{"id":6511,"date":"2016-10-13T18:09:35","date_gmt":"2016-10-13T18:09:35","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=6511"},"modified":"2021-05-30T20:14:30","modified_gmt":"2021-05-31T03:14:30","slug":"stay-cation","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/","title":{"rendered":"Stay…cation"},"content":{"rendered":"

A team of Guild DP’s help to create HBO’s update of Westworld, one of the creepiest theme-park thrillers ever filmed…on film.<\/strong><\/p>\n

\"westworld_7\"<\/p>\n

As she does every morning, Dolores Abernathy (Evan Rachel Wood) steps out onto the porch of the modest homestead she shares with her father and greets him. But when a fly lands on her eyeball, she doesn\u2019t even blink. Elsewhere in the Old Western theme park known as Westworld<\/em>,<\/em> a robotic \u201cHost\u201d is asked by a guest, \u201cAre you real?\u201d<\/p>\n

\u201cIf you can\u2019t tell,\u201d the response comes, \u201cwhat\u2019s the difference?\u201d<\/p>\n

\"westworld_3\"<\/p>\n

Fans of Michael Crichton\u2019s 1973 thriller, Westworld<\/em>, will no doubt<\/strong> be excited to see HBO\u2019s updated version of Crichton\u2019s creepy blend of past and future as a sci-fi series adapted by showrunners Jonathan and Lisa Joy Nolan. For those who need a quick refresher: Westworld<\/em> is the ultimate summer vacation, where people pay to live out their fantasies of life in the Old West. The park features humanoid \u201cHost\u201d robots whose main directive is to serve the guests \u2013 and to never harm a living thing. Until, of course, they do. But there is also some irony in this new take, given that the 70\u2019s-era original was the first feature film to use digital image processing (to simulate an android\u2019s point of view), and the husband-and-wife creative team behind HBO\u2019s new series was adamant about shooting their technology-run-amok story on film.<\/p>\n

\u201cThis is a Western about Westerns \u2013 a meta-Western,\u201d Jonathan Nolan explains. \u201cIt\u2019s [park creator] Dr. Ford\u2019s distillation of all of the movie westerns he loved when he was a kid. [Westworld<\/em> creator Dr. Ford, played by Anthony Hopkins, maintains an operation center hidden deep below the park\u2019s surface.] And the only way to shoot that is on film.\u201d In fact, shooting the Western scenes on film and the tech-world components digitally was considered. \u201cBut that introduces a complexity to your workflow that\u2019s just not worth it,\u201d Nolan adds.<\/p>\n

Paul Cameron, ASC, who shot Westworld\u2019s<\/em> pilot, says finding a common visual thread between the cool, sterile world of Ford\u2019s below-ground labs and the vast, cinematic, above-ground world of the robots was a welcome challenge, given that Nolan (following suit with his brother, Chris) eschews digital capture.<\/p>\n

\u201cThere\u2019s a certain reverence when you shoot film,\u201d Cameron adds, \u201cthat somehow keeps a little edge to the set. There\u2019s always the knowledge, in the back of everybody\u2019s head, that they know the film\u2019s going to run out at a certain point.\u201d<\/p>\n

\"westworld_9\"<\/p>\n

David Franco, who shot Episodes 8, 10 and parts of 7, taking over for series DP Robert McLachlan, ASC (Game of Thrones<\/em>, Ray Donovan<\/em>), following the show\u2019s three-month hiatus, says that \u201cexcept for one commercial, the last thing I shot with film was Boardwalk Empire<\/em>. So shooting film was absolutely one of the attractions of working on this show.\u201d McLachlan agrees, adding that he even got to use his own ARRI 435 a few times. \u201cHearing [the 435] grinding away was music to my ears,\u201d he recalls. \u201cI never thought I\u2019d hear that sound again.\u201d<\/p>\n

[Westworld\u2019s<\/em> nearly two-year production schedule began in 2014 with Cameron shooting the pilot, Chris Haarhoff, SOC, operating A-camera\/Steadicam, and Barry Idoine operating B-camera. McLachlan and Brendan Galvin took the show to series in 2015, shooting even and odd episodes, respectively, with a Local 600 camera team that included operators Greg Smith, Steven Matzinger and Craig Fiske. Franco and Jeff Jur, ASC, came on after the hiatus for McLachlan and Galvin \u2013 operators for that team included Steadicam veteran Tommy Lohmann (Franco) and Don Devine, SOC (Jur), with Matzinger returning for B-camera and occasional additional Steadicam from Dana Harris. Franco and Jur had complex cross-boarding of their episodes, including trading off operators and assistants.]<\/p>\n

