{"id":6257,"date":"2016-05-12T21:07:59","date_gmt":"2016-05-12T21:07:59","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=6257"},"modified":"2016-05-12T21:07:59","modified_gmt":"2016-05-12T21:07:59","slug":"dark-days","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/dark-days\/","title":{"rendered":"Dark Days"},"content":{"rendered":"

DPs Stephen St. John and Feliks Parnell recreate the lighting look of a Civil War hospital for PBS\u2019s first dramatic series<\/strong><\/em><\/p>\n

\"mercy_street_1\"<\/p>\n

A nurse enters a ward in the former Mansion House Hotel \u2013 now commandeered as a Union Army hospital \u2013 carrying only a candle, its light traveling with her along her path in an otherwise dark room. Earlier in the day, she chatted with a doctor in the hospital\u2019s lobby, their faces barely visible. Thus was the light of 1860s America and how life in a Civil War era hospital (in Alexandria, VA) is portrayed on Mercy Street, PBS\u2019 first self-produced dramatic series, executive produced by Ridley Scott and Scott Free Films, along with former ER showrunner David Zabel, among others.<\/strong><\/p>\n

From the beginning, we wanted to keep it very natural,\u201d<\/b><\/span><\/span><\/span><\/span><\/span> describes Roxann Dawson, who directed the first three episodes of the six-episode series, now in production on its second season. \u201cEverything was source-specific, either coming from the outside, or from candles inside.\u201d Adds Executive Producer Lisa Wolfinger: \u201cThe idea was always to create a naturalistic design using daylight and period-appropriate light sources.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Civil War\u2013era buildings, which included tall windows for evacuation of hot air in the summertime, allowed for abundant sunlight. When darkness came, gaslight, Wolfinger notes, \u201cwas in private residences and still largely the preserve of the wealthy. Middle-class and working-class homes were mostly lit with kerosene\u201d and candles. \u201cAnd gas light is relatively dim, compared to electricity, which didn\u2019t arrive until the 1880s. Activities that required light were generally conducted next to a window during the day.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

In fact, much of the series takes place in the hospital\u2019s interior \u2013 shot in the Laburnum House, a three-story mansion in Richmond, VA built in 1908 that eventually became part of the now-closed Richmond Memorial Hospital complex (and is currently a private school). Exteriors for the hospital were filmed 20 miles to the south, in Petersburg, making use of the fa\u00e7ade of the Petersburg Area Arts League building, a two-story structure (which received a VFX set extension for a third, to match Laburnum\u2019s interior) located on historic East Oak Street, the city\u2019s old main street. The street itself was used for several complex outdoor sequences, showing bustling activity and many extras.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"mercy_street_2\"<\/p>\n

\u201cWe went to Alexandria [the location of the real Mansion House], but it\u2019s now a modern city,\u201d shares Production Designer Stephen Marsh. \u201cPetersburg is a small town that still has cobbled streets.\u201d The owners of the hotel are the well-to-do Green family, who, historically, also lived in Alexandria. Petersburg\u2019s historic Centre Hill Mansion, now a museum, was used for both interiors and exteriors of their home. Cinematographer Stephen St. John (who shot the first three episodes with Dawson, while Feliks Parnell shot the second three with director Jeremy Webb) shot in the Laburnum House for Scott Free\u2019s 2013 TV movie, <\/span><\/span><\/span><\/span><\/span>Killing Kennedy<\/i><\/span><\/span><\/span><\/span><\/span>. A Civil War history buff, St. John welcomed the return to Richmond, fully aware of the challenges Laburnum posed. \u201cThe producers kept referring to it as \u2018a stage\u2019 \u2013 and it\u2019s not,\u201d St. John explains. \u201cIt\u2019s a three-story brick building with no elevator and huge problems. But they\u2019re problems we embraced.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Interiors were lit from the outside, through windows, <\/b><\/span><\/span><\/span><\/span><\/span>because as St. John continues, \u201cit was the only way to be period-correct.\u201d Adds Dawson, \u201cWe would be shooting something inside and not see a single light inside the building. It was all external, as it would have been in those days.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

To accomplish this, Gaffer \u2013 and fellow <\/span><\/span><\/span><\/span>Killing Kennedy<\/i><\/span><\/span><\/span><\/span><\/span> veteran \u2013 Jim Grce (pronounced \u201cGerch\u201d) ringed Laburnum with six 125-foot Condors to get light into any window on any floor of the building. The smaller, lighter Teupen Crawler Lift, which has tank-track-type propulsion, was used on a delicate tile patio in the back of the building.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"mercy_street_6\"<\/p>\n

\u201cThe Teupen has a 60-foot lift and a base that self-levels,\u201d Grce explains. \u201cIt was light enough that we could send a light and a man up in there, without damaging anything. We\u2019d use it in areas that were very uneven, that couldn\u2019t level, as well as in forest scenes, because with those tracks you could get in anywhere.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

