{"id":8699,"date":"2019-05-01T08:52:46","date_gmt":"2019-05-01T15:52:46","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8699"},"modified":"2021-05-30T18:18:48","modified_gmt":"2021-05-31T01:18:48","slug":"bound-for-glory","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/bound-for-glory\/","title":{"rendered":"Bound For Glory"},"content":{"rendered":"

CBS TV\u2019s new drama, The Red Line<\/em>, shot by Kira Kelly, visualizes the impact of a police shooting on three different American families.<\/span><\/p>\n

by Pauline Rogers<\/span><\/p>\n

 <\/p>\n

\n

Bringing their play, A Twist of Water<\/em>, to an episodic series was an exciting challenge for writers Caitlin Parrish and Erica Weiss. The four-character story takes place over a month\u2019s time and is focused on a gay white father and his adopted African-American daughter in Chicago, attempting to rebuild their lives after the death \u2013 from a car accident \u2013 of the man\u2019s husband.<\/p>\n

The pilot and subsequent eight-part series based on the play, led by Executive Producers Ava DuVernay and Greg Berlanti, offered Parrish and Weiss the chance to \u201crethink the circumstances around the husband\u2019s death in the context of a more relevant national conversation on race and police violence. We could expand the story to include all three families, and the larger picture of Chicago\u2019s divisions and connections in the present day,\u201d the pair explained. The connecting thread and subsequent title of the series was the city\u2019s famous Red Line train.<\/p>\n

Most notably, Weiss explains, \u201cthe inciting death of Harrison Brennan went from offstage to onscreen. And, the circumstances changed from a car crash to a police shooting, which brought a whole new character, Officer Paul Evans, into the story. Rather than meeting Tia Young [the daughter] at the end of the play, we see her family\u2019s story unfold from the start.\u201d<\/p>\n

 <\/p>\n

\"Pictured
(C) Director of Photography Kira Kelly \/ Photo by Elizabeth Morris\/Warner Bros. Entertainment Inc.<\/figcaption><\/figure>\n

 <\/p>\n

For the pilot, the two turned to Director Victoria Mahoney<\/strong> and Cinematographer Manuel Billeter to create a look that was \u201csimple and elegant, without too many flourishes but with a lushness and palate that still made it stand out visually from other network dramas,\u201d Parrish explains. \u201cWhen we went to series with Cinematographer Kira Kelly and Producing Director Kevin Hooks, a more complete vocabulary for the camera was developed,\u201d Weiss adds.<\/p>\n

\u201cWhen I came in, two days before the camera and prep, Kira had already chosen her package,\u201d explains 1st<\/sup>AC Jason Bonner. \u201cAlexa Minis with Panavision PVintage lenses. We decided not to use filtration, just ND3s and grads to shoot as close to wide open as possible.\u201d<\/p>\n

\u201cKira chose detuned Panavision Primos to flesh out the focal length range of the PVintage,\u201d adds DIT John Waterman. They also used Panavised Ang\u00e9nieux and detuned Primo zoom lenses for exterior work. \u201cThe PVintage primes [which are re-housed UltraSpeeds] and the detuned Primos gave us some challenges,\u201d Waterman notes. \u201cThe color cast of the lenses varied throughout the set, and even from shot to shot, based on the flaring and lighting kick angle.\u201d<\/p>\n

Waterman set Kelly\u2019s intended look with CDL adjustments and captured reference grabs for every shot and actor position. He employed a custom Wi-Fi network for camera control on his cart that gave Kelly and him the ability to tunnel into any camera at a moment\u2019s notice and change any setting. \u201cWe could use this remote-control ability of each camera\u2019s EI [Exposure Index] to get a quick half-stop exposure adjustment without changing the camera\u2019s iris or depth-of-field,\u201d the DIT adds.<\/p>\n