\"westworld_6\"<\/p>\n

Like the constant reality blurs in its narrative, Westworld\u2019s<\/em><\/strong> production team created a workflow that blended the best of film and digital. Kodak stocks used on the project included EXR 5245 (50D), 5207 (250D) and 5219 (500T), with Cameron using the 5245 for both day exteriors and some saloon interiors. \u201cEven though it\u2019s a slower speed,\u201d he explains, \u201cit\u2019s a really rich stock that gives that Marlboro feel.\u201d McLachlan, who tended to favor the 5207, says he\u2019s always preferred the look of everything shot on the same emulsion. \u201cI would also push the 5219 a full stop,\u201d he notes, \u201cespecially for these massive nightscapes we had. It just made what light we had go further.\u201d<\/p>\n

Fotokem (Burbank) processed dailies (all takes as per Nolan\u2019s preference) before being sent to Encore Hollywood for 2K scanning and timing by dailies colorist Jason Altman; final DI timing was done by longtime Cameron favorite Shane Harris. With the timed pilot available during series production, McLachlan and Franco took stills on set and colored in Adobe Photoshop for any new looks, before sending to Altman.<\/p>\n

Co-producer Bruce Dunn explains that \u201cthey didn\u2019t all have a chance to do this, due to scheduling, but it was still the best guide \u2013 the pilot and Photoshopped images.\u201d<\/p>\n

Although shot on film, Westworld<\/em> is delivered for broadcast to HBO as a 2K JPEG file. Warner Bros. Television, which produces the show, has another deliverable standard, as well.<\/p>\n

\u201cThey have an archival requirement for any show that originates on film,\u201d Dunn adds, noting that WB will receive a cut negative of Westworld<\/em> \u201csometime in 2017, after broadcast has finished.\u201d During the pilot (and, time permitting, during series production), Westworld<\/em> dailies were viewed on set the old-fashioned way: projected in a trailer at lunch break, with the director, the DP and all department heads. Cameron secured an old film-projection trailer and retrofitted it with a 65-inch big-screen Panasonic plasma monitor.<\/p>\n

\"westworld_2\"<\/p>\n

\u201cI can\u2019t tell you how much it keeps the production and people together and communicating,\u201d Cameron states. \u201cIt\u2019s far better to do at lunch, watching dailies, than at the end of the day, when everyone\u2019s exhausted and wants to go home. And it\u2019s different than seeing them on your iPad, where there\u2019s a little Comment section, which I find completely ineffective \u2013 nobody leaves comments, and nobody reads them!\u201d<\/p>\n

Encore created a ProRes viewing station for the dailies sessions, which would show images converted from the 2K scans, uncompressed, versus the PIX and DAX files created for viewing offsite by others.<\/p>\n

Otto Nemenz (Keslow Camera for the pilot) supplied the show with ARRI XT and LTs, as well as Leica Summilux-C prime lenses, Ang\u00e9nieux Optimo and Fuji zooms, and vintage uncoated Canon K-35 primes for special sequences, such as Host flashbacks.<\/p>\n

The cameras from both vendors were fitted with ARRI HD-IVS High-Definition Integrated Video System video taps, with ARRI\u2019s Ground Glass Cancellation (GGC), in order to offer an HD image on set for directors and producers.<\/p>\n

\u201cThe taps Arri made actually map the ground glass for imperfections, and then calibrate themselves and overlay them,\u201d Haarhoff explains. \u201cThe result is a very good \u2013a high-def picture that\u2019s not corrupted by the ground-glass image.\u201d<\/p>\n

First AC Jason Garcia took advantage of the video tap signal to operate a Preston Cinema Light Ranger 2, as one would with an HD camera. But other assistants, like 1st AC Michael Weldon, pulled focus \u201cold school.\u201d<\/p>\n

