American Cinematographer - April 2018 - 30

Top: A young Hugo (Nigel Thomas) dances with his wife. Above: Moore employs a dolly
on a circular track to capture a 360-degree move around the couple.

lighting-console operator whom Moore had
"worked with on Red Dwarf, which would
have been the end of 2015 into 2016," the
cinematographer says. "She's an utter genius
when it comes to lighting control. She's a
computer programmer as well; she was the
perfect person. Ziggy and gaffer Nick Dale
were the first people I spoke to when I came
on the project."
Moore explains that it was JacobsWyburn who had the connection with
Bristol-based Enlightened, "and we went
down there in the summer to shoot some
tests of what [theatrical lighting equipment]
might work. We ended up using a
combination of video projector with
geometrical video content, which Ziggy and
Chris created, and Martin Mac 250s that
30

April 2018

provided a beam-projecting effect. We
added some DMX lasers, which were
inexpensive but very effective. We were all
of the belief that it would take a range of
effects coming together to make something
believable.
"We had to choose," Moore notes.
"I think we wanted 10,000-lumen video
projectors, and we had to decide between
having one 10K projector or two 6K
projectors. We thought it would be more
valuable to have two beams intersecting. It
was fun to imagine how this hologram
technology would work 'in real life.'"
The final configuration was controlled
via an ETCNomad lighting console, which
had domain over the lasers and Mac 250s.
Video content was served from Figure 53's
American Cinematographer

QLab software, under OSC control from the
ETCNomad. Haze was employed, as well as
Martin's Jem Glaciator heavy-fog machine
for thicker fog effects. "Back-timing all those
effects was so much easier when it was a
proper cue stack off a lighting desk," Moore
enthuses. "We would run the full dance
sequence all the way through on each take,
to guarantee the timing of each effect."
The short's postproduction effort was
managed by Keller with the assistance of his
colleagues in the visual-effects industry -
particularly the team at Double Negative,
which was involved in both the onscreen CG
delivery drone and hologram effects.
Software included SideFX's Houdini for 3D
work, Foundry's Nuke for compositing, and
Brekel Pro PointCloud to capture a
3-dimensional model of actor Sharea
Samuels' performance. The Last Dance was
graded and finished in Nuke and Adobe's
After Effects by Keller himself.
At the time of writing, Keller was
working as digital-effects supervisor in
Vancouver on the final stages of Pacific Rim
Uprising while completing post on his next
short and prepping future projects.
Meanwhile, Moore has just begun prep on
a new thriller series, Dark Heart, for British
broadcaster ITV.
●



Table of Contents for the Digital Edition of American Cinematographer - April 2018

Contents
American Cinematographer - April 2018 - Cover1
American Cinematographer - April 2018 - Cover2
American Cinematographer - April 2018 - 1
American Cinematographer - April 2018 - 2
American Cinematographer - April 2018 - Contents
American Cinematographer - April 2018 - 4
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American Cinematographer - April 2018 - Cover3
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