DRAMA | WI LD B I LL
IN ASSOCIATION WITH
Our DIT shot the Venice up at 6K, a higher resolution than we needed, but it was great to take advantage of the whole sensor
IMAGES Shooting at Christmas coincided with the largest snowfall of the year, but a Games of Thrones gaffer came to the rescue
ability to rate it at 2500 ISO and shoot day exteriors as the light was about to go.” LET IT SNOW Running out of light was always going to be an issue as shooting took place at either side of Christmas. Snowfall, however, well, that’s just bad luck. There is a day scene in episode four, where Lowe’s character is having a confrontation with another character in a barn. You wouldn’t know it when you see it, but shooting that scene occurred after sunset and coincided with the largest snowfall of this year. “The gaffer on board was Tom Gates, he had just come off of Game of Thrones and he’s a true artist, he’s got a great eye,” says
Irvine. “I knew we were going to have to create daylight beyond the day, but I didn’t expect the snowfall. We rigged up a SkyLite daylight balloon and dropped it into the barn set, this gave me the ability to extend the day, but we had to do a bit of work in VFX to clean up the snow. It created quite an extraordinary look though.” Irvine tries to be quite brave with making the decision to shoot using natural light: “You have to work out how you’re going to use it. For instance, there is a scene where Lowe and his colleagues find an abandoned car in the middle of a rural road. It was a classic tracking shot of five cops walking in a row as they approached the car, but they were all clad in black
Venice. “Our DIT, Peter Marsden, shot the Sony Venice up at 6K, which was a higher resolution than we needed, but it was great to take advantage of the whole sensor – and actually, the decision to shoot on the Venice at 6K with the Supreme lenses created a large format filmic image which, for me, was the biggest photographic decision that left an imprint on the series. “I hadn’t worked with the Sony Venice before using it to shoot Wild Bill ,” continues Irvine. “So I went into filming slightly blind,” he says. Fortunately, he ended up loving the camera. “It’s ergonomic and it’s got a great interface that I found really user-friendly. It also has a native ISO, and this gave me the
30 AUGUST 20 1 9 DEF I N I T ION
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