{"id":7994,"date":"2018-06-27T12:23:08","date_gmt":"2018-06-27T19:23:08","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=7994"},"modified":"2021-05-30T18:22:38","modified_gmt":"2021-05-31T01:22:38","slug":"past-present","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/past-present\/","title":{"rendered":"Past Present"},"content":{"rendered":"

\"\"<\/p>\n

Tim Ives channels his inner Allen Daviau for the 1980\u2019s inspired sci-fi series <\/span><\/span>Stranger Things.<\/i><\/span><\/span><\/strong><\/p>\n

 <\/p>\n

With the hit Netflix series <\/span><\/span>Stranger Things<\/i><\/span><\/span> having recently streamed its second season, showrunners Matt and Ross Duffer have solidified their hold on a new and popular cinematic genre: 1980\u2019s-inspired Spielbergian sci-fi\/pop. Or as <\/span><\/span>Stranger Things <\/i><\/span><\/span>DP Tim Ives, whose work on the pilot for <\/span><\/span>Mr. Robot<\/i><\/span><\/span>, as well as HBO\u2019s <\/span><\/span>Girls,<\/i><\/span><\/span> drew the Duffers\u2019 attention puts it: \u201cIt was brought to me in a package that said, \u2018A love letter to the 80\u2019s.\u2019 But not in a [lip service] way with random nuances; they wanted to reflect the techniques available then, to capture a film look from back in that time.\u201d<\/span><\/span><\/p>\n

The Duffers and Ives talked about the show\u2019s biggest inspiration<\/b><\/span><\/span> \u2013\u00a0Steven Spielberg, and films like <\/span><\/span>E.T. the Extra-Terrestrial, Close Encounters of the Third Kind<\/i><\/span><\/span> and <\/span><\/span>The Goonies<\/i><\/span><\/span>, as well as cinematographer Dean Cundey, ASC\u2019s work on the <\/span><\/span>Back to the Future<\/i><\/span><\/span> films, and even James Cameron\u2019s <\/span><\/span>Terminator<\/i><\/span><\/span> and <\/span><\/span>Alien<\/i><\/span><\/span> series. \u201cSpielberg took ordinary suburban America and made it feel magical,\u201d Ross Duffer observes. \u201cAnd Tim is a fan of all the same stuff as us,\u201d particularly the work of Allen Daviau, ASC. \u201cEven before we talked, he had started re-watching a lot of the movies that we were clearly inspired by.\u201d<\/span><\/span><\/p>\n

Stranger Things<\/i><\/span><\/span> focuses on four nerdy 12-year-old boys in 1983, obsessed with <\/span><\/span>Dungeons and Dragons<\/i><\/span><\/span>, one of whom, Will Byers, is taken by a mysterious inhabitant of a dark, disturbing and parallel landscape, referred to as the Upside Down World (UDW), which has entered Will\u2019s world due to a rift between the two universes. That rift was inadvertently created by a mysterious girl known only as \u201cEleven,\u201d who broke out of a government lab in Hawkins, Indiana, where the show takes place, the only home she has known and where her mysterious powers were being exploited.<\/span><\/span><\/p>\n

Eventually, Will is recovered by his mother (Winona Ryder) and the town\u2019s police chief, Hopper (David Harbour); although, in the second season, he faces an even more terrifying and powerful force at the center of the UDW, referred to as the Shadow Monster. Throughout Season 2, Will unwillingly slips back and forth between his world and the UDW, while the town\u2019s residents try to avoid the vicious four-legged \u201cDemodogs\u201d \u2013 younger versions of the creature seen in Season 1 \u2013 which get around via a huge network of tunnels they have mined.<\/span><\/span><\/p>\n

The Duffers had originally envisioned Hawkins as a seaside town, much like Amity in Spielberg\u2019s <\/span><\/span>Jaws. <\/i><\/span><\/span>Working with production designer Chris Trujillo, the brothers scouted everywhere from South Carolina to the upper Northwest \u2013 deciding on bits and pieces of small towns in and around the Atlanta area. \u201cA lot has been shot in Atlanta, so we had to go a little farther out to find our true town center,\u201d i.e., in Jackson, 40 miles southwest, Trujillo notes. Interiors are filmed on four stages at EUE Screen Gems. Additional sets \u2013 for the massive tunnels, some UDW settings and Eleven\u2019s \u201cVoid\u201d set (see below) \u2013 were shot at a converted warehouse in nearby McDonough.<\/span><\/span><\/p>\n