\u201cThey stood by the camera with their hand on the lens,\u201d McLachlan laughs. \u201cAnd what\u2019s shocking is how fast that art is disappearing. People on set would ask, \u2018Well, how do you know what the picture\u2019s gonna look like if you can\u2019t see it on the monitor?\u2019 My answer is, \u2018Years of experience.\u2019\u201d<\/p>\n

\"westworld_4\"<\/p>\n

Most of Westworld<\/em> was shot at Melody Ranch Studios in Santa Clarita,<\/strong> making use of its legendary Western street set (Deadwood<\/em>, Django Unchained<\/em>) with some modifications, as well as three soundstages. Nathan Crowley was the production designer for the pilot, with Zack Grobler expanding upon Crowley\u2019s designs in the series.<\/p>\n

One step in that expansion (which began in the pilot) was the addition of a train, something Melody hasn\u2019t had for some 40 years. \u201cLisa and I wanted an elaborate entrance into the park for the guests,\u201d Nolan states. \u201cThere\u2019s nothing that conveys the scope and romanticism of the West like a locomotive!\u201d Melody Ranch\u2019s street set also featured a dead end, but, Crowley laughs, \u201cthere\u2019s no great western town that has a dead end,\u201d so the studio permitted the removal of an existing structure that blocked the view of the parking lot beyond \u2013 and allowed installation of the train.<\/p>\n

The faux locomotive, tender and three carriages were acquired from Fillmore & Western Railway (F&W), which had the vehicles designed by art director Naaman Marshall for Gore Verbinski\u2019s The Lone Ranger<\/em> in 2013. F&W brought them to Melody, along with several hundred feet of track. \u201cArrivals\u201d were then filmed via a pusher vehicle.<\/p>\n

\"westworld_5\"<\/p>\n

The interior of Sweetwater\u2019s Mariposa Saloon was built into one of the street\u2019s fa\u00e7ades attached to Studio A. Cameron, along with pilot Gaffer Mike Adler and Key Grip Carlos Boiles, built a lighting truss containing 40 HMIs and Chimeras, which could be raised and lowered as needed to light either the saloon\/floor level or balcony set pieces above. More importantly, it enabled the camera operators to keep a consistent light level to match activity in the street, seen outside the saloon\u2019s windows. \u201cWe needed to be able to go from exterior to interior with a Steadicam and do a 180-degree swish without a big exposure pull,\u201d notes Cameron. \u201cIt had to be seamless.\u201d<\/p>\n

The Hosts, as per their programming, repeat the same story cycles each day \u2013 conversations between each other, bank robberies, etc., so camera moves were designed to have a subtle predictive quality.<\/p>\n

\u201cIt\u2019s something we spent time working out with Chris Haarhoff,\u201d Jonathan Nolan explains. \u201cWe wanted the camerawork to evoke sympathy \u2013 the idea that the Hosts\u2019 lives are so sadly programmatic that even the camera knows what\u2019s going to happen next.\u201d<\/p>\n

\u201cThe camera doesn\u2019t really respond to the Hosts\u2019 movements,\u201d Haarhoff continues. \u201cThey\u2019re on their way and we\u2019re already moving the camera into the next position. It\u2019s as if the camera has become as robotic as the characters are.\u201d<\/p>\n

The underground tech world was also built at Melody Ranch, with Crowley drawing inspiration from L.A.\u2019s glass-dominated Pacific Design Center.<\/p>\n

\u201cIt\u2019s an idea Jonah [Nolan] had of these vast layers underground that exist beneath the park,\u201d Crowley shares. \u201cManufacturing floors, repair floors, diagnostic rooms,\u201d all built deep into the red rock of a mesa in the desert. \u201cAnd that set,\u201d adds Grobler, \u201ccould easily be changed from the Lab into the Body Shop, with all its surgical equipment, and then changed easily to the Diagnostics Lab\u201d with simple down-lighting, where scientists interview Hosts to check their internal programming.<\/p>\n

Jonathan Nolan says the production design presented \u201cthe humans trapped in these glass boxes, and the Hosts are the ones who are allowed upstairs and roam free.\u201d<\/p>\n

