{"id":93508,"date":"2017-08-08T06:00:43","date_gmt":"2017-08-08T11:00:43","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=93508"},"modified":"2017-08-08T09:38:17","modified_gmt":"2017-08-08T14:38:17","slug":"interview-last-chance-u-dp","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/interview-last-chance-u-dp\/","title":{"rendered":"Interview: Last Chance U Director of Photography Gabriel Patay"},"content":{"rendered":"<h2 id=\"the-director-of-photography-from-last-chance-u-discusses-his-unique-approach-to-capturing-an-episodic-documentary\">The\u00a0director of photography from Last Chance U discusses\u00a0his unique approach to capturing an episodic documentary.<\/h2>\n<p><em>Cover image via <a href=\"https:\/\/www.netflix.com\/title\/80091742\" target=\"_blank\" data-wpel-link=\"external\">Netflix<\/a>.<\/em><\/p>\n<p>We had the chance to interview <a href=\"http:\/\/gabrielpatay.com\/\" target=\"_blank\" data-wpel-link=\"external\">Gabriel Patay<\/a>, the director of photography of the acclaimed Netflix documentary series\u00a0<em><a href=\"http:\/\/www.imdb.com\/title\/tt5863126\/\" target=\"_blank\" data-wpel-link=\"external\">Last Chance U<\/a>.\u00a0<\/em>Seasons one and two are\u00a0<a href=\"https:\/\/www.netflix.com\/title\/80091742\" data-wpel-link=\"external\" target=\"_blank\">now streaming on Netflix<\/a>.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/c3aIdhWe8NE?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<hr \/>\n<p><strong>PremiumBeat:<\/strong> First off, I love the series. Will you tell us about the camera package you used?<\/p>\n<p><strong>Gabriel Patay<\/strong>:\u00a0We ended up going all Sony for <em>Last Chance U. O<\/em>ur main camera was\u00a0the <strong><a href=\"https:\/\/pro.sony.com\/bbsc\/ssr\/product-PMWF55\/\" target=\"_blank\" data-wpel-link=\"external\">Sony F55<\/a><\/strong>, but we used the <strong><a href=\"https:\/\/pro.sony.com\/bbsc\/ssr\/micro-xdcam\/resource.latest.bbsccms-assets-micro-xdcam-latest-pxwfs7.shtml\" target=\"_blank\" data-wpel-link=\"external\">Sony FS7<\/a> for tight locations<\/strong> and even an <strong><a href=\"https:\/\/www.sony.com\/electronics\/interchangeable-lens-cameras\/ilce-7s\" data-wpel-link=\"external\" target=\"_blank\">A7S<\/a> for some emergencies<\/strong>. The F55 was a important choice for rural Mississippi, as it handled all the insane temperature extremes and crazy quick weather changes quite well. Also, it&#8217;s one of the only current cameras with <strong>a true global shutter<\/strong>, so I knew we were going to get incredibly clean and beautiful football action shots.<\/p>\n<p>The <strong>F55 RAW recorder shoots a 4:4:4: 4k RAW<\/strong> that provided us with really great dynamic range and color options, so we shot most of our B-roll in this format. With the amount of footage we were shooting, we couldn&#8217;t financially take the burden of shooting RAW for everything, but their compressed <strong>4K XAVC<\/strong> format still looks and matches great with the RAW that we shot.<\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/IMG_9647.JPG.jpeg\" target=\"_blank\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-93510\" title=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Sony Equipment\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/IMG_9647.JPG-1024x683.jpeg\" alt=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Sony Equipment\" width=\"755\" height=\"503\" \/><br \/>\n<\/a><em>Image via\u00a0<a href=\"http:\/\/www.imdb.com\/name\/nm4769740\/\" target=\"_blank\" data-wpel-link=\"external\">Devin Keebler<\/a>.<\/em><\/p>\n<p><strong>PB:<\/strong> How many <strong>terabytes\u00a0of footage<\/strong> do you typically shoot in a season?<\/p>\n<p><strong>GP:<\/strong> We shot a grand total of about <strong>266TB of footage for both seasons<\/strong>. My hat&#8217;s off to the amazing post team that scoured all of it.<\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/BTS.jpg\" target=\"_blank\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-93548 size-full\" title=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 BTS\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/BTS.jpg\" alt=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 BTS\" width=\"755\" height=\"546\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/BTS.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/BTS.jpg?resize=300,217 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/BTS.jpg?resize=277,200 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/BTS.jpg?resize=359,260 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/BTS.jpg?resize=543,393 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/BTS.jpg?resize=560,405 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/BTS.jpg?resize=150,108 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><br \/>\n<em>Image via\u00a0<a href=\"http:\/\/www.imdb.com\/name\/nm4769740\/\" data-wpel-link=\"external\" target=\"_blank\">Devin\u00a0Keebler<\/a>.