Interview:Nate Goodman - Revision history

imported>Radicell at 10:17, 28 March 2010

2010-03-28T10:17:55Z

← Older revision		Revision as of 10:17, 28 March 2010
(No difference)

imported>Radicell at 10:17, 28 March 2010

2010-03-28T10:17:55Z

← Older revision		Revision as of 10:17, 28 March 2010
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	[[Image:Sylar's eye.jpg\|thumb\|left]]		[[Image:Sylar's eye.jpg\|thumb\|left]]
	Another one was, for example, for the first seven or eight episodes, before you actually reveal [[Zach Quinto]] as [[Sylar]], every time we showed Sylar up until [[Homecoming\|episode nine]] (which was when he [[Sylar's victims\|killed]] [[Jackie Wilcox\|the cheerleader]] and started chasing [[Claire]], and at the end of the episode he climbs the hill after he falls off the roof with [[Peter]], then he escapes and that's when [[Eden]] and [[the Haitian]] catch him), whenever we shot him, like in [[Seven Minutes to Midnight\|episode seven]], you always had to keep him in the shadow. If he's sitting there in the [[Burnt Toast Diner]] and it's daytime, he is sitting in shadow! [''laughs''] When he's going through the [[locker room (Union Wells)\|locker room]], he's gotta be in shadow. At one point, Greg actually wanted to see his eye. Well, Zach has very prominent eyebrows! I was like, "Are you sure you really want to do this?" [''laughs''] When you're looking at somebody's eye, it's usually pretty specific. That's one of the things that you notice about anybody--their eyes.		Another one was, for example, for the first seven or eight episodes, before you actually reveal [[Zach Quinto]] as [[Sylar]], every time we showed Sylar up until [[Episode:Homecoming\|episode nine]] (which was when he [[Sylar's victims\|killed]] [[Jackie Wilcox\|the cheerleader]] and started chasing [[Claire]], and at the end of the episode he climbs the hill after he falls off the roof with [[Peter]], then he escapes and that's when [[Eden]] and [[the Haitian]] catch him), whenever we shot him, like in [[Seven Minutes to Midnight\|episode seven]], you always had to keep him in the shadow. If he's sitting there in the [[Burnt Toast Diner]] and it's daytime, he is sitting in shadow! [''laughs''] When he's going through the [[locker room (Union Wells)\|locker room]], he's gotta be in shadow. At one point, Greg actually wanted to see his eye. Well, Zach has very prominent eyebrows! I was like, "Are you sure you really want to do this?" [''laughs''] When you're looking at somebody's eye, it's usually pretty specific. That's one of the things that you notice about anybody--their eyes.

	How do you have an actor turn into a hall of light? The most challenging thing about that particular episode was at the end. You have Sylar climbing this hillside. The Haitian comes out from the corner. Eden is there. So when they catch Sylar, you're not supposed to reveal Sylar until he's actually lying on the ground. That's the first time that we see him. So when the Haitian puts his arm around him, there's a white guy that you're not supposed to see, there's a really dark Haitian guy that you ''are'' supposed to see, and there's an extremely, extremely pale girl that you're supposed to see. ''And'', they're up in the woods, so there's actually no light up there! I mean, we bring in lights, but you're trying to show that there's just ambient light coming from the stadium, for example. That's supposed to light [[Jimmy Jean-Louis]]. It's not supposed to light Zach Quinto. It ''is'' supposed to light [[Nora Zehetner]]. And you're not supposed to give away Zach Quinto until he falls to the ground. That was pretty funny... And that would keep coming up, even this season. Sometimes you'd read in the scripts when you're prepping and it says, "encased in shadow." And you're like, "No! Not again!"		How do you have an actor turn into a hall of light? The most challenging thing about that particular episode was at the end. You have Sylar climbing this hillside. The Haitian comes out from the corner. Eden is there. So when they catch Sylar, you're not supposed to reveal Sylar until he's actually lying on the ground. That's the first time that we see him. So when the Haitian puts his arm around him, there's a white guy that you're not supposed to see, there's a really dark Haitian guy that you ''are'' supposed to see, and there's an extremely, extremely pale girl that you're supposed to see. ''And'', they're up in the woods, so there's actually no light up there! I mean, we bring in lights, but you're trying to show that there's just ambient light coming from the stadium, for example. That's supposed to light [[Jimmy Jean-Louis]]. It's not supposed to light Zach Quinto. It ''is'' supposed to light [[Nora Zehetner]]. And you're not supposed to give away Zach Quinto until he falls to the ground. That was pretty funny... And that would keep coming up, even this season. Sometimes you'd read in the scripts when you're prepping and it says, "encased in shadow." And you're like, "No! Not again!"
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	So they hired Adam, and I got to move over to operate the pilot. Then Adam didn't want to do the series, and they were asking who could do the series, and the two of us both recommended [[John Aronson]]. They hired John. When they hired John, it was sort of understood that because of the scope of the show, there was going to be an extensive second unit, and I was going to end up shooting the second unit. What ended up happening right from the very beginning of the series--really from the first episode, meaning the [[Don't Look Back\|second episode]] in the show because the pilot had already been shot--the show was being shot over a period of about twelve days. We were shooting eight days, and then there was four days of another unit that was going and shooting the remainder of that episode while the main unit was starting the next episode.		So they hired Adam, and I got to move over to operate the pilot. Then Adam didn't want to do the series, and they were asking who could do the series, and the two of us both recommended [[John Aronson]]. They hired John. When they hired John, it was sort of understood that because of the scope of the show, there was going to be an extensive second unit, and I was going to end up shooting the second unit. What ended up happening right from the very beginning of the series--really from the first episode, meaning the [[Don't Look Back\|second episode]] in the show because the pilot had already been shot--the show was being shot over a period of about twelve days. We were shooting eight days, and then there was four days of another unit that was going and shooting the remainder of that episode while the main unit was starting the next episode.