Digital loader Drew Fulton handled all of the media, downloading, and shuttle drives.\u201cOn a television schedule it\u2019s so important to maintain the speed of setups,\u201d Waterman continues. \u201cWorking with a digital loader, I was able to devote 100 percent of my time to working with Kira and managing the cameras.\u201d<\/p>\n

Kelly says she played with a lot of color contrast on\u00a0set, \u201cand [Company 3 colorist] Dave Hussey was really\u00a0able to bring that out in the final grade,\u201d she offers.\u00a0\u201cWe were also able to highlight the visual differences\u00a0in each of the three storylines. I was so pleased to be\u00a0able to work with an artist like Dave, who does such\u00a0beautiful work, but can do it at the pace TV demands.\u201d<\/p>\n

 <\/p>\n

\"To
To emphasize Daniel Calder’s (Noah Wylie) grief, Kelly and Producing Director Kevin Hooks never moved the camera, aka “Calder Rules” \/ Framegrab Courtesy of CBS<\/figcaption><\/figure>\n

 <\/p>\n

Once the workflow was set, Kelly and Hooks created\u00a0<\/strong>a different look for each family impacted by the shooting. \u201cWe wanted viewers to feel the Calders being immobilized by grief,\u201d Kelly explains. \u201cThe Paul Evans story became handheld, emphasizing that he\u2019s unstable, never at peace. And the Young family, alive and vibrant, showed hope and possibility.\u201d<\/p>\n

To emphasize the grief of Daniel Calder (Noah Wylie) and his daughter, Jira Calder-Brennan (Aliyah Royale), the decision was made to never move the camera, aka \u201cCalder Rules,\u201d which, Kelly says, created some interesting frames.<\/p>\n

\u201cIf someone is walking toward the camera,\u201d she describes, \u201cyou have to frame them in such a way that the frame works for their rear position and their closer position without any panning and tilting during their walk. We also maintained as much negative space as possible. I wanted the compositions to show that someone, and something, was missing from their lives. That the emptiness was oppressive.\u201d<\/p>\n

Adds A-camera operator\/2nd<\/sup>Unit DP Scott Thiele: \u201cNoah\u2019s willingness to embrace Kira\u2019s vision was instrumental in making the whole strategy viable. We would watch a rehearsal, Kira would have the finder with a short zoom on it, searching for the one frame that would provide the setting and space for all of Noah\u2019s actions, often riding the very edge of the frame.\u201d<\/p>\n

To make sure they didn\u2019t miss the action, the team would put long runs of tape on the ground so that the actors could sight the edge of the camera frame. \u201cWe tried to use strong architectural cues and lines to highlight the weight of the family situation, often relegating the characters to the extreme bottom or corners of the frame,\u201d Thiele says.<\/p>\n

Not being able to adjust the frame posed some challenges for B-camera\/Steadicam operator Blaine Baker. \u201cI often did these shots on a 125- or 150-millimeter lens,\u201d he recounts. \u201cNot a lot of wiggle room for adjustment. But ultimately,\u201d he admits, \u201cthese were the most beautiful and unique shots that we were able to create for the show.\u201d<\/p>\n

\u201cMany of the Calder scenes were day interiors at a school,\u201d adds Gaffer Addae Shelby. \u201cWe bounced HMIs into some 12-by-12 or 12-by-20 ultra bounces. We always had two M90s and one 18K Arrimax with an extra layer 12-by-12 diffusion that would work outside when the windows were completely off camera. Inside, we used smaller LED units like S60 SkyPanels and Freestyle 31s through an 8-by-8 diffusion frame. Kira also asked to have overhead tungsten fluorescent fixtures installed and would switch them on or off to taste.\u201d<\/p>\n

 <\/p>\n

\""Paul
“Paul Evans was always composed in a very stacked frame, he was squeezed,\u201d Kelly describes about the police shooter, who was “unstable,” and “never at peace.” \/ Photo by Elizabeth Morris\/CBS<\/figcaption><\/figure>\n