<\/em><\/p>\n<p><strong>PB:\u00a0<\/strong>You come from a background of shooting for Tim and Eric and Old Spice ads. How did you <strong>transition to documentary work?<\/strong><\/p>\n<p><strong>GP: <\/strong>Yes, my shooting background is kind of all over the place. I always loved doing <strong>nonfiction documentaries<\/strong>, yet I couldn&#8217;t find much paid work for it. I helped shoot some small doc short films for my good friend, <a href=\"http:\/\/www.imdb.com\/name\/nm3400508\/?ref_=ttfc_fc_cr9\" target=\"_blank\" data-wpel-link=\"external\">Adam Ridley<\/a>, who was also editing the <em><a href=\"http:\/\/www.imdb.com\/title\/tt1757800\/?ref_=fn_al_tt_1\" target=\"_blank\" data-wpel-link=\"external\">Mitt<\/a> <\/em>feature for <a href=\"http:\/\/www.imdb.com\/name\/nm1789501\/?ref_=nv_sr_1\" target=\"_blank\" data-wpel-link=\"external\">Greg Whiteley<\/a> around that time. Greg needed someone in L.A. locally to do a quick shoot for his new feature <em><a href=\"http:\/\/www.imdb.com\/title\/tt4267108\/\" target=\"_blank\" data-wpel-link=\"external\">Most Likely to Succeed<\/a><\/em>.\u00a0Adam recommended me, and it just worked out. We all just started loving working together. Flash-forward three years, and we have developed an amazing shorthand and working relationship.<\/p>\n<p><strong>PB: <\/strong>Your coverage during practices and games is excellent. How do you have your <strong>camera team set up<\/strong> to capture all those moments?<\/p>\n<p><strong>GP: <\/strong>It can be a tough show to produce, and it required a lot of money. Getting a ton of cinema equipment out to the middle of nowhere is not an easy thing. For most of these games, we would <strong>inflate up to 8 camera packages<\/strong> with extra crew brought in just for game days. Since we couldn&#8217;t feasibly prep and rent the large camera package when needed, we had to simply keep it all sitting idle in the hotel for a majority of our shooting time.<\/p>\n<p>We had <strong>three cameras rolling and following players<\/strong> on your average day. Sometimes we\u2019d have to <strong>create a rotation schedule<\/strong> because during the first season we were rolling seven days a week. It was a really difficult schedule because we had to be available for anything that was happening in their lives, and these players and coaches never take a break \u2014 ever.\u00a0We would cover the football practices with three cameras. Yet, we rarely ever wanted <strong>all three cameras in one space<\/strong>. Greg is often okay allowing a single operator to cover a scene to keep things intimate and raw. What we gain in authenticity, we&#8217;re not concerned about losing in coverage.<\/p>\n<p>It was important that our production felt like guests at EMCC and in their lives vs. the show taking over the school. We needed to allow these guys to just do what they normally would, to feel comfortable with us, and to trust that we would\u00a0<strong>be respectful of their stories and footage<\/strong>. Honestly, in the first season, it took a good three weeks of shooting before the kids were at least comfortable with us shooting them privately and to open up about their backgrounds.<\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/IMG_9653.JPG.jpeg\" target=\"_blank\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-93516\" title=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Subjects\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/IMG_9653.JPG-1024x683.jpeg\" alt=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Subjects\" width=\"755\" height=\"503\" \/><\/a><br \/>\n<em>Image via\u00a0<a href=\"http:\/\/www.imdb.com\/name\/nm4769740\/\" data-wpel-link=\"external\" target=\"_blank\">Devin\u00a0Keebler<\/a>.<\/em><\/p>\n<p>My operators, <a href=\"http:\/\/www.imdb.com\/name\/nm2417216\/\" target=\"_blank\" data-wpel-link=\"external\">Terry Zumalt<\/a> and <a href=\"http:\/\/www.imdb.com\/name\/nm6141995\/?ref_=fn_al_nm_1\" target=\"_blank\" data-wpel-link=\"external\">Luke Lorentzen<\/a>, are basically my left and right arms for the show. We ask so much of them in the interest of keeping things small and intimate. We need them to be aware of the story, the relationships, and what&#8217;s happening in front of their lens and outside of it.<\/p>\n<p>There are so many characters and events in a project like this, and the directors and producers can&#8217;t pick up on every nuance. We all needed to be consistently aware while also trying to <strong>shoot things in an exciting and cinematic way<\/strong>. Compare this approach to an average reality show that might have a ton of cameras and uninvolved operators covering many angles. Those operators are often given a very specific duty from a producer or DP with very little relationship or knowledge developed with the subjects. I find you <strong>lose that intimacy between camera and subject<\/strong> in those environments, and often the footage can feel very stale.