	So basically, right from the very beginning, I was shooting about a third of every episode. It got crazy because of scheduling issues. I really shot more than sixty percent of episodes [[One Giant Leap\|three]], and [[Better Halves\|six]], and [[Homecoming\|nine]], and [[Fallout\|eleven]]. They finally acknowledged that and gave me d.p. credit for episode nine. Then, when they finally decided to go to two d.p.'s--which is really what they should have done right from the beginning, but I don't think [[NBC]] was really used to having shows that were this big and really needed two directors of photography--I was fortunate they acknowledged what my contribution was previously! [''laughs''] They ended up making me officially a director of photography. Therefore, I could shoot the episodes that I was shooting and actually get credit for them! [''laughs''] That started with [[Distractions\|episode fourteen]]. So I'm credited with having shot episodes nine, fourteen, [[Unexpected\|sixteen]], [[Parasite\|eighteen]], [[Five Years Gone\|twenty]], and [[Landslide\|twenty-two]] last year, but I also shot a majority of three, six, and eleven.		So basically, right from the very beginning, I was shooting about a third of every episode. It got crazy because of scheduling issues. I really shot more than sixty percent of episodes [[One Giant Leap\|three]], and [[Better Halves\|six]], and [[Episode:Homecoming\|nine]], and [[Fallout\|eleven]]. They finally acknowledged that and gave me d.p. credit for episode nine. Then, when they finally decided to go to two d.p.'s--which is really what they should have done right from the beginning, but I don't think [[NBC]] was really used to having shows that were this big and really needed two directors of photography--I was fortunate they acknowledged what my contribution was previously! [''laughs''] They ended up making me officially a director of photography. Therefore, I could shoot the episodes that I was shooting and actually get credit for them! [''laughs''] That started with [[Distractions\|episode fourteen]]. So I'm credited with having shot episodes nine, fourteen, [[Unexpected\|sixteen]], [[Parasite\|eighteen]], [[Five Years Gone\|twenty]], and [[Landslide\|twenty-two]] last year, but I also shot a majority of three, six, and eleven.

	It became kind of weird because what ended up happening was almost every episode, John and I were shooting some of the episode. You can't tell from looking at the episode because John and I have a very similar style and we worked together for a long time before ''Heroes''. I also operated and established somewhat of the way the show was shot, from a camera point of view. So that just kind of continued. We could light it based on what seemed right based on the story. There weren't any scenes, for example, where we both shot part of the scene. Whenever that was the case, we would just match whatever the lighting was that existed prior. But if we were just shooting the scenes in their entirety, we would try to keep in mind what was coming before and what was coming after, whether we were establishing a look that was going to be maintained later with regard to what people's taste were.		It became kind of weird because what ended up happening was almost every episode, John and I were shooting some of the episode. You can't tell from looking at the episode because John and I have a very similar style and we worked together for a long time before ''Heroes''. I also operated and established somewhat of the way the show was shot, from a camera point of view. So that just kind of continued. We could light it based on what seemed right based on the story. There weren't any scenes, for example, where we both shot part of the scene. Whenever that was the case, we would just match whatever the lighting was that existed prior. But if we were just shooting the scenes in their entirety, we would try to keep in mind what was coming before and what was coming after, whether we were establishing a look that was going to be maintained later with regard to what people's taste were.

imported>Ryangibsonstewart: lk

2009-09-23T02:10:06Z

← Older revision		Revision as of 02:10, 23 September 2009
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	'''At what point did you get involved in the show?		'''At what point did you get involved in the show?

