{"id":1988,"date":"2012-04-04T11:46:55","date_gmt":"2012-04-04T19:46:55","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1988"},"modified":"2014-05-29T20:06:16","modified_gmt":"2014-05-29T20:06:16","slug":"water-world","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/water-world\/","title":{"rendered":"Water World"},"content":{"rendered":"

John R. Leonetti, ASC goes down The River<\/em> with a raft of small-format cameras and innovative VFX workflows<\/strong><\/p>\n

The makers of the ABC Studios\/DreamWorks\u2019 The River<\/em> set out to make something not just a little creepy but really scary.<\/strong> Not surprising given that one of the show\u2019s creators is Oren Peli, writer\/director of the blockbuster feature Paranormal Activity<\/em>. Shot by John R. Leonetti, ASC (Insidious<\/em>, The Mask<\/em>) the new series has that same disconcerting feeling as the Paranormal<\/em> franchise – terrifying events shown with the matter-of-fact feeling of \u2018found footage.\u2019<\/p>\n

Shooting on location in Hawaii (and Puerto Rico for the pilot) with more than 100 VFX shots per episode and a huge assortment of cameras, sensors and formats, The River<\/em> breaks new ground for an episodic drama. Rather than risk sending the massive amount of image data from set to Hollywood-based facilities for VFX and post work, the producers brought much of that work to the location. Key players from Encore and Level 3 went to Hawaii to set up a mobile \u201clab\u201d for managing all the camera files, with Encore VFX supervisor Stephan Fleet, VES on the set to work closely with Leonetti and his team.<\/p>\n

As seen in the pilot episode, beloved nature-show <\/strong>host Dr. Emmet Cole, who has entertained millions with the intrepid adventures of his TV series Undiscovered Countries<\/em>, has vanished on a boat voyage deep in the Amazon. Months later, signals are received via an emergency homing beacon, so Cole\u2019s wife, son and a team of documentary filmmakers set out in their own boat to find him, recording their journey as they go. The look of The River<\/em> is mainly defined by found footage the rescue squad has shot, as well as material captured by surveillance cameras that documents mysterious, sometimes supernatural phenomena along the way.<\/p>\n

\"\"<\/p>\n

Leonetti says he loves \u201cbeautiful images\u201d as much as the next cinematographer. But this series required a different mindset, one he first learned while shooting docudramas like Against the Wall<\/em> (about the Attica prison riots) and The Burning Season<\/em> (about strife in Brazil) for director John Frankenheimer. \u201cOnce you get into a situation where women don\u2019t have to look beautiful,\u201d Leonetti muses about The River\u2019s<\/em> down-and-dirty approach, \u201cwith light slamming in their face and a big backlight on them, you\u2019re in a whole different kind of storytelling.\u201d<\/p>\n

Sony EX3s and F3s, ARRI ALEXAs, Silicon Imaging SI-2K, Canon 5D Mark II and 7D DSLRs and GoPros were among the many different cameras Leonetti made use of throughout the series. Explaining why he didn\u2019t just settle on one high-end system and simulate the different looks in post, he states, \u201cYou can spend time in post and \u2018dumb down\u2019 an Alexa to make it look more like an EX3 or even a GoPro, and we did do some of that. But each of these cameras offered something different. We used GoPros in very low light, and it looks gritty and gnarly and introduces a lot of yellow and orange noise that gives you a very uneasy feeling. The DSLR material certainly looked good enough to work as surveillance footage at some very high ISOs.\u201d<\/p>\n

The River\u2019s<\/em> shooting style, in which five (and often many more) cameras covered a scene at once, was cost-prohibitive using high-end professional-level gear. And there were also practical reasons why it made sense to use some of the consumer cameras.<\/p>\n

\u201cIt\u2019s their physical size,\u201d Leonetti explains. \u201cWe could Velcro a couple of GoPros to the ceiling and use them as surveillance cameras. You can\u2019t do that with a bigger camera. You can\u2019t even do it with a 7D without seeing it. We did use 7Ds, but we had to be more careful hiding those.\u201d<\/p>\n