\"ST_2\"
A-Camera\/Steadicam Operator Bob Gorelick<\/figcaption><\/figure>\n

Season over season, Ives has assembled a skilled IATSE team<\/b><\/span><\/span>, including A-Camera\/Steadicam Operator Bob Gorelick, SOC, who suggested Jeff Crumbley, SOC, to be B-Camera Operator; Gaffer Daniel Murphy, Season 1 Key Grip Benny Smyth (Ray Brown takes Smyth\u2019s place for Season 2); and Dolly Grip Chris Chapman, indispensable in mastering some of Ives\u2019 unique camera work. \u201cThe camera was always moving,\u201d describes Season 2 A-Camera 1<\/span><\/span>st<\/span><\/span><\/sup> AC Mary Stankiewicz. \u201cAnd when you get a good dolly grip like Chappy, and an amazing operator like Bob, it\u2019s a perfect dance.\u201d<\/span><\/span><\/p>\n

With the Netflix mandate for high-resolution capture, Ives used the 6K RED EPIC DRAGON for Season 1, and the 8K HELIUM the following year (shifting to the MONSTRO for Season 3). As Ives relates: \u201cI always think of the Red as a Kodak film stock I used to love \u2013 5291. It has that velvety feeling that\u2019s right for this show.\u201d<\/span><\/span><\/p>\n

A variety of lenses were tested to help achieve a more diffuse eighties look, with Ives opting for Leica\u2019s Summilux C Series primes (and occasional Fujinon Alura zooms). \u201cThese Leica lenses are gorgeous,\u201d notes Gorelick. \u201cThey have a very natural look, and their color reproduction is extremely accurate.\u201d<\/span><\/span><\/p>\n

Ives was afforded an on-set DIT for Season 1, but not in subsequent seasons. So the show\u2019s colorist, Skip Kimball, at Technicolor (now with EFILM), created a few simple LUT\u2019s for Ives to use in camera, as well as have applied to dailies, with Kimball applying his final looks via DaVinci Resolve back in Hollywood.<\/span><\/span><\/p>\n

The Duffers originally pitched Netflix on directing all eight episodes of Season 1. But after shooting the first two episodes (they are filmed in pair blocks), Matt Duffer notes: \u201cIt became clear we weren\u2019t going to get upcoming scripts completed, so our Producer, Shawn Levy, flew in like Superman\u201d to direct the following pair.<\/span><\/span><\/p>\n

Levy needed a DP with whom to prep his episodes, so Ives suggested his <\/span><\/span>Mr. Robot<\/i><\/span><\/span> colleague Tod Campbell. \u201cTod did such a great job on <\/span><\/span>Mr. Robot<\/i><\/span><\/span>, so it was pretty much a no-brainer,\u201d Ives recalls. \u201cHe instantly became part of the <\/span><\/span>Stranger Things <\/i><\/span><\/span>family,\u201d returning the following season for two more Levy-directed episodes. Matt Duffer says he and Ross enjoyed the [directing] collaboration so much [in Season 1], \u201cwe decided to free ourselves up a little more,\u201d bringing in Andrew Stanton (<\/span><\/span>Toy Story<\/i><\/span><\/span>) and Rebecca Thomas, who directed Season 2\u2019s standalone episode, where Eleven goes in search of her lost sister (shot by Guild DP David Franco).<\/span><\/span><\/p>\n

Ives says the prep process with the Duffers is almost as rewarding as shooting episodes. \u201cOur method is to lock ourselves in a room and read the script together, and sometimes act out the parts together, to figure out the tone of each scene and talk about camera placement,\u201d he describes. \u201cIt gives us a very strong language on set, knowing exactly what we want to do.\u201d<\/span><\/span><\/p>\n

\"ST_1\"<\/p>\n

In Season 1, the many looks of the UDW,<\/b><\/span><\/span> from the environments <\/b><\/span><\/span>to the evil<\/span><\/span> <\/b>creatures, were done in camera, because as Ives describes: \u201cIt\u2019s part of the magic of those [1980\u2019s-era] films. They didn\u2019t have high end VFX \u2013 they did what they could with a trick of the eye.\u201d Although with the show\u2019s success, Season 2 has afforded more VFX.<\/span><\/span><\/p>\n

Ross Duffer notes that when the camera moves, it is with purpose. <\/span><\/span><\/p>\n

\u201cSomething we could see from Tim\u2019s work on both <\/span><\/span>Girls<\/i><\/span><\/span> and his <\/span><\/span>Mr. Robot <\/i><\/span><\/span>pilot is that he makes clear choices,\u201d Duffer shares. \u201cIt\u2019s not just grabbing stuff and seeing how the editors put it together.\u201d Adds Gorelick: \u201cIt\u2019s traditional storytelling, pre-MTV days, when the audience wasn\u2019t bombarded with images and fast cuts.\u201d<\/span><\/span><\/p>\n