 <\/p>\n

Officer Paul Evans\u2019 storyline was always shot handheld.\u00a0<\/strong>\u201cPaul is a very unstable character, and never at peace,\u201d Kelly offers. \u201cI love that his frames show this. He was always composed in a very stacked frame, he was squeezed.\u201d<\/p>\n

\u201c[Evans\u2019] story centers on the shame, guilt, and denial of his role in the death of an innocent man,\u201d Thiele adds. \u201cAs he\u2019s pulled between his human decency and desire for the survival of his career, he becomes swallowed up in the frenzy. Our handheld was claustrophobic with little headroom, and on the longer end of the lens to compress his world.\u201d<\/p>\n

Much of Evans\u2019 story was shot in his home and in bars, the latter of which, Shelby says, were lit with Quasar tubes with cyan \u00a0gel and placed on the ceiling in an 8-by-8 box pattern.<\/p>\n

\u201cAll the tubes never worked at once,\u201d the gaffer describes. \u201cEach was turned on depending on the coverage. On the ground, it was small LEDs through 4-by-4 frames with LCD grids. We almost always had completely different colors and color temperatures working on a character\u2019s face [with the Key Light being 2700K and other \u00a0colors filling in the shadows].\u201d<\/p>\n

In contrast to the Calder and Evans scenes, Jira\u2019s birth mother, Tia Young [Emayatzy Corinealdi] and her family were made to look alive and vibrant. \u201cDefinitely a little brighter,\u201d Kelly states, with a lot of crane work. \u201cWe were free to move with talent, and find more moments with the camera,\u201d Baker recounts. \u201cWe did a fair amount of Steadicam, but we wanted it to emulate clean dolly looks \u2013 particularly for the many long walk-and-talks.\u201d<\/p>\n

To light the Young family, Kelly \u00a0leaned into softboxes, with ultra-bounce and magic cloth as a front element. \u201cInstead of Duvetyne or black grid cloth to tease the sides, it would be more ultra-bounce material hanging down about 18 inches,\u201d Shelby \u00a0explains. \u201cThey could be raised and lowered between 2700K and 3200K. We would also use some m18 and m40 HMIs bouncing into ultra-bounces through the windows, and small LEDs [Freestyle 31] into 6-by-6 or 8-by-8 diffusion. We used a 6-by-6 softbox on the ground with a 6-by-6 LCD on the front.\u201d<\/p>\n

 <\/p>\n

\"For
For a key deposition scene, Kelly, Gaffer Addae Shelby and Key Grip Randy Garcia made extensive use of top-light via a 4 x 8-ft long aluminum-framed softbox \/ Framegrab Courtesy of CBS<\/figcaption><\/figure>\n

 <\/p>\n

Kelly says that once the characters began to appear in each <\/strong>other\u2019s storylines, \u201cwe had to figure out whose scene it was, with the answer being \u201cwhoever had the most power.\u201d There are two such moments when Daniel Calder and Paul Evans are at depositions. \u201cIn the first, Daniel is more in control, so we shot it using Calder Rules,\u201d Kelly recalls. \u201cThe second scene, Daniel loses it, so we shot it handheld and tighter, as we would normally for Paul Evans.\u201d<\/p>\n

The deposition scene is a good example of how Kelly, Shelby, and Key Grip Randy Garcia exploited soft top-light in the series. \u201cThe location was a room with dark wood\u2013paneled walls in the South Shore Cultural Center, where the Obamas were married,\u201d Kelly smiles.<\/p>\n

\u201cWe were on the second floor, and because of the trees outside there was no good Condor placement,\u201d she continues. \u201cSo we decided to hang a softbox over the large table.\u201d<\/p>\n

Rigging Gaffer Dan Gianneschi and Rigging Key Grip Jorge Reyes-Ortiz constructed an aluminum-framed softbox that was 18 inches deep and 4\u00d78 feet long. The box was skinned with Magic Cloth and had an ultra-bounce skirt. Inside the box were two 2\u00d78-inch LiteTiles.<\/p>\n

