Lending a feature-film look to the new ABC hit political drama
Commander In Chief, which stars Geena Davis as the
country’s first female president, has been "a key ingredient to our
approach," says associate producer Alex Shevchenko, the man who is also
in charge of posting the show. "Our DP, Chris Faloona, has an amazing
negative, and creates a rich, elegant world around the White House. And
his guidance and creative style set the template for colorist Michael
Levy at Encore and help set the tone for how our editors put all the
pieces together."
Commander In Chief, which stars Geena Davis as the
country’s first female president, has been "a key ingredient to our
approach," says associate producer Alex Shevchenko, the man who is also
in charge of posting the show. "Our DP, Chris Faloona, has an amazing
negative, and creates a rich, elegant world around the White House. And
his guidance and creative style set the template for colorist Michael
Levy at Encore and help set the tone for how our editors put all the
pieces together."
"Rod and I really went after the great look DP John Seale got in
The American President," says Faloona, whose credits
include 2003 TV series Line of Fire and second-unit
work on Spider-Man. "We wanted that more natural,
real look where the lighting’s very beautiful- not a dark, overly
dramatic palette."
The American President," says Faloona, whose credits
include 2003 TV series Line of Fire and second-unit
work on Spider-Man. "We wanted that more natural,
real look where the lighting’s very beautiful- not a dark, overly
dramatic palette."
To this end, he’s shooting everything on Kodak Vision 2 stock: the
500-speed 5218, which he values for its latitude and versatility, for
interiors, night and stage work, and the 100-speed 5212 for exterior
daylight shots The show uses three Panaflex Platinum cameras, "one a
lightweight body for Steadicam work, as there’s so much walk-and-talk
footage," says Faloona.
500-speed 5218, which he values for its latitude and versatility, for
interiors, night and stage work, and the 100-speed 5212 for exterior
daylight shots The show uses three Panaflex Platinum cameras, "one a
lightweight body for Steadicam work, as there’s so much walk-and-talk
footage," says Faloona.
Faloona selected Primo lenses – "everything from a 14mm up to a 150mm in
the primes" – and two zooms – a 4:1 and an 11:1. "I just love Primo
lenses as they’re so crisp and sharp, and I like starting with the
sharpest image I can get as I can always soften it later, with filters
or in post."
the primes" – and two zooms – a 4:1 and an 11:1. "I just love Primo
lenses as they’re so crisp and sharp, and I like starting with the
sharpest image I can get as I can always soften it later, with filters
or in post."
Shevchenko says the main post challenge for the show, which is shot and
edited at Raleigh Studios in Hollywood, "is the very short turnaround
from shooting to airdate. Instead of the usual two to three weeks,
we’re posting in less than seven days." This is achieved through a mix
of "facility flexibility and producer, studio and network approvals
where everyone’s on the same page. Picture is posted at Encore Video
and sound at Technicolor Sound, and both have been great with working
overtime and weekends- whatever it takes."
edited at Raleigh Studios in Hollywood, "is the very short turnaround
from shooting to airdate. Instead of the usual two to three weeks,
we’re posting in less than seven days." This is achieved through a mix
of "facility flexibility and producer, studio and network approvals
where everyone’s on the same page. Picture is posted at Encore Video
and sound at Technicolor Sound, and both have been great with working
overtime and weekends- whatever it takes."
Key post talent includes three editors – Chris Nelson, Michael Ruscio
and Christl Khatib – working on Avid Meridian systems with Unity
storage. "It’s very hard to get a new series like this into a rhythm,"
says Shevchenko, a veteran whose credits include NYPD
Blue and Monk. "But they’ve managed to do
it under tough conditions, and the Avid Meridians have been crucial to
the process. We run five, with one Unity, and that set-up gives us
enough memory to hold all 12 episodes that we need for our recaps. The
Meridians are fast and very reliable, and our workflow allows the
editors to have access to all material, so they all help cut scenes for
locking picture on each episode."
and Christl Khatib – working on Avid Meridian systems with Unity
storage. "It’s very hard to get a new series like this into a rhythm,"
says Shevchenko, a veteran whose credits include NYPD
Blue and Monk. "But they’ve managed to do
it under tough conditions, and the Avid Meridians have been crucial to
the process. We run five, with one Unity, and that set-up gives us
enough memory to hold all 12 episodes that we need for our recaps. The
Meridians are fast and very reliable, and our workflow allows the
editors to have access to all material, so they all help cut scenes for
locking picture on each episode."
