The producers, who are also the head writers, are very much in control of their show. Letâs just call it a promising career. “A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” he said. We were all inspired by that location, which was a 700-year-old former shipyard of the Spanish Armada in Seville, Spain. “Game of Thrones” cinematographer Fabian Wagner isn’t apologizing any time soon for Sunday night’s poorly-lit episode. But Dave said, âAh yes, âThe Hay Wainâ,â and he framed it up exactly the way the painting is. A roll of film would transfer about ten minutes, and by the time youâd purchased and processed it, you were looking at about $100. Oil on canvas, J. M. W. Turner, âThe Fighting Temeraireâ, 1839. Iâm talking over eighty setups on days when the sun comes up at 8:30 a.m. and sets at 5:30 p.m. That sequence looks fantastic because we planned our days shot by shot according to where the sun was. In one of the most recent episodes, âEastwatch,â I was the last to shoot a scene in Cerseiâs chamber. Even so, he stands by his choices. Then American film production discovered the cheap Canadian dollar and Vancouver as a great location, and there was this explosion of film work. âThe Walking Deadâ Director Michael Satrazemis Shoots Zombies With Film Regardless, itâs the cinematographerâs job more than anyoneâs to keep a visual consistency. Shooting a few episodes of MacGyver and The X-Files creator Chris Carterâs TV series Millennium during the 90âs, McLachlan now works regularly on major network series for HBO and Showtime. The viewerâs sophistication and eye have been so spoiled with CG-enhanced images and cameras that can dig deeper into the shadows, so we had to light Westworld in a way that didnât look goofy. The much-anticipated third episode of “Game of Thrones'” final season aired Sunday night, titled “The Long Night.” And boy, was that an apt call. Filming on the set of Westworld via Art Spirit Village. Touching on the dynamics of episodic filmmaking, the importance of fine art in cinematography, and an insiderâs look at what makes Game of Thrones so successful, Format caught up with McLachlan to find out how he got to where he is now. I had a room full of cinematographers and students, and using fine art as a reference was a completely new concept for them. Their works depict these gloomy interiors with just a little window light coming in. But I was able to keep doing it under less-than-ideal circumstances because I really loved it. In 1992, I did a little film called Impolite with a director named David Hauka. Award-Winning Cinematographers Explain Cinematography, âThe Walking Deadâ Director Michael Satrazemis Shoots Zombies With Film, Saturday Night Liveâs Colorist Josh Bohoskey Gives Feeling To Film. After starting his own production company in Vancouver, McLachlan shot documentaries for Greenpeace, commercials, and corporate videos before landing a job on The Beachcombers in 1988. Growing up with his father’s photography and home videos, McLachlan fell for film early on and made the decision as a young adult to leave behind a career in cycling to pursue cinematography. We had to shoot similar things on Westworld, but instead of defaulting to the way they used to do things we used massive amounts of light to properly bathe the prairie at nighttime. When we got the scripts for season seven, we all kind of liked âEastwatchâ best. We only had about half a million dollars to make it, but we managed to land Christopher Plummer for a fews days to do a small part. At that age, thereâs a lot of pressure to decide what you want to do, where you want to go to school, what you want to study. Planning and scouting is easier today because youâve got apps like Artemis to tell you where the sun will be at a specific time on the day youâll be filming. Other series surrounding darker themes, such as “The Walking Dead,” “Teen Wolf,” and “Agents of S.H.I.E.L.D” have all gotten backlash for scenes that are hard to make out. That was a lot of money. Buried deep in the back of my head was a goal that I certainly couldnât voice out loud for fear of ridicule and could barely admit to myself for fear of self-ridicule, which was doing exactly what Iâm doing now: shooting big movies and productions like Game of Thrones. You couldnât really make a living as a cyclist in Vancouver during those years. After receiving significant criticism for its poor lighting, Wagner defended the artistic choices he made for the gruesome battle scenes. Award-Winning Cinematographers Explain Cinematography The hype begins. Thatâs really helpful for understanding how to use atmosphere to blend light and create more depth in the shot. The hard part was sticking with it through some really tough, slim years. So you really needed someone else to bankroll you, even if it was the local chain of pizza stores. Because I put my time in when I got my chance, I not only didnât blow it, but I did quite well at it. Game of Thrones cinematographer: it’s not me, it’s your TV settings. In my day, I had a 16mm camera. You’re the problem, and also maybe HBO’s bitrate.