Arri-news 2014

How do you use the Zeiss Standard Speeds and Angenieux zooms you have on the show? You need zooms on TV, so we’re on those most of the time, although I use the Zeiss primes a lot for flashbacks. I would like to use the primes more because I love the quality they have on HD and there is a trend right now to use older glass. Everything has gotten so sharp, but sometimes a little softness and a little imperfection can be great. Have you encountered any pressure to shoot 4K? Not yet. It’s probably coming and I don’t think it’s necessarily a good idea. Of course we’ll have to embrace it, but I think it’s going to be used for the wrong reasons. I’m concerned that the resolution could be used in postproduction to recompose shots. But I’ve learned since this digital revolution started to make the best of things as they come along; you’ve just got to use them to your advantage. Is it a challenging show to light? I’m definitely working at a substantially lower light level than I have in the past. Previous digital cameras were about 320 ASA, but the ALEXA is 800 and when you push to 1,600 there is no discernable difference. It has much better latitude, so not only are you using less light – you’re also a little bit less worried. One of my biggest complaints with HD used to be that highlights disappeared, but with ALEXA the exposure in the high end is a big improvement. We’re allowed to light TV shows like movies now, in fact it’s expected. They want a moody, cinematic look for almost every series, so as cinematographers we’re in a very good place. The challenge comes when you have to do it in a third of the time, which can be difficult sometimes, but it’s great. It makes you stronger as a DP. Ron Fortunato, ASC, discusses working with ALEXA on the CBS Sherlock Holmes series Lucy Liu directing the episode Paint it Black Photo: Jeff Neumann Photo: Jeffrey Neira ARRI NEWS 31