<\/p>\n<p>We feel it&#8217;s much better to have a very talented, small team who can just live and be in this world. This extends beyond just the operators and into my amazing crew of talented ACs and grips \u2014 everyone is important.<\/p>\n<p>I believe <strong>camera and lighting technology<\/strong> has gotten to a place that there is no reason we can&#8217;t have cinematic, beautifully shot documentaries. A focus on interesting framing as well as <strong>careful and creative camera placement<\/strong>, can create gripping results in a tense scene.<\/p>\n<p>With the right tools and people, we are able to capture really amazing moments and stories that no one would ever imagine possible. It&#8217;s times like that when the job is its most rewarding. Of course, it doesn&#8217;t always work out how you wanted it to, and you still have to use it for the story, but that&#8217;s part of the process as well.<\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/IMG_9589.JPG.jpeg\" target=\"_blank\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-93512\" title=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Gear\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/IMG_9589.JPG-1024x462.jpeg\" alt=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Gear\" width=\"755\" height=\"341\" \/><\/a><br \/>\n<em>Image via\u00a0<a href=\"http:\/\/www.imdb.com\/name\/nm4769740\/\" data-wpel-link=\"external\" target=\"_blank\">Devin\u00a0Keebler<\/a>.<\/em><\/p>\n<p><strong>PB: <\/strong>What lenses are you using?<\/p>\n<p><strong>GP: <\/strong>For my camera, we decided to shoot with only a <strong><a href=\"https:\/\/www.cookeoptics.com\/l\/panchro-classic.html\" target=\"_blank\" data-wpel-link=\"external\">Cooke Panchro<\/a> 18mm prime<\/strong> for all of the games, sideline coverage, and a lot of the practices. It was a bold choice, in a sense. If you need a close-up of that person, the only way for me to get it is to get right up close to them. To be completely involved. That <strong>wide focal length in documentary is rare<\/strong> because it is often much safer for the operator to be farther away on a zoom.<\/p>\n<p>It was very important for us to create some rules and say, &#8220;We&#8217;re going to stick to our wide lens, and we&#8217;re going right in next to them, and we&#8217;re going to get the camera involved with these people and this world.&#8221; Greg being confident in upholding these kind of bold choices helps to make something unique and beautiful. We used <strong><a href=\"http:\/\/www.fujifilmusa.com\/products\/optical_devices\/digital-film-cinema\/pl_cine_lenses\/premier_zk_cabrio_pl_compact_lenses\/19-90\/index.html\" target=\"_blank\" data-wpel-link=\"external\">Fuji 19-90 Cabrio<\/a> lenses<\/strong> for the game cameras, and then for our long shots, we had operators on <strong><a href=\"http:\/\/www.fujifilmusa.com\/products\/optical_devices\/digital-film-cinema\/pl_cine_lenses\/premier_hk_4K_pl_lenses\/75-400\/\" target=\"_blank\" data-wpel-link=\"external\">Fuji Premier 75-400mm <\/a>with doublers<\/strong> to get as comfortably tight as we legally could in a game without losing too much light.<\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/camera-rig.jpg\" target=\"_blank\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-93549 size-full\" title=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Camera Rig\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/camera-rig.jpg\" alt=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Camera Rig\" width=\"755\" height=\"493\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/camera-rig.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/camera-rig.jpg?resize=300,196 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/camera-rig.jpg?resize=277,181 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/camera-rig.jpg?resize=359,234 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/camera-rig.jpg?resize=543,355 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/camera-rig.jpg?resize=560,366 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2017\/07\/camera-rig.jpg?resize=150,98 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><br \/>\n<\/a><em>Image via\u00a0<a href=\"http:\/\/www.imdb.com\/name\/nm4769740\/\" data-wpel-link=\"external\" target=\"_blank\">Devin\u00a0Keebler<\/a>.<\/em><\/p>\n<p><strong>PB: <\/strong>Most of your interviews take place in characters&#8217; cars or their offices. What was your <strong>lighting package<\/strong> like?