\u201cWe had two really long scenes with lots of characters in that space and had to move fast,\u201d Kelly describes. \u201cRandy and his team worked quickly to shape the one overhead source with bounces and negative fill. This ended up being one of my favorite sequences. The actors glowed in the warm, dim top light, and the dark wooden walls fell off into the background beautifully.\u201d<\/p>\n

 <\/p>\n

\"Framegrab
Framegrab Courtesy of CBS<\/figcaption><\/figure>\n

 <\/p>\n

According to Thiele (and the series\u2019 other operators), Episode 108\u00a0<\/strong>(the last of the season) \u201cencapsulated all the emotions\u201d of working on The Red Line<\/em>\u2019s camera team. Directed by Thomas Carter, it combined two additional characters and the show\u2019s most powerful visual element \u2013 the constantly moving Red Line train.<\/p>\n

\u201cFor that, we broke the Calder Rules,\u201d Kelly shares. \u201cSomething pivotal happens to Daniel and Jira Calder that finally breaks them out of this static place of grief. The father and daughter take a walk along the coast of Lake Michigan, toward the famous Chicago skyline. The scene was about two pages long. I was concerned about making it Steadicam because there was so much ice on the pavement. However, it didn\u2019t seem to faze Blaine at all.<\/p>\n

\u201cWe discussed the shot, put down a lot of salt for both Blaine and the cast, and then Blaine proceeded to shoot the most stunning Steadicam shot of the season,\u201d Kelly continues. \u201cThe move was perfect and the overcast sky opened up so we could see some beautiful cloud detail and gorgeous glints of morning sunlight on the horizon.\u201d<\/p>\n

Carter and Kelly also staged a 50-foot Technocrane move that ties character, city, and train together. \u201cWe were on the second day\/night split of a large interior scene in the South Loop and wanted to jump outside at night to catch the Red Line train heading into the city on the elevated portion of the tracks,\u201d Kelly remembers. \u201cWhile we were shooting the last interior scene, we broke off the A-body, allowing [1st<\/sup>AC] Jason [Bonner] to bring it to the waiting crane.\u201d<\/p>\n

\u201cAs soon as we were built and ready to rehearse, a northbound train was approaching, so we shot it with our phones off the monitor to show Kira and Thomas,\u201d Thiele explains. \u201cThe move would be a retraction of the arm from under the tracks to a boom up and extension to safely clear the track structure and power feed while having the train fill the frame on a blind reveal and pull the shot to a wide of the train going into the city.\u201d<\/p>\n

\u201cThe first rehearsal was with a constrained environment and complicated timing, with [Dolly Grip] Xavier Otten on the arm, [Crane Technician] Brandon Dawkins on the pickle, and Jason pulling focus,\u201d Thiele adds, \u201cand we nailed it! After Kira and Thomas\u2019 approval, we headed back for a few more rehearsals.\u201d<\/p>\n

\"Producing
(L) Producing Director Kevin Hooks with Kelly (R) \u00a0\/ Photo by Elizabeth Morris\/Warner Bros. Entertainment Inc.<\/figcaption><\/figure>\n

 <\/p>\n

\"Director
Pilot Director Victoria Mahoney \/ Photo by Parrish Lewis\/CBS<\/figcaption><\/figure>\n

 <\/p>\n

And that\u2019s when things got more complicated.\u00a0<\/strong>Trains come every 10 to 12 minutes, so Chicago Transit Authority (CTA) liaison Bill Reilly (see sidebar below) was trying to find the best position to see the train emerging from between the buildings and give the crew enough time to get the pace of the head of the shot current and time-out the train crossing.<\/p>\n