St. John preferred HMIs and Arri M-Series lamps, while Parnell went with tungsten \u2013 both DP\u2019s achieving the same quality of light through different instruments. St. John says he needed the HMI\u2019s to \u201cpenetrate the heavy fabric on the window coverings,\u201d while Parnell, who hasn\u2019t used HMI sources for 15 years, notes, \u201cThere\u2019s a tradeoff because you have to have blue gel, full CTB, to bring them to daylight color temperature. So you lose intensity, but it\u2019s a full-spectrum light.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cOf course, there\u2019s nothing better than natural light coming through the windows,\u201d Parnell adds. \u201cAs the sun would set \u2013 and the color temperature, as well as its intensity changed \u2013 I would just increase the amount of light I was using to supplement it, and then just push the camera a little bit more. You can open the stop and change the ASA, which gives you more sensitivity.\u201d Grce would also supplement with various instruments inside the room, where needed.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

For one set on Laburnum\u2019s first floor, an existing window had been nearly bricked closed in the 1960s by the construction of an adjacent hospital building \u2013 and light was needed to be seen coming in that window frame. With just an inch gap to the brick facing, Grce applied a pair of 4-by-4-foot SourceMaker LED Blankets. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cThey\u2019re a quarter-inch thick and just like a blanket, so you can mold them to any shape,\u201d he offers. \u201cWe put diffusion on them and, because they\u2019re variable color temperature, we could set them to match what was coming in through the other windows.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"mercy_street_3\"<\/p>\n

Historically, surgeries were performed near a window during the day, and if more light was needed, a mirror was taken off a wall to reflect more sunlight onto the surgeon\u2019s work. St. John suggested using two mirrors, with Grce shining an M90 HMI into a flat mirror across the room, whose light would then be bounced into a concave mirror that would focus the light onto the surgery site. The latter glass was in frame and held by grip Hank Atterbury, dressed up for the part. \u201cHe\u2019s been in a lot of historical Revolutionary and Civil War stuff, so he was totally game for it,\u201d St. John smiles.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Cross-boarded episodes meant rapid shifts in lighting, <\/b><\/span><\/span><\/span><\/span><\/span>from sunlight to dusk to nighttime; beside Grce\u2019s lighting Condors at each window, the grips had large 20-by-20-foot Ultra Bounce flyswatters, either black or white, to block out the real sun, or tone it down with a quarter grid. \u201cIt was really a ballet of Condors out there \u2013 ours and the grips\u2019,\u201d the gaffer states. \u201cOne would come in to block the light for a night scene, and then one of mine would come in to add the light for another scene.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Keeping track of so many lighting and photographic setups was a challenge, so Best Boy Electric Wade Tyree had team member Tim Reilly collect a complete set of data for each scene \u00ad\u2013 lighting instruments used, photos showing positioning of Condors\/lights outside the building, color temperature, ASA, filtration, etc. \u201cWe could easily say, \u2018What did that look like? Could you pull up the look for that? What was the color temperature there?\u2019\u201d notes DIT Ian Edwards. \u201cWe were working with variable-temperature LED lights, so that was especially important.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Still, much of <\/span><\/span><\/span><\/span>Mercy Street<\/i><\/span><\/span><\/span><\/span><\/span> takes place in the shadows; actors are often lit by candles they carry, or with bounce from ambient light, with their faces barely visible. \u201cI love working with silhouettes,\u201d Dawson says. \u201cHere, it\u2019s not used to keep a secret, but rather an extension of what we would naturally be seeing under those circumstances.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"mercy_street_4\"<\/p>\n

St. John found the perfect ally to capture this darkness in the ARRI ALEXA. \u201cIt just really digs in and finds that image, far more than film ever did,\u201d he remarks. \u201cI was a film guy \u2013 I came up from where \u2018You\u2019re at 1000 ASA\u2019 was really out there, and starting to think about grain issues. Now 1000 is the starting point. With the Alexa, we shoot out of the box at 800 ASA and go to 1600 ASA without even thinking about it.\u201d <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cThere were times we\u2019d be shooting wide open at 1280 ASA with just candlelight or practical light, and the camera was seeing more than our eyes can see,\u201d First AC Elizabeth Heslep adds. In fact, Heslep would have to turn off the Alexa\u2019s onscreen monitor and indicator lights. \u201cThey would light up the room and show up in the image,\u201d she says. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

