This is a time when our girls get to know each other and explore youth together. The 1970s has the warmest look in the whole series. The core of our main story lives in the 1970s, 1980s and early 2000s. Transitions also play a huge part in our visual vocabulary, especially when transitioning between different periods, so we are always trying to find interesting ways to create these. But I wanted to approach these different looks from an emotional and character perspective rather than just a period-accurate perspective. Of course, when filming a period drama, everyone interprets how these different decades should look based on history, culture, films, photographs and experiences. I wanted the different decades to have distinctive looks, although we did not want the different periods to be too radically different. Unfortunately, COVID and other factors prohibited us from using as much haze or smoke as we wanted.Ĭan you give more detail about the looks you established for each time period? When it comes to period stories, smoke/haze also plays a part, especially in the 1970s and 1980s.
Our 1970s interiors, the 1980s apartment in Seattle, and the 1980s news station were built on stages in Vancouver, BC. One of the main differences is that we built more sets this season instead of relying so much on location shooting, which we did in Season 1. We also briefly introduced the 1990s as another timeline on the show that had its own style. Season 2 has some very strong dramatic moments, and we introduced new plots that required their own style of shooting. We had created a style and look in Season 1 through lighting, framing and camera movement that we carried on this season. The Panaspeed spherical primes are a high-speed, large-format companion to 35mm-format spherical Primo optics. I have used Panavision Primos extensively in my career when shooting with spherical lenses, but they are very popular and weren’t available for us last season.
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I used Panaspeeds while on the TV series Maid, and they have become one of my favorite lenses. These weren’t available for us when we started filming last season.
We had Cooke S4s in Season 1, and we moved to Panavision Panaspeeds this season. And having just the one voice behind the camera allows for a very unified and consistent flow throughout the episodes.ĭid anything change significantly from S1 to S2? What were the challenges (or benefits) of being the only DP?īecause I was the only cinematographer on the show, I didn’t really have time to prepare episodes with the upcoming directors or scout locations properly, but we tackled this show as a long feature film, with a specific look that would change between all the different timelines. But I had enough time to develop the look and style I had in mind. When I was hired for the job, some of the real locations had already been chosen, so sadly, I didn’t have much input on those, and some have proven to be quite challenging logistically. All these memories and experiences were a key factor in how I saw this story from a teenager’s perspective. I remember growing up in Spain with my best friend and how everything back then was about creating adventures, exploring life, dreaming about the future. I also connected with this story a lot I need to have a connection with the stories I am working on. We could cover many topics as the background of our story and emphasize how things have changed for women regarding equality and rights from the ‘70s to today.
I thought it was a fascinating story about friendship with American culture and history as our canvas. We clicked right away while talking about the look and style I had in mind for the show. I met with showrunner Maggie Friedman early on, when there was just one pilot script. How early did you get involved, and how did that help? You were the sole DP on Season 1 and Season 2. DP Vincent De Paula, CSC - who has extensive feature and television credits - has been on the show since its inception, working with showrunner Maggie Friedman to get the right look for the many time frames the show depicts.
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