American Cinematographer - January 2017 - 53

add or subtract practicals based on the
blocking. We had big, big sets, and
literally miles and miles of LED strips.
There's a lot of action in the
grand concourse. What was your
general approach there?
Prieto: We built the first floor
and the second-floor balcony, and
everything above that is CGI. This was
one of the few sets that had no ceiling;
instead, there's a big skylight offering a
view of space. We had to light the
concourse for day mode, night mode,
emergency mode and also zero-gravity
stunt work. We placed greenscreen
around the perimeter of the set, and
above the greenscreen we surrounded
the set almost completely with Arri
SkyPanels. I wanted the light to be
slightly soft, and at the time there were
no Chimeras for SkyPanels, so [key
grip] Joey Dianda and [rigging key
grip] Chris Leidholdt made some out
of show card and 216 [diffusion]. That
gave us a long, soft source around the
perimeter of the set. We could program
all the lighting changes we needed, and
we could shut some of the units off to
create backlight or sidelight quickly.
Bryan Booth, our dimmer-board operator, is a real wizard and made it all run
smoothly.
One set that references The
Shining explicitly is the ship's bar,
where Jim and Aurora share several
scenes with the bartender, Arthur
[Michael Sheen].
Prieto: Yes, The Shining was the
inspiration for our lighting there,
specifically the lit bar top. I knew we'd
see this bar top constantly, so I insisted
on giving it some texture. After testing
a variety of options, we chose etched,
transparent Plexiglas, which looks a bit
like cut glass, and placed hybrid LEDs
through 216 underneath it. I noticed in
my testing that this low light source
wasn't flattering for the actors all the
time, so I asked Guy to incorporate
some practicals that would give the
actors a bit of frontal fill. He created a
Milk Plex wall behind the bar, and we
placed SkyPanels behind that. When
we had to look at the bar, we'd dim

them down to 2,800K and program in a
little Minus Green; for the reverses on
Jim and Aurora, we'd selectively bring
them up and cool them a bit.
You mentioned the importance
of lighting faces. What were your main
tools for that?
Prieto: Sourcemaker Hybrid
LED Blankets were very effective, and I
used them quite a bit on this film. We
had varying sizes, and most of the time

we used them in frames with Full Grid
Cloth diffusion and Lighttools Soft
Egg Crates in front of them. We
normally had them on the ground, but
one notable exception was the swimming pool, where Jim and Aurora have
several encounters. To build a soft,
warm ambience there, we rigged two
diffused
8-by-8
Sourcemaker
blankets on two condors just out of shot,
creating a 16-by-8-foot soft source. I



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Table of Contents for the Digital Edition of American Cinematographer - January 2017

Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
American Cinematographer - January 2017 - 5
American Cinematographer - January 2017 - 6
American Cinematographer - January 2017 - 7
American Cinematographer - January 2017 - 8
American Cinematographer - January 2017 - 9
American Cinematographer - January 2017 - 10
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American Cinematographer - January 2017 - 17
American Cinematographer - January 2017 - 18
American Cinematographer - January 2017 - 19
American Cinematographer - January 2017 - 20
American Cinematographer - January 2017 - 21
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American Cinematographer - January 2017 - 24
American Cinematographer - January 2017 - 25
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American Cinematographer - January 2017 - 27
American Cinematographer - January 2017 - 28
American Cinematographer - January 2017 - 29
American Cinematographer - January 2017 - 30
American Cinematographer - January 2017 - 31
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American Cinematographer - January 2017 - 33
American Cinematographer - January 2017 - 34
American Cinematographer - January 2017 - 35
American Cinematographer - January 2017 - 36
American Cinematographer - January 2017 - 37
American Cinematographer - January 2017 - 38
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American Cinematographer - January 2017 - 40
American Cinematographer - January 2017 - 41
American Cinematographer - January 2017 - 42
American Cinematographer - January 2017 - 43
American Cinematographer - January 2017 - 44
American Cinematographer - January 2017 - 45
American Cinematographer - January 2017 - 46
American Cinematographer - January 2017 - 47
American Cinematographer - January 2017 - 48
American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
American Cinematographer - January 2017 - 49
American Cinematographer - January 2017 - 50
American Cinematographer - January 2017 - 51
American Cinematographer - January 2017 - 52
American Cinematographer - January 2017 - 53
American Cinematographer - January 2017 - 54
American Cinematographer - January 2017 - 55
American Cinematographer - January 2017 - 56
American Cinematographer - January 2017 - 57
American Cinematographer - January 2017 - 58
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American Cinematographer - January 2017 - 78
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