\"\"<\/p>\n

He describes one scene that was covered with two GoPros and two flashlights. \u201cA character who is a documentary cameraman has to go find a special bulb that grows under a tree,\u201d Leonetti explains. \u201cBut he\u2019s afraid of tunnels and has to climb under these trees to get the bulb. We fixed two GoPros back-to-back on a plate with a handle and two flashlights, one pointing in each direction.\u201d The DP credits his operators (Mark Meyers on A-camera and Raphy Molinary on B-camera for the pilot; Tod Campbell on A-camera and Richard Cantu, SOC on B-camera for the series) for being able to go against their natural, i.e., highly trained, instincts. \u201cThey couldn\u2019t be graceful,\u201d Leonetti continues. \u201cThe look had to be completely spontaneous with a lot of snap zooming with the ENG lens. Pop it in; pop it back. And that was also tough on our assistants [Scott Ronnow on A-camera and Tony Nagy on B-camera]. A lot of these cameras were on auto iris. You do a stop change, and you see the stop change in the shot, which is certainly not what they are used to.\u201d<\/p>\n

Working with DIT Adrian Jebef (Jeff Tomcho took over DIT duties when the show moved to Hawaii) and Level 3 Post in Burbank, Leonetti wanted to see how each different rig would stand up through the color grading process. \u201cI worked with Larry Field, who did all the final color grading for the series,\u201d he adds, \u201cand we set looks for each camera.\u201d<\/p>\n

Jebef had his work cut out for him. \u201cEverything shot was file-based,\u201d he says. \u201cI brought some tower computers to the location and used them to ingest all the material from all the different kinds of media onto hard drives in their native codec and organized everything into file folders. The Alexas recorded to ProRes Log-c. The Canon DSLR material was in H.264 on the cards that go in the camera. For the EX3, we wanted to work with a more robust codec than the XDCam format, so we recorded 4:2:2 signal directly to a [Convergent Design] nanoFlash Recorder. Level 3 had set up a mobile \u2018lab\u2019 at the location, and I would hand off all the files in their native formats to them.\u201d<\/p>\n

One striking motif of <\/strong>The River<\/em><\/strong> is how breathlessly it cuts, <\/strong>within a scene, between \u201cdocumentary\u201d footage from different shooters and any number of surveillance cameras, all of which were covering the action simultaneously. The mixture of so much data, in so many formats, coupled with some 100 VFX shots per episode created a challenging set-to-post pipeline.<\/p>\n

\"\"<\/p>\n

\u201cFrom the pilot, we discovered that it made the most sense to put everything into a single visually lossless format,\u201d says Jay Bodnar, vice president of engineering for entertainment television at Deluxe, which includes both Encore and Level 3. \u201cThe format of choice was DNX175x. It\u2019s a robust codec that allowed us to retain all the information from every one of the native camera formats. We immediately transcoded everything, did a color grading pass [using a scaled-down Baselite system] for dailies, and we also made DNX36 versions that were more manageable for the Avid systems in the cutting room.\u201d<\/p>\n

DNX175x files were forwarded to Los Angeles where they were \u201cpublished\u201d to the SAN that Encore and Level 3 share. This allowed Field to do some early grading in his Lustre suite while Encore\u2019s VFX crew could also get to files to start building CGI elements and tracking them into shots. Fleet then helped to ensure the effects duplicated the look of the live-action shots, camera quirks and all.<\/p>\n

\u201cIf we had to put some kind of creature into a shot or add to the environment,\u201d Fleet explains, \u201cthe final shot had to look real. If the shot was noisy or had a strange color, or the focus popped in and out, or the iris opened and closed midway through the take, we\u2019d have to match that look when we created the effect.\u201d<\/p>\n

Confident that Encore could match any look Leonetti\u2019s team could create, Fleet made no effort to constrain production for the sake of an effect. \u201cThey did everything that the VES handbook says you\u2019re not supposed to do,\u201d he laughs. \u201cAuto iris, auto zoom\u2026cameras constantly whip-panning around. And because The River<\/em> is not a fantastical show, everything you see is supposed to be grounded in reality. In many ways, that can be more challenging [for VFX]. But we have great artists and compositers and a brilliant tracker.\u201d<\/p>\n

Being on set, Fleet could bring his VFX\/post perspective to discussions about how to approach particular sequences. \u201cFor certain shots that would require a lot of compositing work, I recommended John go with the Alexa,\u201d Fleet continues. \u201cThe sensor size and format would obviously give us more information to work with later. But he made it clear early on that this just didn\u2019t go with the approach of the show. First, we could never be sure that Editorial would decide to use the [angle] shot with the Alexa. They needed the freedom to use whatever best told the story. And the look of something shot handheld with an Alexa and handheld with the cameras that the characters on the show are supposed to be using is different. I knew that the artists and compositers back in Hollywood could match to any of the cameras, so we didn\u2019t have to worry so much about which camera was covering what.\u201d<\/p>\n