	Basically, I knew Tim and [[Dennis Hammer\|Dennis]] and all those guys. I was on-again, off-again working on ''Crossing Jordan'', which we all did. I was kind of coming in and operating a second camera and shooting second unit for them. Inserts, etc. It was actually a pretty good gig for awhile because I'd kind of come and go. If I got a feature or if I got a television series or something like that, I'd go and operate that. (That was when I was a camera operator.) Then, when Tim had written the script for ''Heroes'', I read the script for [[Genesis\|the pilot]], and I thought, "God, this is so up my alley! I really want to do this, I really want to work on ''Heroes''!" Then it turned out that one of the directors of photography that I worked for, and probably would have left ''Crossing Jordan'' if he were hired to do a different pilot from ''Heroes'', I would have left with him. We had done a couple of series together. His name was [[Adam Kane]], and he ended up directing some episodes of ''Heroes''. He is actually one of the exec producers of ''Pushing Daisies'' now. But he called me up and said, "Hey, I'm going in and meeting Tim and Dennis." So I got on my bike immediately and ran down to the office and basically said, "Oh, God, you have to hire this guy!" But that was partly because I knew I would get to work on the pilot.		Basically, I knew Tim and [[Dennis Hammer\|Dennis]] and all those guys. I was on-again, off-again working on ''[[Crossing Jordan]]'', which we all did. I was kind of coming in and operating a second camera and shooting second unit for them. Inserts, etc. It was actually a pretty good gig for awhile because I'd kind of come and go. If I got a feature or if I got a television series or something like that, I'd go and operate that. (That was when I was a camera operator.) Then, when Tim had written the script for ''Heroes'', I read the script for [[Genesis\|the pilot]], and I thought, "God, this is so up my alley! I really want to do this, I really want to work on ''Heroes''!" Then it turned out that one of the directors of photography that I worked for, and probably would have left ''Crossing Jordan'' if he were hired to do a different pilot from ''Heroes'', I would have left with him. We had done a couple of series together. His name was [[Adam Kane]], and he ended up directing some episodes of ''Heroes''. He is actually one of the exec producers of ''Pushing Daisies'' now. But he called me up and said, "Hey, I'm going in and meeting Tim and Dennis." So I got on my bike immediately and ran down to the office and basically said, "Oh, God, you have to hire this guy!" But that was partly because I knew I would get to work on the pilot.

	[[Image:Peter dream falls.jpg\|thumb\|left]]		[[Image:Peter dream falls.jpg\|thumb\|left]]

imported>Stevehim: Undo revision 207738 by Stevehim (Talk):

2008-10-12T00:47:19Z

Undo revision 207738 by Stevehim (Talk):

← Older revision		Revision as of 00:47, 12 October 2008
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	'''For example...		'''For example...

	For example, in [[One Giant Leap\|episode three]] last year: [[Greg Beeman]] likes to do very, very complicated shots, and they're great. So he'll design shots which are basically very difficult to light because they might start out moving through a house...This was actually starting out moving through [[the ~~Sanders~~' home\|Niki's house]], and it ended up going through three or four different rooms, and ending up in a closeup of [[Ali Larter\|Ali]], who we light in a certain way, because obviously she's the principal female star of the show, and you want her to look really beautiful. [''laughs''] It's not hard to do, but every single person has kinds of idiosyncrasies, and when you're lighting closeups of people, you take into account certain things. There are very few people that can just be lit in any way. Sometimes the light has to come from below, sometimes the light has to come from the sides, sometimes the light has to come from the top, depending on who's in the frame. But in general, when you're doing some kind of beauty lighting, it doesn't actually happen at the end of long hand-held shots. [''laughs''] You're usually doing a master shot, and then you're going and lighting a closeup with matches the master shot. Then you can take a little bit more time or have a little bit more care with how you're doing it. But Greg likes to put everybody up for a challenge! [''laughs''] Basically, it's just figuring out how to go through four different rooms then end up in a closeup of Ali, for example.		For example, in [[One Giant Leap\|episode three]] last year: [[Greg Beeman]] likes to do very, very complicated shots, and they're great. So he'll design shots which are basically very difficult to light because they might start out moving through a house...This was actually starting out moving through [[the Sanderses' home\|Niki's house]], and it ended up going through three or four different rooms, and ending up in a closeup of [[Ali Larter\|Ali]], who we light in a certain way, because obviously she's the principal female star of the show, and you want her to look really beautiful. [''laughs''] It's not hard to do, but every single person has kinds of idiosyncrasies, and when you're lighting closeups of people, you take into account certain things. There are very few people that can just be lit in any way. Sometimes the light has to come from below, sometimes the light has to come from the sides, sometimes the light has to come from the top, depending on who's in the frame. But in general, when you're doing some kind of beauty lighting, it doesn't actually happen at the end of long hand-held shots. [''laughs''] You're usually doing a master shot, and then you're going and lighting a closeup with matches the master shot. Then you can take a little bit more time or have a little bit more care with how you're doing it. But Greg likes to put everybody up for a challenge! [''laughs''] Basically, it's just figuring out how to go through four different rooms then end up in a closeup of Ali, for example.

