflix’s dramatic series, A Man in Full (based on Tom Wolfe’s 1998 novel), is a tale of Atlanta society \u2013 top to bottom and back again. by Margot Lester \/ Photos by Mark Hill \/ Netflix \/ Framgrabs Courtesy of Netflix   Netflix\u2019s A Man in Full, based on novelist Tom Wolfe\u2019s late 1990s bestseller, tells the story of Atlanta real estate mogul Charlie Croker\u2019s (Jeff Daniels) struggle to save his empire and his reputation \u2013 while fending off opportunists […]<\/p>\n","protected":false},"author":2,"featured_media":13204,"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":[2,10],"tags":[],"class_list":["post-13169","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-web-exclusive"],"acf":[],"yoast_head":"\nFall From Grace - 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