Ash Contra El Mal: El Retorno Del Rey*

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Ash Contra El Mal: El Retorno Del Rey* Ash contra el mal: El retorno del rey* Return of the King Sección Central Simon Gray** Palabras clave Ash contra el mal | cinefotografía | Dave Garbett | John Cavill | Arri | Leica | ProRes | Angenieux | Primo | Baselight Keywords Ash vs Evil Dead | cinematography | Dave Garbett | John Cavill | Arri | Leica | ProRes | Angenieux | Primo | Baselight Ash contra el mal (Ash vs Evil Dead, Ivan Raimi, Sam Raimi y Tom Spezialy, 2005–), reproducida bajo el amparo del artículo 148 de la Ley Federal de Derecho de Autor. Érase una vez, en una caba- ña en el bosque, un grupo * Simon Gray, «Return of the de universitarios que despertó un antiguo mal que ha continuado rampante a lo King», American Cinema- tographer, vol. 97, núm. 11, largo de una saga de horror de 35 años. Creadas por Sam Raimi, las películas de Evil noviembre 2016, pp. 30-39. Dead —El despertar del diablo (The Evil Dead, 1981), El despertar del diablo II (The Evil Dead II, 1987) y Army of Darkness (1992)— eran en parte terroríficas, en parte Traducción: Miguel Bustos comedias con sangre y vísceras, e hicieron un ícono del actor Bruce Campbell, cuya García. Corrección: Silvia Arce. Con la autorización actuación como Ash Williams, el antihéroe que blande una sierra eléctrica, dejó de American Society of a los fans clamando por más. Ese deseo les fue concedido cuando, en 2015, la cade- Cinematographers y Ame- na televisiva Starz presentó la serie Ash contra el mal (Ash vs Evil Dead, Ivan Raimi, rican Cinematographer Sam Raimi y Tom Spezialy, 2015–), que en octubre de 2016 comenzó a transmitir Magazine. Copyright 2017. su segunda temporada. ** Simon Gray es un escritor La serie retoma a Ash décadas después de su último encuentro con los deadites y cinefotógrafo egresado poseídos por los demonios. Habiendo cambiado su motosierra chorreante de sangre de la Australian Film, Tele- por una dentadura postiza, Ash pasa su existencia como un incompetente empleado vision and Radio School en Value Stop, y por las tardes se ciñe en una faja para luego intentar impresionar a las (AFTRS), de Sidney. Desde 2001 colabora en la revista parroquianas de los bares nocturnos. En un alucinado intento por ganarse a una de es- American Cinematographer. tas mujeres, Ash lee el Necronomicon ex mortis, también conocido como el Libro de los Estudios Cinematográficos • Abril 2018 • Nueva Época • núm. 1 • ISSN: 0188-8056 impreso DOI: https://doi.org/10.22201/cuec.01888056p.2018.1.38 107 Ash contra el mal: El retorno del rey muertos, volviendo a despertar así al antiguo mal y quedando sin otra alternativa que regresar a la batalla en contra de las hordas de frenéticos deadites y sus demoniacos amos. Los cinefotógrafos Dave Garbett y John Cavill compartieron los diez episodios de la primera temporada; para la segunda, Garbett fotografió siete episodios y Kevin Riley fue el director de fotografía en tres de ellos. La serie se produce en Auckland, Sección Central Nueva Zelanda, y el rodaje para la primera temporada comenzó en la primavera de 2015, con los cinefotógrafos compartiendo un paquete de cámaras que incluía dos Arri Alexa XT y una Sony CineAlta PMW-F55; todas las cámaras estaban a 800 ISO. «El estilo visual diferente de la F55 hizo las cosas un tanto truculentas en cuanto a la corrección de luces», señala Garbett, «pero es mucha cámara en un empaque ligero, lo que la hace perfecta para tomas con Movi y para cuando simplemente queríamos filmar alrededor nuestro». El primer episodio de la primera temporada —titulado «El Jefe»— se grabó en ArriRaw, después de lo cual se pasó a Apple ProRes 4:4:4:4 XQ, 2048 x 1152. La se- gunda temporada continuó con ProRes 4:4:4:4 XQ, pero subió la resolución a 3840 x 2160. Con excepción de «El Jefe», la corrección de color de cada episodio se realizó en la compañía Digipost, establecida en Auckland, en donde Gerard Ward trabaja con Baselight Two de la marca FilmLight, «utilizando el más moderno software de cuarta generación», dice Garbett. «Después del primer episodio de la primera temporada, Gerard Ward fue el colorista para ambas temporadas. Gerard a menudo debe trabajar solo en la última corrección, ya que normalmente estamos en otros proyectos cuando los episodios ya se terminaron. Previamente, trato de tener por lo menos una conver- sación con él. Ha hecho un gran trabajo utilizando su propio juicio —basado en LUT originales— al pulir la serie». «Se realizó la colorización en set a partir de una señal logarítmica Log C, traba- jando con los programas LiveGrade de la marca Pomfort y con IS-minis de Fujifilm», subraya el técnico encargado de las imágenes digitales Christian Gower. «Los LUT resultantes pasaron a lo largo de todo el flujo de la postproducción, por lo que los rushes y los cortes de edición empataron exactamente