	[[Image:Sylar's eye.jpg\|thumb\|left]]		[[Image:Sylar's eye.jpg\|thumb\|left]]

imported>Stevehim at 00:34, 12 October 2008

2008-10-12T00:34:55Z

← Older revision		Revision as of 00:34, 12 October 2008
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	'''For example...		'''For example...

	For example, in [[One Giant Leap\|episode three]] last year: [[Greg Beeman]] likes to do very, very complicated shots, and they're great. So he'll design shots which are basically very difficult to light because they might start out moving through a house...This was actually starting out moving through [[the ~~Sanderses~~' home\|Niki's house]], and it ended up going through three or four different rooms, and ending up in a closeup of [[Ali Larter\|Ali]], who we light in a certain way, because obviously she's the principal female star of the show, and you want her to look really beautiful. [''laughs''] It's not hard to do, but every single person has kinds of idiosyncrasies, and when you're lighting closeups of people, you take into account certain things. There are very few people that can just be lit in any way. Sometimes the light has to come from below, sometimes the light has to come from the sides, sometimes the light has to come from the top, depending on who's in the frame. But in general, when you're doing some kind of beauty lighting, it doesn't actually happen at the end of long hand-held shots. [''laughs''] You're usually doing a master shot, and then you're going and lighting a closeup with matches the master shot. Then you can take a little bit more time or have a little bit more care with how you're doing it. But Greg likes to put everybody up for a challenge! [''laughs''] Basically, it's just figuring out how to go through four different rooms then end up in a closeup of Ali, for example.		For example, in [[One Giant Leap\|episode three]] last year: [[Greg Beeman]] likes to do very, very complicated shots, and they're great. So he'll design shots which are basically very difficult to light because they might start out moving through a house...This was actually starting out moving through [[the Sanders' home\|Niki's house]], and it ended up going through three or four different rooms, and ending up in a closeup of [[Ali Larter\|Ali]], who we light in a certain way, because obviously she's the principal female star of the show, and you want her to look really beautiful. [''laughs''] It's not hard to do, but every single person has kinds of idiosyncrasies, and when you're lighting closeups of people, you take into account certain things. There are very few people that can just be lit in any way. Sometimes the light has to come from below, sometimes the light has to come from the sides, sometimes the light has to come from the top, depending on who's in the frame. But in general, when you're doing some kind of beauty lighting, it doesn't actually happen at the end of long hand-held shots. [''laughs''] You're usually doing a master shot, and then you're going and lighting a closeup with matches the master shot. Then you can take a little bit more time or have a little bit more care with how you're doing it. But Greg likes to put everybody up for a challenge! [''laughs''] Basically, it's just figuring out how to go through four different rooms then end up in a closeup of Ali, for example.

	[[Image:Sylar's eye.jpg\|thumb\|left]]		[[Image:Sylar's eye.jpg\|thumb\|left]]

imported>Admin: making links explicit

2008-08-21T19:58:36Z

making links explicit

← Older revision		Revision as of 19:58, 21 August 2008
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	'''Who is the other director of photography?		'''Who is the other director of photography?

	This year it's ~~{{link\|~~Charlie Lieberman}}.		This year it's [[Charlie Lieberman]].