This also meant, according to McLachlan, that \u201cevery setup we did required a fairly lengthy process of eliminating reflections. It was never an easy fix, puzzling out where a reflection was coming from or blacking out the camera crew,\u201d who also had to take care not to walk into the glass panels on the fairly dark set.<\/p>\n

\"westworld_8\"<\/p>\n

Another visually stunning Westworld<\/em> set was the<\/strong> Cold Storage area, 82 floors below the ground, where scores of \u201cdecommissioned\u201d Hosts stand naked in a refrigerated space. In choosing the right location, Cameron recalls how \u201cwe met in pre-production with Jonah and Nathan and were trying to figure out how to give this thing some amazing scale. We asked, \u2018What is one of the scariest locations that could feel like it was the basement of all basements?\u2019 We all looked at each other and said at the same time, \u2018Hawthorne Mall!\u2019\u201d [Pilot scenes were shot at the Hawthorne Mall; for the series, the set was rebuilt at Melody Ranch after the dilapidated old mall was torn down.]<\/p>\n

Cameron enhanced the freakish appearance of the venue by shining in sets of TPAR theatrical lights from any available roof openings. \u201cWe tried to keep it as dark and as frightening as possible,\u201d he recounts.<\/p>\n

Other locations the Westworld team visited included the L.A. Convention Center, Big Sky Ranch in Simi Valley (for the Abernathy homestead), Corriganville, and the Paramount Ranch. The camera and grip teams utilized Patriot vehicles, to mount either Steadicam or telescoping cranes to follow galloping horses and other moves.<\/p>\n

\u201cWe had a 73-foot Chapman Hydrascope crane to shoot over people and then go back down to the ground,\u201d recounts Steadicam operator Lohmann. \u201cAnd because it\u2019s electric, you can use it to get long tracking shots and still record dialogue.\u201d<\/p>\n

Still, the most iconic \u201cOld West\u201d locations were shot on visits to Moab, Utah and surrounding areas, such as Castle Valley, a favorite of John Ford later in his career. The Harley Bates property, on which Cameron had shot commercials with Tony Scott, had a welcome familiarity to Nolan. \u201cI told Paul, \u2018Man, it\u2019s like a Marlboro commercial,\u2019 and he said, \u2018Yeah, I\u2019ve shot a couple of them here,\u2019\u201d the director laughs.<\/p>\n

Westworld\u2019s<\/em> pilot team shot in Utah in 2014, and then the series team, headed by 2nd Unit director Richard Lewis and Michael Bonvillain, ASC (and aerial DP Dylan Goss), returned for two weeks in 2015, just prior to the production hiatus.<\/p>\n

An important aspect of these trips involved bringing pieces of sets \u2013 from the \u201cMesa Bar\u201d balcony to actually trucking out one of the railroad coaches and placing it on a flatbed truck. \u201cJonah knew that by bringing a small piece of set out to Moab, we could tie in the reality of the grand scale of the area,\u201d Cameron explains.<\/p>\n

Having worked with Nolan on numerous projects, Crowley says he strongly believes, \u201cIf you want a view, you take the window to the view.\u201d Or, as Nolan adds, \u201cYou can\u2019t rebuild the [Mesa Bar location] Skirball Center [in L.A.] on Dead Horse Point [in Utah], but you can bring the handrail.\u201d<\/p>\n

Lisa Nolan says such visual counterpoints were echoed in Westworld\u2019s<\/em> narrative and one of the main reasons she and her husband were drawn to updating the original feature.<\/p>\n

\u201cWe were fascinated with the idea of combining these two conceits of the \u2018real people\u2019 in the technicians\u2019 world feeling more unnatural and contrived in that world\u2019s coolness and technology, and the \u2018artificial\u2019 world of the West, aboveground, with its sumptuous colors and natural lighting,\u201d Lisa Nolan concludes. \u201cIt\u2019s the irony of the real world looking fake, and the fake world looking real.\u201d<\/p>\n

by Matt Hurwitz \/ photos by John P. Johnson\/HBO<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

