JULES O’LOUGHLIN
TAKES ASC HONORS
FOR THE OLD MAN

At the 37th American Society of Cinematographers Awards gala in March, Jules O’Loughlin ASC, ACS was presented with the award for Episode of a One-Hour TV Series for his work on a chapter of the FX drama The Old Man. The award went on the mantel with a dozen Australian Society of Cinematographers Awards, including one for The Old Man. The cinematographer’s other credits include the 3D IMAX feature James Cameron’s Deep Sea Challenge, the first two seasons of Black Sails, and the features Wish You Were Here, The Whole Truth, and The Hitman’s Bodyguard. 

In a backstage interview at the ASC event, O’Loughlin explained one aspect of his approach. “Over-coverage is the enemy of style,” he said. “That’s my motto. If you want to make it bold, you’ve got to go in with purpose. Your shots must count. Hosing a scene down – I call it ‘smotherage’ – only dilutes it. If you’re not bold on the set, how can the editor be bold in the editing room? The emphasis is on shooting what we need to tell the story, and to take our time doing it.” 

Jules O’Loughlin, ASC, ACS on set

In the case of The Old Man, that philosophy is palpable in every frame. Jeff Bridges plays Dan Chase, a weary ex-CIA agent who lives a hermetic existence until an assassin is sent to take him out. O’Loughlin is one of three cinematographers who have shot episodes. The others are Armando Salas and Sean Porter, the latter of whom shot the pilot and also garnered an ASC nomination for his work. As the pandemic struck, the production team was set to fly to Morocco, where they planned to recreate Afghanistan. In October of 2020, they regrouped and instead made those scenes at Blue Sky Ranch in Santa Clarita, California. Visual effects, especially green screens, played an expanded role. 

O’Loughlin says he and Porter chose the ARRI ALEXA LF camera on season one not because of its resolution or other technical attributes, but because it’s the most filmic. The LF was paired with ARRI Master Anamorphics, framed in a 2:1 aspect ratio.

"...THE CAMERA, THE SENSOR, THE RECORDING FORMAT AND THE REST OF THE PIPELINE MADE IT POSSIBLE"

O’Loughlin says he’s an “ARRI guy” from way back, having shot the first feature in Australia done on the original ALEXA. CODEX, part of the X2X Media Group, has had a similarly long relationship with ARRI. CODEX was involved in the early development of the ALEXA, providing a rock-solid workflow and numerous innovations in recording, file formats and data management, helping to revolutionize cinematography along the way. The CODEX SXR Capture Drive serves as the recording media for the ARRI ALEXA LF, and the companion CODEX Production Suite simplifies onset data management.

“I thought Sean made a very good choice on the pilot when he went with the ALEXA LF and Master Anamorphics,” O’Loughlin says. “The imperfections of anamorphic make for an older kind of feel on a modern sensor. These particular paints on this canvas work really well for this story, which is gritty and raw. We used a strong LUT based on tobacco filters, with specific grades depending on whether we were shooting night, day, flashback or contemporary. We wanted a tobacco feel, but for the colors to stay true.”

A scene from The Old Man

Whether a scene is set in Afghanistan or in Chase’s off-the-grid hideaway, darkness is a key aspect of the show’s look. For night scenes, O’Loughlin would sometimes make subtle adjustments in color and contrast before the images left the set, sometimes adding a steely blue cast. 

In the award-winning episode, the young CIA agent enters a Russian encampment and is kidnapped. The entire scene plays out in intermittent flashes lightning punctuated by pitch blackness. Rain further obscures the violent action. 

"I ALWAYS WATCH ASSEMBLIES NOW THROUGH PIX... AND OF COURSE, WE SEE DAILIES ON PIX AS WELL"

“We embrace that,” says O’Loughlin. “The showrunners aren’t afraid to go dark when it’s warranted. When you have the support of the studio and the director, it’s a lot of fun. Of course, there’s a technical aspect. At the beginning of the show, we tested the pipeline of shooting with the ARRI, going through dailies, and considering how it will be broadcast. We had to know that those dark scenes would work. We felt as though the story necessitated it. We did it and we loved it. And the camera, the sensor, the recording format and the rest of the pipeline made it possible.” 

During the creative process, in order to see their images dependably, securely and accurately, O’Loughlin and his collaborators depend on PIX, an Autodesk product.

Jules O’Loughlin, ASC, ACS on set

“I always watch assemblies now through PIX,” says O’Loughlin. “And of course, we see dailies on PIX as well. We’re not usually seeing full 4K resolution, but onset, on my calibrated monitor, I know what I’m shooting. I’m talking to my dailies people all the time. I’m always looking at my lighting and camera angles and movement, to make sure we’re getting what we want. When I’m seeing the assembly, I’m more focused on story. Did we get the right coverage? Are we shooting the show the right way? What you see, and how everyone’s contributions comes together, affects your decisions the next day or the next week. 

"TIME MANAGEMENT IS SO IMPORTANT IN OUR WORK, AND PIX IS A GREAT TOOL IN THAT REGARD"

“It’s a creative process,” he says. “It’s sad that the days of watching dailies together are gone, but it just means that you can spend the time in other ways. Maybe it means that you have more prep time. Maybe it means that you can rest more, so that the next day when you arrive at the set, you’re not so exhausted that you lose your creativity. Time management is so important in our work, and PIX is a great tool in that regard. I can access this information – the images, the work and the input of my colleagues – in so many more ways than I used to. It’s really handy.”

Immediately after its successful premiere in June 2022, The Old Man was renewed for a second season. That month, it was the most streamed television series in the U.S. O’Loughlin started prep on season two soon after the ASC Awards in March 2023.