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	So that one shot of Future Hiro crossing Present Hiro going to the window, looking over the destroyed [[Manhattan]], coming back into an over-the-shoulder shot--the shot was actually continued through the breaking in of [[Greg Grunberg]] and the [[Homeland Security]] guys, but that part was cut out of the show. It was one shot, which was designed, and Masi crossed himself three times during the shot. That took six hours just to do the one shot. The rest of the six hours that we had to shoot (because we shoot in twelve hours), then we could start doing it just with doubles. Then it was about three hours where we would pick up the little parts of the dialogue with the characters, use a double for Present Day Hiro, and use a double for Future Hiro, and shoot traditional over-the-shoulder shots. So more or less, when you put it all together, as long as you saw those three times of Masi crossing himself, the illusion that they were in the room together was already sold at that point. You don't have to keep doing it over and over again. At least, that was the idea.		So that one shot of Future Hiro crossing Present Hiro going to the window, looking over the destroyed [[Manhattan]], coming back into an over-the-shoulder shot--the shot was actually continued through the breaking in of [[Greg Grunberg]] and the [[Homeland Security]] guys, but that part was cut out of the show. It was one shot, which was designed, and Masi crossed himself three times during the shot. That took six hours just to do the one shot. The rest of the six hours that we had to shoot (because we shoot in twelve hours), then we could start doing it just with doubles. Then it was about three hours where we would pick up the little parts of the dialogue with the characters, use a double for Present Day Hiro, and use a double for Future Hiro, and shoot traditional over-the-shoulder shots. So more or less, when you put it all together, as long as you saw those three times of Masi crossing himself, the illusion that they were in the room together was already sold at that point. You don't have to keep doing it over and over again. At least, that was the idea.

	That was probably the most complicated thing that we had to do. I mean, there was other complicated things that we've done, but just from a sheer [perspective of] taking the amount of time that was necessary to do it, that was the most complicated thing ''I'' did. [[John Aronson]] shot about two-thirds of the episodes [[Season One\|last year]], and he might have something else to say about what his most complicated shot was. And then ~~{{link\|~~Charlie Lieberman}} [[Season Two\|this year]] might have a different thing to say about what was ''his'' most complicated shot was. But from a special effects/visual effects point of view, that was probably the most complicated shot that we had. There are other shots that are complicated for other reasons, which are lighting reasons or that kind of thing.		That was probably the most complicated thing that we had to do. I mean, there was other complicated things that we've done, but just from a sheer [perspective of] taking the amount of time that was necessary to do it, that was the most complicated thing ''I'' did. [[John Aronson]] shot about two-thirds of the episodes [[Season One\|last year]], and he might have something else to say about what his most complicated shot was. And then [[Charlie Lieberman]] [[Season Two\|this year]] might have a different thing to say about what was ''his'' most complicated shot was. But from a special effects/visual effects point of view, that was probably the most complicated shot that we had. There are other shots that are complicated for other reasons, which are lighting reasons or that kind of thing.

imported>Ryangibsonstewart: add some pics...i'm not on the best browser rightnow, so if there's something that needs to be fixed or altered, please do so!

2008-01-25T17:08:34Z

add some pics...i'm not on the best browser rightnow, so if there's something that needs to be fixed or altered, please do so!

Show changes

imported>Admin: +other digg link

2008-01-25T16:38:56Z

+other digg link

← Older revision		Revision as of 16:38, 25 January 2008
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	Oh, thank you. It's my pleasure.		Oh, thank you. It's my pleasure.


			{{digg\|http://digg.com/television/Interview_with_Heroes_director_of_photography_Nate_Goodman}}

	{{interview}}		{{interview}}

imported>Admin: +digg link

2008-01-25T16:38:16Z

+digg link

← Older revision		Revision as of 16:38, 25 January 2008
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			{{digg\|http://digg.com/television/Interview_with_Heroes_director_of_photography_Nate_Goodman}}


	On January 8, 2008, [[User:RyanGibsonStewart\|Ryan Gibson Stewart]] conducted a phone '''interview''' with ''[[Heroes]]'' cinematographer [[Nate Goodman]].		On January 8, 2008, [[User:RyanGibsonStewart\|Ryan Gibson Stewart]] conducted a phone '''interview''' with ''[[Heroes]]'' cinematographer [[Nate Goodman]].

imported>Ryangibsonstewart: -stub, interview bar, cat (pics coming)

2008-01-25T16:30:59Z

-stub, interview bar, cat (pics coming)

← Older revision		Revision as of 16:30, 25 January 2008
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		⚫	On January 8, 2008, [[User:RyanGibsonStewart\|Ryan Gibson Stewart]] conducted a phone '''interview''' with ''[[Heroes]]'' cinematographer [[Nate Goodman]].
	{{stub}}
	<!--<center>{{blurb}}Please [http://digg.com/television/Heroes_Wiki_interview_with_Heroes_cinematography_Nate_Goodman Digg] this interview to help others find it as well.{{blurbclose}}</center>


⚫	~~-->~~On January 8, 2008, [[User:RyanGibsonStewart\|Ryan Gibson Stewart]] conducted a phone '''interview''' with ''[[Heroes]]'' cinematographer [[Nate Goodman]].


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	Oh, thank you. It's my pleasure.		Oh, thank you. It's my pleasure.

			{{interview}}
			[[Category:Interviews\|Goodman, Nate]]