American Cinematographer - April 2014 - 47
and modulation for the individual bulbs.
We call them 'John Fords' because it's a
batten strip with a wire around it to
accommodate diffusion, and it looks
like a covered wagon. We augmented
these main sources with 5K and 10K
bounced light that was usually placed at
the shaft on the floor directly above
where we were shooting.
How did you create the sense of
daylight outside the ark set?
Libatique: Production was still
working on the mammal deck, the first
floor of the ark, when my key grip,
Lamont Crawford, and rigging grip,
Craig Vaccaro, went into the armory
and started to build a giant white
ceiling bounce made up of smaller
UltraBounce surfaces. It covered not
only the ceiling but also headroom on
the north, east, west and south sides of
the set. Bouncing into it were 20 20Ks,
which we rigged on each side, underslung on the truss, and also 25 MoleRichardson 12-lights. I used every scene
before the completion of the ark to
suggest that part of the ceiling wasn't in,
but the bounced light from the ceiling
didn't reach all the way down to the
bottom deck. It just gave us a certain
level of ambience to work from, so we
used large tungsten units to create
strong shafts of daylight coming
through, and augmented the ambient
light with [Kino Flo] Image 80s
pointed down from the second floor.
After the ark is opened up again,
the quality of light is very different.
Libatique: We call that part of
the story '100 Days,' and at that point,
direct sunlight is still nonexistent, so we
had a lot of freedom to bounce light. If
we wanted to augment the ambience
with something directional, we'd
bounce Source Fours [Lekos] into a
card or some muslin. There were walkways on top of the ark where we could
put up a Baby or a fluorescent source,
but the light still had to be soft. There
is also a shift from a warm-source feel,
about 2,000K in '40 Days and 40
Nights,' to a cool one, 3,200K-4,000K.
We didn't necessarily change the light;
it's just that the 3,200K 20K toplight is
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American Cinematographer - April 2014
Table of Contents for the Digital Edition of American Cinematographer - April 2014
Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
American Cinematographer - April 2014 - 4
American Cinematographer - April 2014 - 5
American Cinematographer - April 2014 - 6
American Cinematographer - April 2014 - 7
American Cinematographer - April 2014 - 8
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American Cinematographer - April 2014 - 20
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American Cinematographer - April 2014 - 26
American Cinematographer - April 2014 - 27
American Cinematographer - April 2014 - 28
American Cinematographer - April 2014 - 29
American Cinematographer - April 2014 - 30
American Cinematographer - April 2014 - 31
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American Cinematographer - April 2014 - 33
American Cinematographer - April 2014 - 34
American Cinematographer - April 2014 - 35
American Cinematographer - April 2014 - 36
American Cinematographer - April 2014 - 37
American Cinematographer - April 2014 - 38
American Cinematographer - April 2014 - 39
American Cinematographer - April 2014 - 40
American Cinematographer - April 2014 - 41
American Cinematographer - April 2014 - 42
American Cinematographer - April 2014 - 43
American Cinematographer - April 2014 - 44
American Cinematographer - April 2014 - 45
American Cinematographer - April 2014 - 46
American Cinematographer - April 2014 - 47
American Cinematographer - April 2014 - 48
American Cinematographer - April 2014 - 49
American Cinematographer - April 2014 - 50
American Cinematographer - April 2014 - 51
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American Cinematographer - April 2014 - 53
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American Cinematographer - April 2014 - Cover3
American Cinematographer - April 2014 - Cover4
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