\u201cWe had been approved by the CTA, but we were not in direct communication with or in control of the train movements, so Bill had to eyeball the train\u2019s approach to a signal to best guess its speed,\u201d Thiele adds. \u201cThe next two rehearsals we alternated between early and late, in terms of our timing. Then we get the word that we only have three train runs left before the CTA abandons that track for a reroute into the subway. One more rehearsal before the company joins us, and our timing is early again. We\u2019re down to just two chances, and we\u2019ve yet to recreate our very first attempt, and the group of us outside are starting to feel the pressure.\u201d<\/p>\n

With only two passes left before the train submerged out of sight, Thiele says that \u201cafter Kira got to video village, we rolled and got our best guess as to movement from Bill. We started the crane move, cresting the tracks, just as the second train car filled the frame and pulled our eye to reveal the skyscrapers in the distance. Jason, Xavier, and Brandon all executed the move flawlessly. Everyone was excited that we got the shot and could wrap knowing we made our day. It was an exciting closing moment for The Red Line<\/em>.\u201d<\/p>\n

As Kelly adds: \u201cIt\u2019s always a little nerve-wracking to come into a new city and try to crew up. I really couldn\u2019t have been more fortunate to find the camera and lighting crew I had in Chicago. It was beautifully inclusive, inspired by Kevin Hooks and our show creators, Caitlin and Erica, and our other showrunner Sunil. This is an important and timely story and we need to be telling more stories like [The Red Line<\/em>], which challenge audiences about the levels of gun violence and institutionalized racism we all live with today.<\/p>\n

\u201cWorking on The Red Line\u00a0<\/em>was an experience I\u2019ll never forget,\u201d Kelly concludes. \u201cI love how having the three different shooting styles for each family was so much in service to the narrative. I was constantly asking myself: \u2018whose scene is it\u2019? It made every single decision very intentional.\u201d<\/p>\n

 <\/p>\n

\"Photo:
Photo by Elizabeth Morris\/Warner Bros. Entertainment Inc.<\/figcaption><\/figure>\n

 <\/p>\n

Everything About the Railroad Wants to Kill You<\/strong><\/p>\n

Chicago Transit Authority (and The Red Line<\/em>) consultant Bill Reilly on making safer sets<\/p>\n

\u201cEverything on the railroad wants to kill you, and it\u2019s my job to make sure that doesn\u2019t happen.\u201d That\u2019s exactly how Bill Reilly, a 30-year veteran of the Chicago Transit Authority (CTA) and current consultant on all filming in and around the city\u2019s L-System, including this month\u2019s cover story, The Red Line<\/em>, starts every scouting, logistics, and safety meeting.<\/p>\n

Given the series title, viewers will expect Chicago\u2019s elevated transit system to be a major part of CBS\u2019s new drama. And, in fact, The Red Line is\u00a0<\/em>shot on platforms, in trains and on the street. \u201cThey also filmed a scene where a woman is knocked to track level and a police officer jumps down to the track to save her,\u201d Reilly describes. \u201cIt\u2019s probably the most interesting and involved sequence \u2013 because we were actually on the tracks.\u201d<\/p>\n

When production notified Reilly about the scene, his first priority was to find a location that could work and a way to get the shot safely. Post tech-scout, Reilly turned his attention to CTA, putting in a request for employees that he knew could handle the workload.<\/p>\n

\u201cCTA trains run on 600 volts DC, so the power was removed on that section of track,\u201d Reilly explains. Using a \u201cwiggy\u201d (voltage meter), he then demonstrated to the Red Line <\/em>production crew that the power was off. He then put a \u201chold\u201d on the power over the radio. This meant that he would be the only person who could request restoration of power.<\/p>\n

\u201cI then measured rail height and clearances at track level so a platform could be built over the rails where we were working,\u201d Reilly adds. \u201cPads for the fall were placed on the platform and, as a precaution, it further isolated us from the third rail \u2013 even though the power was off.\u201d<\/p>\n