<\/p>\n<p><strong>GP: <\/strong>I try to have a lot of tools with me because we never know what we&#8217;re going to need. Like I said, I keep a small crew; I keep our <strong>footprint on set<\/strong>\u00a0very small, but I like to have a number of different options available to us just because we often never know what we&#8217;re going into.<\/p>\n<p>I would have a little <strong>van full of mostly grip items<\/strong>:\u00a0<a href=\"http:\/\/www.litegear.com\/product\/litemat\/\" target=\"_blank\" data-wpel-link=\"external\">Litemat<\/a> LEDs, small HMIs, and some other lighting tricks. It was definitely very minimal for the day-to-day, but we never wanted anything to <strong>feel produced or &#8220;lit.&#8221;<\/strong> Upholding the raw look was very important. For the interviews, we&#8217;d try to <strong>set everyone in a natural environment<\/strong>. We had a simple aesthetic idea that every coach would be shot in his office under its\u00a0fluorescent lighting, and we would, in those cases, to keep the color consistent, just use <strong>large bounces to maintain that same color temperature<\/strong> but see their eyes more clearly.<\/p>\n<p>With the athletes, we would be shooting in their bedrooms with a simple daylight look.\u00a0But we weren&#8217;t always shooting those during the day, sometimes we would actually <strong>light those interviews as if they were day<\/strong>. We\u2019d put light through the windows, and sometimes it would be a much more involved setup. Yet, for the most part, it would be simply a <strong>single Litemat<\/strong> or just some slight gripping of the natural light that already existed.<\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/IMG_9645.jpg\" target=\"_blank\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-93513\" title=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Lighting\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/07\/IMG_9645-1024x683.jpg\" alt=\"Interview: Last Chance U Director of Photography Gabriel Patay \u2014 Lighting\" width=\"755\" height=\"503\" \/><\/a><br \/>\n<em>Image via\u00a0<a href=\"http:\/\/www.imdb.com\/name\/nm4769740\/\" data-wpel-link=\"external\" target=\"_blank\">Devin\u00a0Keebler<\/a>.<\/em><\/p>\n<p><strong>PB: <\/strong>Were all these <strong>cameras fed wirelessly<\/strong> back to village during games?<\/p>\n<p><strong>GP: <\/strong>Monitoring wirelessly is always a challenge in these situations. We did not have the ability to cable everything, and for operating on a football field, we needed very powerful systems. So, we had <strong><a href=\"https:\/\/store.nebtek.com\/nebtek-wireless-kits\/356-microlite-hd-wireless-video-transmitter.html\" target=\"_blank\" data-wpel-link=\"external\">Microlite HD<\/a> wireless receivers from Nebtek<\/strong>. They have a <strong>very small on-camera footprint<\/strong> and are one of the <strong>most powerful<\/strong> <strong>HD monitoring options<\/strong> out there. Not a cheap system, but monitoring in these remote places reliably was no simple task, where, in any given space, you have army\/navy bases and sometimes weird radio frequencies conflicting.<\/p>\n<p>Often, it was just me and a sound guy in a room with the subjects or even just\u00a0me alone riding in the car with them. Having <strong>a powerful wireless system<\/strong> allowed Greg, Adam, and our producers to watch and take notes on what was happening without having to be physically in the same space.<\/p>\n<hr \/>\n<p>You can stream <em>Last Chance U<\/em> now on Netflix.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>We sat down with the director of photography from Last Chance U to discuss his unique approach to capturing this episodic documentary.<\/p>\n","protected":false},"author":87,"featured_media":93554,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4519,3843,5340,583],"tags":[2365,536,5031,472],"class_list":["post-class-post-93508","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-cinematography-2","post-class-category-filmmaking-2","post-class-category-video-gear","post-class-category-video-production-2","post-class-tag-documentaries","post-class-tag-filmmaking","post-class-tag-video-gear-2","post-class-tag-video-production"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Interview: Last Chance U Director of Photography Gabriel Patay<\/title>\n<meta name=\"description\" content=\"We sat down with the director of photography from Last Chance U to discuss his unique approach to capturing this episodic documentary.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.premiumbeat.com\/blog\/interview-last-chance-u-dp\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview: Last Chance U Director of Photography Gabriel Patay\" \/>\n<meta property=\"og:description\" content=\"We sat down with the director of photography from Last Chance U to discuss his unique approach to capturing this 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