In this episode of Clubhouse Conversations, cinematographer Christian Sprenger, ASC is joined by interviewer M. David Mullen, ASC to discuss his work on Widow’s Bay — a horror-comedy series set in a New England island town under an ancient curse that draws supernatural evil to the area. Sprenger received an Emmy nomination for Outstanding Cinematography for the episode "Our History."
Widow's Bay (Apple TV+)
Widow’s Bay follows the beleaguered mayor (Matthew Rhys) of the eponymous town’s community, who persists in his efforts to boost tourism while concealing the fact that the island may be haunted. Sprenger served as director of photography on six of the inaugural season’s 10 episodes, including the pilot, entitled “Welcome to Widow’s Bay!” His work on the show notably incorporated the use of the ASC Todd-AO lenses — a collection of nine vintage prime lenses rediscovered in the ASC Clubhouse and refurbished in collaboration with Zero Optik.
Sprenger’s conversation with Mullen explores a range of strategies, as well as the creative and practical challenges he encountered, including:
- The production’s use of the ASC Todd-AO Lenses — a set of vintage primes rediscovered in the ASC Clubhouse and restored by the ASC and Zero Optik
- Managing a film-emulation workflow that entailed shooting side-by-side Alexa and 5219 film tests to build the LUT, gate weave, halation and grain in Baselight
- Executing a streetlamp-blackout sequence entirely in-camera
- Lighting a 1700s flashback sequence predominantly with firelight, torches and candles
- Drawing inspiration from Roger Deakins, ASC for his approach to window moonlight
- Striving for a balance between comedy and horror without letting either tone undercut the other
Watch the full episode here:
What did you think of the cinematography in Widow's Bay? Let us know your thoughts in the comments.