\"\"<\/p>\n

Fleet was also able to use his fluency in Autodesk Maya and Maxon\u2019s Cinema 4D to present options to the filmmakers so they could see in a somewhat concrete form what certain ideas might look like. \u201cThere\u2019s a quick scene in the second episode,\u201d Fleet recalls. \u201cA girl crosses a mirror, and there\u2019s the image of someone else in the mirror. It\u2019s a very quick shot and there were some discussions about exactly how much we should see in the mirror, how ethereal the image should be and that sort of thing. I was able to go to the dailies people, get the footage, put it on my laptop and give them a couple of rough options right there.\u201d<\/p>\n

Another sequence required that the travelers\u2019 boat encounter a second craft. But the stretch of river the unit was using to stand in for the mighty Amazon was not wide enough for two boats to travel side by side. \u201cWhenever we needed to see two boats in the same shot,\u201d Fleet continues, \u201cit would have to be done through visual effects at extreme cost. I wanted to help them not go down the path of just relying on effects to fix everything. I know that\u2019s counter-intuitive for an effects guy, but I really wanted us to be able to focus on a smaller number of really great shots. So I took all the data I\u2019d accumulated about cameras, chip sizes, focal length, et cetera, and recreated the geography of the scene in 3D. I was able to build something on my laptop that allowed John and the director and producers to get a rough sense of what the scene would look like from all different angles. Of course, it wasn\u2019t exact, and things change when you go to shoot, but this way they could get a very good idea of how they could use camera placement to tell the story with the minimal number of visual effects shots.\u201d<\/p>\n

Drives with the DNX175 versions of everything shot, as well as copies of the original camera files, were shipped back to Los Angeles. As the episode\u2019s offline cut developed, Field would refer back to the various \u201clooks\u201d for the different cameras and situations he had preset with Leonetti and do some initial color passes in his Autodesk Lustre (2012) theater. Artists and compositers, also using Maya, Cinema 4D, The Foundry\u2019s Nuke and other VFX tools, could start the work of building CGI elements \u2013 a boat, millipedes, various creatures and environments \u2013 that would have the photo-real look the creators envisioned and also mimic the specific artifacts of the camera and format for each shot, eventually making a seamless composite.<\/p>\n

Level 3 senior online editor Josh Baca used Avid Nitris 5.5 to keep an updated timeline of all the files as they evolved and to conform the larger DNX175x files to Editorial\u2019s EDLs as they came in. Baca also made use of some unorthodox techniques to \u201cage\u201d a lot of material for the show that was shot on the ALEXA and EX3 cameras but were supposed to look like vintage analog material. \u201cI would use a real Betacam SP deck and copy the material, and then go back and upconvert back into a digital format,\u201d Baca says, adding that \u201cthere are ways to synthesize that look, but I don\u2019t think any of them work as well as doing it for real.\u201d<\/p>\n

Summing up this groundbreaking prime-time journey, Leonetti says it\u2019s \u201camazing how much we\u2019ve advanced in visual effects and how flexible they can be. Images don\u2019t have to be pristine \u2013 I didn\u2019t light much at all. The visual effects could keep up with whatever we gave them. I wouldn\u2019t want every show to look like this, but it works perfectly for The River<\/em>.\u201d<\/p>\n

By Jon Silberg \/ photos by\u00a0<\/em>Mario Perez, Francisco Roman & Bob D\u2019Amico<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