Season 1\u2019s monster \u2013 dubbed the Demagorgon by the boys \u2013 was a puppeteered man-in-a-suit built by Spectral Motion. The suit included stilt legs and a puppeteered head with four toothful opening leaves, revealing actor Mark Steger\u2019s face, covered with green dots and eventually replaced with a hungry throat by VFX supervisors Mark Kolbe (Season 1) and Paul Graff (Season 2), who also skinnied up its body. (This work was also done in some cases by the Aaron Sims Company.)<\/span><\/span><\/p>\n

The key was <\/span><\/span>not<\/i><\/span><\/span> to reveal the man-in-the-suit for as long as possible. <\/span><\/span><\/p>\n

\u201cFor terror, the brothers wanted Spielberg\u2019s <\/span><\/span>Jaws<\/i><\/span><\/span> approach,\u201d Ives recounts. \u201cThe best way we thought to scare people was to not show them what you\u2019re telling them is really scary. So you may only see him for 12 frames.\u201d Adds colorist Kimball, \u201cWe wanted the audience to have to rewind to go back and see it again \u2013 \u2018What did I just see?\u2019\u201d<\/span><\/span><\/p>\n

And as Gaffer Murphy recounts about Season 1: \u201cTim would use back light, side light \u2013 never any fill to always keep [Demogorgon] dark. When you create a silhouette, with low lights, backlighting the atmosphere behind him, he just moves through those shapes.\u201d<\/span><\/span><\/p>\n

With the show\u2019s success, Season 2\u2019s beasts, termed Demodogs, were afforded a full VFX presentation. Graff\u2019s team would bring physical cutouts to the set to help guide the camera team through specific shots \u2013 such as when the dogs attack Steve (Joe Keery) in a junkyard. For the cute \u201cpollywog\u201d infant version of the beast, which Stankiewicz says \u201clooked like a piece of sushi,\u201d smaller rubber versions were employed.<\/span><\/span><\/p>\n

\u201cWhen we originally pitched the show to Netflix,\u201d Ross Duffer recalls, \u201cwe said we wouldn\u2019t be going into the other dimension at all. But as the story evolved, it became necessary \u2013 so the initial approach was that of \u2018the Void\u2019 \u2013 the place where Eleven goes to connect with others\u2019 consciousness.\u201d And for that, the Duffers wanted a true environment \u2013 not something all CG. \u201cWe wanted it based in reality,\u201d Ross adds.<\/span><\/span><\/p>\n

Ives says their vision was for \u201ca cold, lifeless environment that felt like seeing remnants of an apocalypse. Something bad had happened, and there was no joy or life. It was a place \u2018in between worlds,\u2019 as the Duffers put it. And the simplest and fastest way, particularly when shooting Tungsten at night, was to change the color temperature. We rated at 3200 for the real world, and then took it to 2000, which would force all the lights to a blue we liked.\u201d <\/span><\/span><\/p>\n

Adds Murphy: \u201cWe would just change the lighting from being a high-key light to a real soft diffused look everywhere, with a lot of book bounce-style lighting. Kept it really, really soft and without shadows. [Skip Kimball] helped give it a more monochromatic [look, in post]. Like a steely cool, with glowing highlights.\u201d<\/span><\/span><\/p>\n

\"ST_4\"
L to R: Gaffer Daniel Murphy, DP Tim Ives, with stand-ins for Joyce (Winona Ryder) and Hopper (David Harbour)<\/figcaption><\/figure>\n

For scenes where Will jumps from present time to the UDW<\/b><\/span><\/span> \u2013 on the same set \u2013 the team would move on to another location, while interior sets and locations were \u201cnetherized\u201d \u2013 i.e., the netherworld version of the UDW with the addition of pulsing vines and slime (Methocel) courtesy of Special Effects Lead Caius Man and his team, whom Matt Duffer says \u201ccould netherize a set in three hours.\u201d<\/span><\/span><\/p>\n

Man also introduced flocking\/spores \u2013 by breaking open cattails \u2013 which would float into camera. \u201cThey\u2019re like nebulous ashes,\u201d Ives recalls, \u201cwhich hung in the air well in open areas, but dropped like dead flies in the tunnel sets.\u201d Stankiewicz also notes they tended to require a lot of attention to keep from clogging up camera fan vents. (By the second season, most of their appearance was generated by VFX.)<\/span><\/span><\/p>\n