con lo que Dave, John y Kevin habían creado en el set». Para la primera temporada los cinefotógrafos trabajaron con un paquete de lentes Leica Summilux C, con distancias focales de 18mm, 25mm, 35mm, 50mm, 75mm y 100mm (todos T1.4). Garbett recuerda: «El primer episodio presentaba mucha luz de antorcha, y me había dado cuenta, durante las pruebas, que las Leicas tienen flares in- teresantes: un lindo tono azul evidente a través de círculos concéntricos. Son también rápidas, están bellamente hechas y son compactas. Las combinamos con lentes zoom Angenieux Optimo 15-40mm [T2.6] y 24-29mm [T2.8]». El paquete de cámara y lentes de la segunda temporada cambió para incluir cá- maras Arri Amira y Alexa Mini y lentes primos Panavision Primo, así como zooms Primo de 17.5-75mm (T2.3), 19-90mm (T2.8) y 24-275mm (T2.8). «Extrañaba los Pri- mo», reconoce Garbett. «Esos lentes tienen un “algo” interesante que es difícil de intelectualizar. Además era más fácil obtener dos equipos completos, desde 14.5mm hasta 150mm, con todos los niveles intermedios». La producción también utilizó un juego de lentes Ultra Speed —24mm, 35mm y 50mm— ligeros para poder utilizarlos en estabilizadores como el Movi M15. Estudios Cinematográficos • Abril 2018 • Nueva Época • núm. 1 • ISSN: 01888056 impreso DOI: https://doi.org/10.22201/cuec.01888056p.2018.1.38 108 Ash contra el mal: El retorno del rey «El equipo de cámara lo proveyeron Paul Lake y su gente en Panavision [Nueva Zelanda]», dice Garbett. «Me apoyaron enormemente y se acomodaron muy bien a mis copiosas peticiones durante ambas temporadas, y particularmente durante las fases de prueba». Raimi dirigió el primer episodio y estableció muchas de las piedras angulares esti- lísticas de la serie. «Fue idea de Sam utilizar iluminación cinética para inyectar energía Sección Central a las tomas en las que la Fuerza Maligna estuviera presente», señala Garbett. «Cuan- do la detective Amanda Fisher [Jill Marie Jones] y su socio investigan los disturbios reportados en una casa en el campo, lentamente se mueven en la oscura y ominosa casa hasta un cuarto en la planta alta, en donde encuentran a una joven a la que toman por la víctima. Hay sombras densas en todo el cuarto, que mantienen la expectación y la inquietud. Entonces, cuando el deadite que posee a la muchacha se revela a los detectives, surge de la nada un viento y azota las cortinas, las persianas y el plástico que cubre desordenadamente los muebles. Uno de los detectives deja caer una lámpara de pilas que gira mucho más de lo que debía hacerlo, creando sombras en movimiento en todo el cuarto, en tanto los focos parpadean y la luz relampaguea. Una secuencia que comenzó como algo tranquilamente ominoso inmediatamente se energiza hasta con- vertirse en algo bastante loco. Utilizamos esta técnica a lo largo de toda la serie para crear un mayor efecto dramático». Este diseño de iluminación se complementa con un trabajo agresivo de movimien- tos de cámara —en particular las tomas con gran angular y a gran velocidad desde el punto de vista de la Fuerza Maligna— que les resultarán conocidas a los fans de las películas de Evil Dead. En esos largometrajes de ficción Raimi y sus colaboradores lograron el efecto con diversas y bien documentadas soluciones tipo “hágalo usted mismo”. Si bien Cavill y Garbett tienen más tecnología moderna a su disposición, aceptaron, sin embargo, el espíritu de los primeros métodos de Raimi. «No había en- tonces ninguna regla específica [respecto a cómo lograr ciertos efectos]», dice Garbe- tt. «Sólo tenía que sentirse el punto de vista de la Fuerza Maligna». En una escena en la que el jefe de Ash, Mr. Roper (Damien Garvey), es poseído fuera de Value Stop, Garbett utilizó diversas técnicas para que la cámara se bamboleara rápidamente por encima, por debajo y entre los carros del amplio estacionamiento de la locación. Las tomas en movimiento por debajo de vehículos estacionados se lo- graron con la F55 montada en un cochecito a control remoto, mientras que una toma más elaborada, en donde se iba chocando a lo largo del estacionamiento, hacia arriba y sobre carros de supermercado, hasta llegar a un close up de Garvey gritando, se hizo con la cámara F55 sobre el Movi, montada, por medio de un mecanismo quick-release, a la grúa telescópica Technocrane; el brazo descendió la cámara casi hasta el nivel del suelo y la elevó por sobre los carritos para mercancía, antes de que el operador la sepa- rara y la corriera con el Movi para completar la toma. «Cada director subsecuente introdujo un enfoque ligeramente diferente», explica Garbett. «Rick Jacobson es muy fanático de tener la cámara en el hombro. Le gus- tan las tomas rápidas, con un montón de libertad; esto se refleja particularmente en los episodios orientados hacia la acción, que tienen muchos cortes y mucha energía visual.
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