HBO’s Carnivale: Lighting the Tents and Shooting the Dust

It’s not what you expect to see on anyone’s fall schedule, really. A period piece set during the Great Depression, Carnivale zeroes in on the mysterious lives of traveling carnies: the fortune teller, the Siamese twins, the snake man, and the burlesque dancers. The environs are harsh and sapped of color. The presence of Michael J. Anderson, immediately recognizable from his multiple appearances in David Lynch projects, only heightens the strange vibe. Think Lynch’s Twin Peaks meets Tod Browning’s Freaks.

Is this the greatest show on earth? HBO hopes so. Despite a classic good-versus-evil storyline, the series aspires to eschew formula- and that means it demands unusual, but distinctive, photographic techniques. Getting exactly the right look- equal parts poverty and mysticism- requires an approach that begins with the sets, according to Jeffrey Jur, one of three cinematographers involved in the fall season. Cinematographer Tami Reiker, who shot the pilot, established a visual strategy. Jur, who alternates with James M. Glennon on individual episodes, strives to keep that style.

"We all admired the simplicity of Tami’s coverage in the pilot," Jur says. It was different from anything else on TV. There was a leisurely pace that was a respite from all the fast cutting that you see. We are maintaining that look.

"There is a portentous undercurrent. I’m always looking for the one perfect angle to shoot a scene from. It’s almost a tableau style, even when the camera moves. I’m looking for that frame that is almost iconic, the frame that is about more than what is literally happening in the scene. The show is about the landscape, the small dustbowl towns, and the carnival setting itself, which is so rich and deep."

Most episodes have an equal amount of exterior and interior scenes, according to Jur. Most exteriors are shot at locations near Santa Clarita, CA, and the interiors are filmed on nearby stages. "All of our sets are washed out and faded," he says. "We are avoiding the stereotypic warm and glow-y nostalgic period look, and we are building contrast and desaturating colors. The blue California skies are taken down a lot and the greens are drained out. It’s very evocative of that era, almost a black-and-white feel. We refer to the look as‘desperate.’"

In one episode, a dust storm overtakes the carnival. Jur describes it as a nightmare that takes over the daytime. His crew created dust using such practical effects as Ritter fans, Fuller’s earth, and smoke. "We tested and found that smoke worked as a dust element as long as it has some force and direction and is backlit, he says. You also have to expose and print it dark enough. It was impossible to cover a large enough area, so more dust will be added digitally in post. I think we’ll darken it further."

Many tent interiors are constructed on stages. Jur often creates a daylight effect by surrounding the tents with a white cyclorama and overexposing it. "Light comes from unusual places, like through gaps between the tent walls or holes. We burn out the highlights so it looks like day outside, and always with the feeling of hot sunlight coming in. Sometimes it reaches the characters and sometimes it doesn’t. Sometimes they are in silhouette. You can light the canvas from behind, or not light it and let it go dark, or you can rake it with light for a third look. We ask the effects people to wave it a little bit, so there’s a little feeling of wind and life. It’s constantly shifting, which keeps it interesting."

Jur says that he and Glennon "didn’t get too technical about discussing how we would light and shoot. It’s more about a general sense of what the look is. We talked about it being dark and avoiding anything glamorous; trying to be as naturalistic as possible, while creating a heavy mood and a sense of foreboding. But each cinematographer does see the other’s dailies. We egg each other on. He takes a chance, and that inspires me to take a chance. We have a lot of support from HBO. They have an excellent post-production group and they really care about what their shows look like."

Jur composes the TV show in Super 35 format, protecting for the 16:9 HD frame. Most exteriors are recorded on Eastman EXR 100T 5248 film with occasional use of the 250-speed Kodak Vision 5246 daylight film. He shoots the 320-speed Kodak Vision 5277 tungsten for most interior scenes. "We tested the 320 stock and pushed the contrast," he says. "We wanted the highlights to blow out, to go to a beautiful warm white tone. It has a grainier, more photographic structure that works for this story. There’s so much detail that can come through in telecine. I usually end up just lighting by eye, making sure the balance is right."

Jur says that while the technical aspect of the cinematographer’s job is important, it’s only there to serve the artistic ends. "A good cinematographer can be like a good musician who has the chops and knows the notes, and how to get a particular sound," he says. "I’m still learning, but I feel I’m getting some of those chops now. I don’t have to worry too much over the technical part of cinematography, which really helps at the pace we’re working. It allows me to respond to the material in an emotional way, based on the script, the director, and what’s happening in front of me with the actors. It’s more instinctual, which is a way I love to work."

Carnivale

Producer: HBO

Creator: Daniel Knauf

DPs: Jeff Jur, Tami Reiker, and James M. Glennon

Post-production: Encore Hollywood

Final Colorist: Pankaj Bajpai