VFX, for the camera guys, for lighting, for everybody. We're all prepared and we're not wasting time, so
storyboards are incredibly helpful in
S&P: Tell us about the cameras
and lenses that you chose to use
for this series.
Neville Kidd: We used the ALEXA
65, a large-format, high-end ARRI
that I like to call “the king of cameras.” It's basically three ALEXA chips
joined together to create a 65mm
VistaVision picture, and the quality is stunning. The way it moves
through the set and sees everything,
I think it works with the way human
eyes see the world. It's very cinematic and it's very pleasing because it
just sees so much.
We decided to make the sets 360
so the cameras could move around
like it was a real house in a real
world. Some of the characters are so
huge, like Luther [Tom Hopper], and
some of them are smaller like Pogo,
so we could put the cameras incredibly low, looking up, and we would
see real ceilings because we didn't
have any lighting rigs. So we deliberately made my life harder in order
to create a believable world!
S&P: Tell us about your camera
crew and how you set up your
workflow on set.
Neville Kidd: We chose our camera
crew and we had a fantastic team.
Behind the scenes with actors Zachary Bennett, Robert Sheehan, and Aidan Gallagher
Director Peter Hoar on set with Ellen Page, Emmy Raver-Lampman, and David Castañeda
Masked assassins Cha-Cha (Mary J. Blige) and Hazel (Cameron Britton) open fire