The long Season 2 tunnel sets were mostly photographed with a 50-foot Super TechnoCrane from Pro-Cam. The Techno\u2019s base was set at the tunnel opening, with its arm extended as needed. Crumbley says there was also a \u201chalf-tunnel\u201d set to capture characters seen in profile, with long walks created by repositioning the camera and lighting to appear to be different sections.<\/span><\/span><\/p>\n

Ives lit the tunnels \u00e0 la the 1980\u2019s, with an unseen bright source at the far end, which Murphy supplemented by placing LED lights on the back sides of the tunnel wall\u2019s ribs, invisible as the actors approach and the camera pulls away. Ives also had the actors hit hidden pieces of muslin or bounce cards with their flashlights as they passed. <\/span><\/span><\/p>\n

\u201cThey\u2019re essentially lighting themselves,\u201d he says.<\/span><\/span><\/p>\n

For the tunnel scenes, the RED camera was mounted on a Libra remote head \u2013 though, according to Pro-Cam Libra head tech Jason Sutton, in \u201cmatrix mode\u201d and attached using special bracketing \u201cto the end of the crane arm, rather than having the camera underslung or above the arm. This allowed it to get closer to the floor or the roof of the tunnel.\u201d It also allowed the RED to function nodally, i.e., \u201cchanging the pan to a roll control to allow a third wheel, and operated by Sutton on set,\u201d Gorelick explains. \u201cThe nodal arrangement also helps keep the camera level when the arm is extended, which would normally otherwise incline,\u201d he adds.<\/span><\/span><\/p>\n

The Local 600 members \u2013 Gorelick on pan\/tilt, Sutton on roll, Pro-Cam\u2019s Patrick Barnes operating the \u201cpickle\u201d extending the arm, Chapman moving the arm, and Stankiewicz watching focus \u2013 also produced seamless 180-degree rolls, representing shifts to the UDW. \u201cWithout this team,\u201d says Gorelick, \u201cthese shots wouldn\u2019t be nearly as good as they are. We\u2019re like a band who understand each other\u2019s nuances.\u201d<\/span><\/span><\/p>\n

\"DP
DP Tod Campbell lines up a frame for one of his four episodes directed by Producer Shawn Levy<\/figcaption><\/figure>\n

That same team also worked its magic on the Void set, where Eleven<\/b><\/span><\/span> uses her ability learned at the Lab to connect with other people. But as Ross Duffer asks: \u201cWe\u2019re actually [visualizing] someone\u2019s mind. How do you do that on a limited budget?\u201d<\/span><\/span><\/p>\n

The answer, Duffer continues, is to use the limitations to your advantage, with a set that is simplicity itself. A pool, the size of a hockey rink with a lip a few inches high, painted black on the bottom, filled with a few inches of water, and surrounded on three sides by black theatrical drapes. Actress Millie Bobby Brown (Eleven) was carefully carried out to its center, to avoid disturbing the water surface. Murphy says they lit with \u201ca whole bunch of Spacelights overhead. And then we put a massive diffusion frame underneath it all, so it\u2019s just super soft.\u201d Adds Ives, \u201cIt feels directionless \u2013 like there is no light there, yet there is light.\u201d<\/span><\/span><\/p>\n

The Technocrane was extended across the pool, minimizing any disruption to the water surface. Kimball then removed any disruptions that remained, except at Eleven\u2019s feet, giving the appearance of her moving through black. The Void scenes always begin with a big pullback, starting one foot from Brown\u2019s face, as the Technocrane\/camera team smoothly retracts the arm, Stankiewicz skillfully keeping her in focus, and the process getting a speed-up in post.<\/span><\/span><\/p>\n

Stranger Things<\/i><\/span><\/span> is also packed with exciting chases, both in the netherworld and above. Those are typically done by mounting the 50-foot Technocrane, with a Libra head, on a Taurus Tracking Vehicle from Pro-Cam. Crumbley says of the setup, \u201cWe could drive it anywhere, and shoot either arm fully retracted and extend as they go by, or vice-versa. And break the bike chases up into pieces.\u201d <\/span><\/span><\/p>\n

Per his inner 80\u2019s compass, Ives would light with large Maxibruts up on a Condor off in the distance, supplemented by a China ball hung above the boys to make their expressions visible. \u201cWe embraced big lighting there,\u201d Matt Duffer describes. \u201cIt\u2019s not naturalistic, but it\u2019s the kind of lighting we grew up on.\u201d<\/span><\/span><\/p>\n

