Color schemes that were not so natural, or off-putting or a little jarring, but in order to change the reality.”Īnd rather than pump up colors in post as most productions do, Elmes said, he did it in-camera. One way I tried was with color – to push color into the scenes. We tried to impose another reality on it. “We were trying to take it out of the realm of the real 70s of New York,” a place Elmes recalls as “pretty grungy – the city was bankrupt, it was in bad shape physically. With such precise timing and logistics called for, Elmes recalls, the original plan for shooting multi-camera, an approach that’s helpful on a tight schedule, had to be scrapped because the shots called for so much of the set to fill the frame, leaving nowhere to hide backup cameras getting different angles.Īnother demanding element of “Hunters” was the transformation of its setting. It also caused us to work in a different way with the actors because I had to sometimes impose a little bit of blocking restrictions on them to get a shot to work.” “It forced us to be creative in terms of where to hide edits when we had to do that. “So it drove us to use some fancy TechnoCranes among other things so we could make those moves in a seamless way.” “Alfonso and I came up with this notion that keeping the camera moving in creative and interesting ways was a good way to tell this story,” said the 74-year-old Elmes, describing balletic moves required of the crew, camera and actors. With a kinetic, super-saturated graphic novel look, shooting the show with director Alfonso Gomez-Rejon involved complex camera moves and fluid takes that rove through shifting rooms and compositions, from closeups to rich, wide master shots. “Hunters” also gave Elmes and the production team the chance to employ technology on the edge. “It was more than most pilots,” he grants, but “less than you would expect on a bigger, dramatic story.” The production was lucky to have 90 minutes for the pilot, he says, “So we had that time on the screen.” Shooting days weren’t quite as generous, he adds: 23, Elmes recalls. So we had to sort of get them in there and see who they were and then move on.” “Some of them only get a scene or two and then they’re not going to show up for three or four episodes down the line. “We had to establish these characters quickly,” he recalls.
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