The second season ofSiloon Apple TV+ is a dramatic visual departure from its predecessor, and cinematographerBaz Irvine, BSC, ISC is at the helm of this transformation. From the very first episode, as Juliette (Rebecca Ferguson) ventures into the seemingly deserted Silo 17, viewers are plunged into a progressively darker and more uncertain world. “I think the biggest challenge for Silo 17 was that, at first, it had to appear to be lifeless, but it wasn’t,” explains Baz. “It had to feel familiar but different; it had to definitely feel slightly terrifying. When I read the script, it said very specifically the whole silo was in darkness. Of course, there are different types of darkness. Movie darkness is very different from real darkness.”
Establishing the distinct look of the shut-down silo was very important. Baz and the production team wanted a more realistic and immersive experience in Season 2, as if viewers were right there alongside the characters. Their vision included creating a culturally distinct look for Silo 17 compared to Juliette’s home, Silo 18, incorporating colorful murals and varied textures now falling into decay. As nature reclaims the failing structure, emergency lighting flickers throughout, casting an eerie greenish glow from beneath encroaching moss and vegetation.
Lighting Juliette’s perilous journey was a key consideration. Baz conducted numerous lighting tests, and was able to request that Juliette find a functional flashlight in the script. He knew it was important to keep Ferguson’s face illuminated amidst the gloom. “There’s no way I’m gonna put Rebecca Ferguson through corridors and stairwells without having some detail on her face,” he commented. Baz used a range of lighting techniques, including balloons, silk, and a specially crafted soft pipelight wrapped in muslin for gentle top lighting, which added a subtle glow to her skin and a vital light to her eyes.
The cinematography inSiloalso serves as a visual metaphor for its rigid social hierarchy. Economics and politics inSilois always from the top down, and both the lighting and camera movement on the show reflect this. In Silo 18, the upper levels are characterized by brighter lighting, benefiting from more access to what little sunlight penetrates the underground city. Tim Robbins’ character, Bernard, as the new mayor consolidating control, is consistently bathed in light.
This hierarchy inSiloextends to camera movement as well. The down-deep sections of Silo 18 utilize handheld cameras for a grittier, more immediate feel, while the upper levels are depicted with more elegant, slower crane movements, reflecting the contrasting lifestyles and power dynamics. For Season 2, the camera department maintained the same camera bodies but opted for different lenses. Baz made the deliberate choice to move away from anamorphic lenses, selecting wider lenses that require minimal focus. He adds, “Because everything is vertical in Silo, the biggest challenge as a cinematographer was constantly keeping in mind what’s above and below the frame.”
A significant and challenging new element for season 2 involved extensive underwater sequences. The crew constructed their own specialized tanks for filming. Baz considered usingdry for wettechniques, simulating underwater conditions on a dry set, but it would be challenging and expensive to add special effects to make it look as though her hair was floating underwater. They did use another type of cinema magic to shoot the underwater sequences. “All of the vertical descents into the flooded silo were actually shot horizontally, with the camera turned sideways,” says Baz.
Baz found shooting season 2 ofSiloto be a great source of creative fulfillment, from crafting the aesthetic of Silo 17 and tackling the ambitious underwater scenes. “I’ve been really lucky that I’ve been doing my best work at a time when we have got such great productions in the UK,” he says.
Close focus: Several unions and Hollywood guilds have written a letter in response to Trump’s announcement of100% tariffs on moviesmade overseas. The industry isseeking U.S. tax incentivesrather than tariffs for productions made in other countries.
Ben’s short end: AnarticleandYouTube news reportabout rolls of unprocessed film found in a San Francisco storage locker. The man who won the contents at an auction has been processing the photos and is seeking the identity of the photographer.
Illya’s short end: Illya finally had the opportunity to seeSinnersand loved it.
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