There are also tension-filled chases down hallways \u2013 such as when Will is trying to escape the approaching Shadow Monster, or as Bob (Sean Astin) unsuccessfully attempts to avoid a gaggle of Demodogs chasing him in the Hawkins Lab (filmed, as were many interior and exterior Lab scenes, at the long-defunct and very creepy Georgia Mental Health Institute on Emory University\u2019s Briarcliff campus).<\/span><\/span><\/p>\n

Tod Campbell remembers that it \u201ctook a pass or two to get the machinery set for what was required. We wanted Will running at full speed and had the 50-foot Technocrane. But it wasn\u2019t long enough or fast enough to let him run as fast as he could and emote. And Shawn [Levy] said, \u2018It\u2019s not working.\u2019\u201d <\/span><\/span><\/p>\n

Campbell turned to Ray Brown, who soon arrived with a Patriot car, which was then used for all such shots, with Campbell using a 10-mm lens, which, he says, accentuates the movement and makes the runner appear to be going even faster.<\/span><\/span><\/p>\n

The Lab also had disturbing lighting effects.\u00a0As Ives describes: \u201cAny time evil is around, the power would definitely take a hit.\u201d <\/span><\/span><\/span><\/p>\n

\u201cWe would change the ballasts on the fluorescents,\u201d Murphy notes, \u201cto make sure they were new, so we could play with the voltage to get them to flicker.\u201d\u00a0When the power goes out in the lab, things are made even spookier with an odd orange glow from emergency lights, which Kimball would enhance in Resolve.<\/span><\/span><\/span><\/p>\n

Lights are also used to convey those in the UDW who are communicating with those still here.\u00a0Rigging Gaffer Jonathan Hilton spent weeks constructing a Christmas-light chain made of CAT6 media cable to allow individual lamps to be controlled via pre-programmed sequence (enabled by dimmer board operator\/programmer Jim Dornemann) to allow Will to spell out words for his mother.\u00a0And when Joyce first connects with her son with a tangle of white Christmas lights, Campbell says he \u201cgave the controller to Shawn Levy, who operated them at his monitor.\u00a0He was acting as the voice of Will, and it gave us all chills.\u201d<\/span><\/span><\/span><\/p>\n

 <\/p>\n

by matt hurwitz<\/em><\/p>\n

photos by jackson davis<\/em><\/p>\n

 <\/p>\n

LOCAL 600 CREW<\/h3>\n

Directors of Photography<\/strong>
\nTim Ives
\nTod Campbell
\nDavid Franco<\/p>\n

A-Camera Operator\/Steadicam<\/strong>
\nBob Gorelick, SOC<\/p>\n

A-Camera 1st AC<\/strong>
\nMary Stankiewicz<\/p>\n

A-Camera 2nd AC<\/strong>
\nAngela Bremner<\/p>\n

B-Camera Operator<\/strong>
\nJeff Crumbley, SOC<\/p>\n

B-Camera 1st AC<\/strong>
\nJason Lancour<\/p>\n

B-Camera 2nd AC<\/strong>
\nNelson Moncada<\/p>\n

Utility<\/strong>
\nKevin Wilson<\/p>\n

Loader<\/strong>
\nLaura Ostapiej<\/p>\n

Still Photographers<\/strong>
\nJackson Davis
\nTina Rowden<\/p>\n

Publicist<\/strong>
\nDenise Godoy<\/p>\n","protected":false},"excerpt":{"rendered":"

Tim Ives channels his inner Allen Daviau for the 1980\u2019s inspired sci-fi series Stranger Things.   With the hit Netflix series Stranger Things having recently streamed its second season, showrunners Matt and Ross Duffer have solidified their hold on a new and popular cinematic genre: 1980\u2019s-inspired Spielbergian sci-fi\/pop. Or as Stranger Things DP Tim Ives, whose work on the pilot for Mr. Robot, as well as HBO\u2019s Girls, drew the Duffers\u2019 attention puts it: \u201cIt was brought to me in […]<\/p>\n","protected":false},"author":1,"featured_media":7995,"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":[496,29,498,37,499,40,414,379,494,495,497],"class_list":["post-7994","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-camera-crew","tag-cinematography","tag-david-franco","tag-icg-magazine","tag-jackson-davis-photos","tag-local-600","tag-matt-hurwitz","tag-netflix","tag-stranger-things","tag-tim-ives","tag-tod-campbell"],"acf":[],"yoast_head":"\nPast Present - 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\/past-present\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Past Present - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Tim Ives channels his inner Allen Daviau for the 1980\u2019s inspired sci-fi series Stranger Things.   With the hit Netflix series Stranger Things having recently streamed its second season, showrunners Matt and Ross Duffer have solidified their hold on a new and popular cinematic genre: 1980\u2019s-inspired Spielbergian sci-fi\/pop. 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