Director of Photography George Mooradian, ASC is already setting up for the new season of one of his two TV Land hit series, The Exes. This contemporary take on the ups and downs of divorced single life features three men who share their common attorney’s spare apartment in New York, as they try to get their feet back on the ground.
“The series uses four Panasonic 3700s, all on pedestals, and thank heaven, all on Vinten Vector heads with peds,” Mooradian says. “They also feature onboard illuminators. With the help of these lights and Vinten support, we are able to get into the far reaches of the set.”
As with most multi-camera set ups, the The Exes sets are arrayed in optimum position for live audience viewing in real time. The seats are already in place so the sets are built to take advantage of sight lines instead of the other way around. “It can hinder swing set placement,” he admits. But they deal with the challenge. “The main sets are the men’s apartment with a kitchen, and their attorney’s apartment, across the hall. Both doors open up to the hallway with these two main sets interconnected in prime ‘real estate’ in front of the audience. To the right is the ‘downstairs’ bar, their main hangout, and across from the bar is the attorney’s office. All have backings of New York City – which makes it fun for me to create an urban, gritty feel with a slight coolness to the image.
“Vinten is an integral part of this (or any) multi-camera process,” Mooradian adds strongly. “It keeps the system efficient, tidy, precise and concise. And it can balance whatever weight we put on it.” Mooradian says that with authority. He learned about Vinten from a master – Vittorio Storaro, who used Vinten on their signature moves in films from Apocalypse Now to Stalag 17.