Access was restricted to being job-specific. \u201cEach one had to have the proper Personal Protective Equipment (PPE), which in this case was proper foot wear, long pants, and a safety vest. Actors were exempt from safety vests, by the way,\u201d Reilly states.<\/p>\n

Before anyone who would be going to track level set foot on the location, they had to go through site-specific safety training. They were taught how to walk on the track and step over the rails when needed. \u201cAnyone who could not master the track training procedures or who didn\u2019t bring proper PPE was not allowed on the track,\u201d he adds adamantly.<\/p>\n

Reilly placed a CTA Flagman at each end so that no one wandered outside the work zone. The track was removed from service and a stop sign and Portable Track Trip (safety device used to stop trains) was installed. He also had a Rail Service Bulletin describing the work and the out-of-service area issued. The towermen at each end and Rail Supervisors were also given briefings. And the Rail Control Center made periodic announcements over the CTA radios.<\/p>\n

The ultimate control of any filmed sequence on the CTA line falls to Reilly. \u201cAnd in the event that the safety procedures are not followed, filming will come to a halt,\u201d he says. \u201cAt this time, the infraction would be evaluated, and I would decide with the CTA if filming would be allowed to continue. A blatant violation will cause the person in question to be escorted from CTA property even if filming is allowed to continue. Sometimes there are bets on how many times I will say, \u2018Everything about the railroad wants to kill you,\u2019\u201d he laughs, and then gets serious. \u201cBut we really do need these film crews to pay attention.\u201d<\/p>\n

Production needs to know how to capture the story, and CTA has to help make it safe. The railroad needs to know when to hold and release commuters, when to open and close the doors, when to move the train, adjust the speed, stop the train, and pull the train back into the starting position. \u201cIt\u2019s all about cooperation,\u201d Reilly describes. \u201cEverything about the Railroad wants to kill you, and it is my job to make sure that doesn\u2019t happen.<\/p>\n

\u201cSee, I did it again!\u201d he laughs.\u00a0And, yes, Bill, The Red Line <\/em>crew got the message.<\/p>\n

 <\/p>\n

THE RED LINE<\/u><\/strong><\/p>\n

Series:<\/strong><\/p>\n

Director of Photography: Kira Kelly<\/p>\n

A-Camera Operator: Scott Thiele<\/p>\n

A-Camera 1st AC: Jason Bonner<\/p>\n

A-Camera 2nd AC: Nina Pillar Portillo<\/p>\n

B-Camera Operator\/Steadicam: Blaine Baker, SOC<\/p>\n

B-Camera 1st AC: Matt Rozek<\/p>\n

B-Camera 2nd AC: Matt Feasley<\/p>\n

DIT: John Waterman<\/p>\n

Loader: Drew Fulton<\/p>\n

Digital Utility: Litong Zhen<\/p>\n

Still Photographers: Parrish Lewis, Elizabeth Morris<\/p>\n

Pilot:<\/strong><\/p>\n

Director of Photography: Manuel Billeter<\/p>\n

A-Camera Operator: Scott Thiele<\/p>\n

A-Camera 1st<\/sup> AC: Chris Wittenborn<\/p>\n

A-Camera 2nd<\/sup> AC: Ron Ruanphae<\/p>\n

B-Camera Operator\/Steadicam: Sebastian Audinelle<\/p>\n

B-Camera 1st<\/sup> AC: Hunter Whalen<\/p>\n

B-Camera 2nd<\/sup> AC: Torey Lenart<\/p>\n

Digital Utility: Josh Smith<\/p>\n

Additional Utility: Mark Irion<\/p>\n

Loader: Tom Zimmerman<\/p>\n

Still Photographer: Parrish Lewis<\/p>\n

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

CBS TV\u2019s new drama, The Red Line, shot by Kira Kelly, visualizes the impact of a police shooting on three different American families. by Pauline Rogers   Bringing their play, A Twist of Water, to an episodic series was an exciting challenge for writers Caitlin Parrish and Erica Weiss. 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