A team of Guild DP’s help to create HBO’s update of Westworld, one of the creepiest theme-park thrillers ever filmed…on film. As she does every morning, Dolores Abernathy (Evan Rachel Wood) steps out onto the porch of the modest homestead she shares with her father and greets him. But when a fly lands on her eyeball, she doesn\u2019t even blink. Elsewhere in the Old Western theme park known as Westworld, a robotic \u201cHost\u201d is asked by a guest, \u201cAre you […]<\/p>\n","protected":false},"author":1,"featured_media":6522,"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":[327,29,365,37,411,40,42,410],"class_list":["post-6511","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-asc","tag-cinematography","tag-hbo","tag-icg-magazine","tag-jonathan-nolan","tag-local-600","tag-paul-cameron","tag-westworld"],"acf":[],"yoast_head":"\nStay...cation - 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\/stay-cation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Stay...cation - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"A team of Guild DP’s help to create HBO’s update of Westworld, one of the creepiest theme-park thrillers ever filmed…on film. As she does every morning, Dolores Abernathy (Evan Rachel Wood) steps out onto the porch of the modest homestead she shares with her father and greets him. But when a fly lands on her eyeball, she doesn\u2019t even blink. Elsewhere in the Old Western theme park known as Westworld, a robotic \u201cHost\u201d is asked by a guest, \u201cAre you […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/\" \/>\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=\"2016-10-13T18:09:35+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-05-31T03:14:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.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=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"Stay…cation\",\"datePublished\":\"2016-10-13T18:09:35+00:00\",\"dateModified\":\"2021-05-31T03:14:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/\"},\"wordCount\":2459,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.jpg\",\"keywords\":[\"ASC\",\"cinematography\",\"HBO\",\"ICG Magazine\",\"Jonathan Nolan\",\"Local 600\",\"Paul Cameron\",\"Westworld\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/\",\"name\":\"Stay...cation - ICG Magazine\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.jpg\",\"datePublished\":\"2016-10-13T18:09:35+00:00\",\"dateModified\":\"2021-05-31T03:14:30+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#primaryimage\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.jpg\",\"contentUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.jpg\",\"width\":1400,\"height\":933},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.icgmagazine.com\/web\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Stay…cation\"}]},{\"@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":"Stay...cation - 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\/stay-cation\/","og_locale":"en_US","og_type":"article","og_title":"Stay...cation - ICG Magazine","og_description":"A team of Guild DP’s help to create HBO’s update of Westworld, one of the creepiest theme-park thrillers ever filmed…on film. As she does every morning, Dolores Abernathy (Evan Rachel Wood) steps out onto the porch of the modest homestead she shares with her father and greets him. But when a fly lands on her eyeball, she doesn\u2019t even blink. Elsewhere in the Old Western theme park known as Westworld, a robotic \u201cHost\u201d is asked by a guest, \u201cAre you […]","og_url":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/","og_site_name":"ICG Magazine","article_publisher":"http:\/\/www.facebook.com\/theicgmag","article_published_time":"2016-10-13T18:09:35+00:00","article_modified_time":"2021-05-31T03:14:30+00:00","og_image":[{"width":1400,"height":933,"url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.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":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#article","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/"},"author":{"name":"EDITOR","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a"},"headline":"Stay…cation","datePublished":"2016-10-13T18:09:35+00:00","dateModified":"2021-05-31T03:14:30+00:00","mainEntityOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/"},"wordCount":2459,"publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.jpg","keywords":["ASC","cinematography","HBO","ICG Magazine","Jonathan Nolan","Local 600","Paul Cameron","Westworld"],"articleSection":["Features"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/","url":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/","name":"Stay...cation - ICG Magazine","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#primaryimage"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.jpg","datePublished":"2016-10-13T18:09:35+00:00","dateModified":"2021-05-31T03:14:30+00:00","breadcrumb":{"@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.icgmagazine.com\/web\/stay-cation\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#primaryimage","url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.jpg","contentUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/10\/Westworld_header-1.jpg","width":1400,"height":933},{"@type":"BreadcrumbList","@id":"https:\/\/www.icgmagazine.com\/web\/stay-cation\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.icgmagazine.com\/web\/"},{"@type":"ListItem","position":2,"name":"Stay…cation"}]},{"@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\/6511","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=6511"}],"version-history":[{"count":5,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/6511\/revisions"}],"predecessor-version":[{"id":11283,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/6511\/revisions\/11283"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media\/6522"}],"wp:attachment":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media?parent=6511"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/categories?post=6511"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/tags?post=6511"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}