Jeff Cronenweth, ASC: The cinematography of Tales From the Loop

Tales From the Loop, a new eight-episode series now streaming on Amazon Prime Video, explores the goings-on in a small Ohio town situated atop a mysterious machine that has made the stuff of imagination into an everyday reality for the local residents. Based on the paintings of Swedish artist Simon St lenhag, the series was written by showrunner Nathaniel Halpern, and the pilot episode reteamed director Mark Romanek with longtime collaborator Jeff Cronenweth, ASC.

Mark's not one to be shy of using references that he's fond of, says Cronenweth, who was still working as a camera operator when he first partnered with the director in the mid-1990s. After stepping up to cinematographer, Cronenweth would continue to shoot music videos and commercials for Romanek, as well as the feature One Hour Photo. As they began to prep the pilot for Tales From the Loop, the cinematographer notes, Directors like Ingmar Bergman, Andrei Tarkovsky and Krzysztof Kieslowski were all inspirational to us. We reeducated ourselves in their films, their choices of light, and in particular their pacing and camera movement. Tales From the Loop very much has a kind of Scandinavian, methodical storytelling technique.

The production also reunited Cronenweth with Light Iron supervising colorist Ian Vertovec, with whom he had previously collaborated on a range of projects, including features such as The Social Network, Hitchcock and A Million Little Pieces. I spoke with Ian right when I got the gig, as soon as the choice was made to go with Light Iron, the cinematographer says. I started talking about our approach, how we were going to film, what I thought it would look like, and I gave him some of the same references that Mark and Nathaniel and I had looked at. We talked about the pace and tone and color.

We also talked a lot about skin tone, and time of day, and trying to get a sense of period, adds Vertovec, one of Light Iron's co-founders. We didn't want to hit you over the head with this old-fashioned look, but we really wanted to emphasize nostalgia and timelessness; we wanted the audience to be thinking about their childhood. We were trying to trigger on that emotion, a kind of melancholy nostalgia, and to find the colors that would support that.

One of the things I noticed in Simon's paintings was the natural color palette, Vertovec continues. It definitely was not a traditional science-fiction color palette; it was much more natural light, end of day, almost a perpetual magic hour. Nothing was too colorful, nothing was too poppy, nothing was too contrasty. It was all very beautiful, and it tied in with what Jeff and Mark were saying. They didn't really want a look' applied so much as they wanted the natural vibes to come through, the natural palette.

The filmmakers also decided early on that they would employ a large-format sensor for Tales From the Loop. We went with large-format with the idea of giving the show a scale and a scope that's larger than traditional approaches to television, and also for the lack of depth of field, Cronenweth explains. I'm adamant about depth-of-field being one of our storytelling tools, so the audience will be present where we want them to be. Also, there's a little girl in the show who's lost in this world, and a shallow depth of field was a great way of keeping her isolated and making the world more confusing and abstract.

Partnering with Panavision, Cronenweth chose to employ the Millennium DXL2 camera with large-format Panaspeed and Primo 70 primes. I had used the DXL2 on different jobs in the past, and I was a fan of it already it's my go-to camera when I want to utilize Panavision's world-renowned lens inventory, the cinematographer explains. Referencing the camera's 8K imager and native 1600 ISO, he adds, I liked the idea of the extra resolution and the speed, especially in the case of day exteriors turning into night and some of the sets we were working in. We shot 16:9, which was required by the studio, and for certain visual-effects shots we might have gone to 8K, but for all intents and purposes it was a 6K show.

When we went through our lens testing and discovered the Panaspeeds, their optical properties just fit our palette perfectly, he continues. They're very sophisticated pieces of glass, but they lend themselves to not being perfect.' They're more natural in a way because of their aberrations. It wasn't a complete set at the time, so we supplemented with the Primo 70s, which fit beautifully. They're a little cleaner than the Panaspeeds, so we used a little bit of diffusion when we needed it. I felt like if we could shoot our masters and two-shots with the Panaspeeds, it would be easier to match that to a close-up with the Primo 70s.

For his show LUT, Cronenweth opted to employ the DXL2's built-in Light Iron Color 2 Film look-up table. Vertovec had been instrumental in developing the DXL system's original Light Iron Color and subsequent Light Iron Color 2 LUTs. Jeff took a look at this [Light Iron Color 2 Film] LUT, Vertovec relates, and I think he didn't know that I had been building it off of a lot of the work that he and I had done.

Once Cronenweth learned of the LUT's inspiration, the cinematographer says, It made perfect sense why I would be attracted to it it's my own aesthetics wrapped up in a LUT. I like the way the colors roll off, the black levels, the shadow details I just love the color science in general. The way it interprets color is in line with everything I used to shoot on film.

Among the LUT's characteristics, Vertovec explains, it pulls blues toward more of a cyan, and it pulls greens a little toward yellow, which can make front-lit grass and trees feel more natural, a bit more like film, and not so el

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