John R. Leonetti, ASC goes down The River with a raft of small-format cameras and innovative VFX workflows<\/p>\n","protected":false},"author":1,"featured_media":3404,"comment_status":"open","ping_status":"open","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":[37,106,107,108],"class_list":["post-1988","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-john-r-leonetti-asc","tag-the-river-cinematography","tag-the-river-vfx"],"acf":[],"yoast_head":"\nWater World - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/water-world\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Water World - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"John R. Leonetti, ASC goes down The River with a raft of small-format cameras and innovative VFX workflows\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/water-world\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2012-04-04T19:46:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-05-29T20:06:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1400\" \/>\n\t<meta property=\"og:image:height\" content=\"933\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"EDITOR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"EDITOR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"Water World\",\"datePublished\":\"2012-04-04T19:46:55+00:00\",\"dateModified\":\"2014-05-29T20:06:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/\"},\"wordCount\":2203,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg\",\"keywords\":[\"ICG Magazine\",\"John R. Leonetti ASC\",\"The River cinematography\",\"The River VFX\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.icgmagazine.com\/web\/water-world\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/\",\"name\":\"Water World - ICG Magazine\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg\",\"datePublished\":\"2012-04-04T19:46:55+00:00\",\"dateModified\":\"2014-05-29T20:06:16+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.icgmagazine.com\/web\/water-world\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/#primaryimage\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg\",\"contentUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg\",\"width\":1400,\"height\":933},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/water-world\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.icgmagazine.com\/web\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Water World\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/\",\"name\":\"ICG Magazine\",\"description\":\"Showcasing the members of the International Cinematographers Guild\",\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.icgmagazine.com\/web\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\",\"name\":\"ICG Magazine\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg\",\"contentUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg\",\"width\":1294,\"height\":1080,\"caption\":\"ICG Magazine\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"http:\/\/www.facebook.com\/theicgmag\",\"https:\/\/x.com\/theicgmag\",\"http:\/\/www.instagram.com\/theicgmag\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\",\"name\":\"EDITOR\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g\",\"caption\":\"EDITOR\"},\"url\":\"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Water World - ICG Magazine","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.icgmagazine.com\/web\/water-world\/","og_locale":"en_US","og_type":"article","og_title":"Water World - ICG Magazine","og_description":"John R. Leonetti, ASC goes down The River with a raft of small-format cameras and innovative VFX workflows","og_url":"https:\/\/www.icgmagazine.com\/web\/water-world\/","og_site_name":"ICG Magazine","article_publisher":"http:\/\/www.facebook.com\/theicgmag","article_published_time":"2012-04-04T19:46:55+00:00","article_modified_time":"2014-05-29T20:06:16+00:00","og_image":[{"width":1400,"height":933,"url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg","type":"image\/jpeg"}],"author":"EDITOR","twitter_card":"summary_large_image","twitter_creator":"@theicgmag","twitter_site":"@theicgmag","twitter_misc":{"Written by":"EDITOR","Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/#article","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/"},"author":{"name":"EDITOR","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a"},"headline":"Water World","datePublished":"2012-04-04T19:46:55+00:00","dateModified":"2014-05-29T20:06:16+00:00","mainEntityOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/"},"wordCount":2203,"commentCount":0,"publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg","keywords":["ICG Magazine","John R. Leonetti ASC","The River cinematography","The River VFX"],"articleSection":["Features"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.icgmagazine.com\/web\/water-world\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/","url":"https:\/\/www.icgmagazine.com\/web\/water-world\/","name":"Water World - ICG Magazine","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/#primaryimage"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg","datePublished":"2012-04-04T19:46:55+00:00","dateModified":"2014-05-29T20:06:16+00:00","breadcrumb":{"@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.icgmagazine.com\/web\/water-world\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/#primaryimage","url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg","contentUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/04\/2012_04.jpg","width":1400,"height":933},{"@type":"BreadcrumbList","@id":"https:\/\/www.icgmagazine.com\/web\/water-world\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.icgmagazine.com\/web\/"},{"@type":"ListItem","position":2,"name":"Water World"}]},{"@type":"WebSite","@id":"https:\/\/www.icgmagazine.com\/web\/#website","url":"https:\/\/www.icgmagazine.com\/web\/","name":"ICG Magazine","description":"Showcasing the members of the International Cinematographers Guild","publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.icgmagazine.com\/web\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.icgmagazine.com\/web\/#organization","name":"ICG Magazine","url":"https:\/\/www.icgmagazine.com\/web\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/","url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg","contentUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg","width":1294,"height":1080,"caption":"ICG Magazine"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/"},"sameAs":["http:\/\/www.facebook.com\/theicgmag","https:\/\/x.com\/theicgmag","http:\/\/www.instagram.com\/theicgmag"]},{"@type":"Person","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a","name":"EDITOR","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g","caption":"EDITOR"},"url":"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/"}]}},"_links":{"self":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/1988","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/comments?post=1988"}],"version-history":[{"count":3,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/1988\/revisions"}],"predecessor-version":[{"id":3522,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/1988\/revisions\/3522"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media\/3404"}],"wp:attachment":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media?parent=1988"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/categories?post=1988"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/tags?post=1988"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}