For all the candlelight work, Tyree supplied double-wick candles with small Lightgear LED strips embedded into them, something developed by his team for <\/span><\/span><\/span><\/span>TURN: Washington\u2019s Spies<\/i><\/span><\/span><\/span><\/span><\/span>, another Richmond-filmed series. While the candle flames did the work of lighting the scene, the LEDs helped light the face of the actors carrying the candles. Cast members had to be coached to keep the candles held in such a way to avoid revealing the presence of the LEDs to the lens.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cContrary to the way we use light now \u2013 turning an overhead light on to light a room\u2019s entire space before entering a fully-lit space,\u201d Dawson explains, \u201cin pre-electric times, the room\u2019s light source traveled with the person carrying it, leaving darkness behind and ahead of them, so it was wonderful to include the source light in our frame.\u201d Grce would sometimes augment such light with carefully placed LED fixtures, subtly dimmed up and down as the actor moved across a room.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Lenses were Cooke S4s, often with Schneider Classic Soft filters,<\/b><\/span><\/span><\/span><\/span><\/span> which Parnell describes as having \u201cbeautiful contrast and color properties, and [they are] terrific at handling bright light sources, flaring in an acceptable way.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Most of the show was shot two-camera, with A-camera\/Steadicam chores handled by Simon Jayes, whom St. John had known when Jayes owned Technocrane Ltd., and, more recently, from his work on <\/span><\/span><\/span><\/span>True Blood<\/i><\/span><\/span><\/span><\/span><\/span>. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cIt was designed as a Steadicam show from the script level,\u201d Jayes notes. \u201cYou can go from character to character, trading off between different storylines.\u201d In fact, a complex Steadicam shot is used as soon as Nurse Mary (Mary Elizabeth Winstead) arrives at the hospital in the first episode. As Dawson describes: \u201cThe Steadicam pulls us into the center of all this carnage, through Mary\u2019s point of view. It allows us to look at all the spaces, and to feel the movement, as though we\u2019re moving through the various rooms. Simon is unbelievably talented, and Stephen fought to have him.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Dawson would choreograph such moves with St. John (or Parnell), Jayes, Marsh and Grce, designing shots that follow conversations, i.e., from the hospital\u2019s wood-paneled first floor former library into the darker entryway, into a brightly-lit ward, and then handed off to follow another conversation into another more warmly lit room. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"mercy_street_5\"<\/p>\n

\u201cWe designed the daytime lighting so that characters could move freely in and out of light as they walked and talked,\u201d Wolfinger adds. \u201cThat felt more naturalistic, allowing them to encounter the kind of light they would have during that era.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Jayes worked closely not only with Grce, who would supply supplementary lighting instruments in and out of shots as they progressed, but also with the art department, who created gag stubs of beds, for example, which could be placed and seen in the shot and then moved out of the way. \u201cIt wasn\u2019t just for me, but the herd of elephants that had to accompany me as I moved along,\u201d Jayes laughs, referring to the many grips and other crew that accompanied with lights, bounces and other items along his path.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Moving camera shots through different kinds of lighting required constant iris pulls by Edwards, sometimes with as many as five or six stops\u2019 compensation. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cThere wasn\u2019t a shot in the show I wasn\u2019t riding iris,\u201d the DIT recalls. Heslep would similarly be challenged to pull focus through different lighting changes, always working from her monitor to capture whatever was required \u2013 as well as whatever business of interest from the many skilled background performers. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cI would get guidance from Roxann and Simon, but they would also let me play with it and find those moments,\u201d Heslep recounts. \u201cYou might let the main actor blow through, but you really want to concentrate on the guy screaming in the corner.\u201d <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Adds Jayes, \u201cLiz has very good storytelling instincts for where the focus should be, which is such an important quality in a first AC.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

St. John found the investment from all of the local crew he had on the project key to recreating the naturalistic lighting critical to the show\u2019s look. \u201cIt was a great advantage knowing I was going back to a city to work with a group I\u2019d worked with before, and who have investment in the story they\u2019re telling. I knew that when we had to go deep and find a way to get a shot in the dark, these guys would know how to do it.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

by Matt Hurwitz \/photos by Antony Platt\/PBS <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

DPs Stephen St. John and Feliks Parnell recreate the lighting look of a Civil War hospital for PBS\u2019s first dramatic series A nurse enters a ward in the former Mansion House Hotel \u2013 now commandeered as a Union Army hospital \u2013 carrying only a candle, its light traveling with her along her path in an otherwise dark room. Earlier in the day, she chatted with a doctor in the hospital\u2019s lobby, their faces barely visible. Thus was the light of […]<\/p>\n","protected":false},"author":1,"featured_media":6258,"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":[37,40,402,403],"class_list":["post-6257","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-local-600","tag-mercy-street","tag-pbs"],"acf":[],"yoast_head":"\nDark Days - 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\/dark-days\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dark Days - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"DPs Stephen St. John and Feliks Parnell recreate the lighting look of a Civil War hospital for PBS\u2019s first dramatic series A nurse enters a ward in the former Mansion House Hotel \u2013 now commandeered as a Union Army hospital \u2013 carrying only a candle, its light traveling with her along her path in an otherwise dark room. Earlier in the day, she chatted with a doctor in the hospital\u2019s lobby, their faces barely visible. 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