American Cinematographer - April 2018 - 42

◗

Across the Universe
Medium's cave, which serves as home
to Zach Galifianakis' character and
became "possibly the biggest challenge
for us," says Schliessler. There, the characters were essentially limited to stepping on 1'-square "teeters" above an
endless abyss. "The teeters were glowing amber," Levine explains. "They
were built by the special-effects department and construction crew, and then
wrapped with thousands of LED emitters by our fixture department, headed
by Damon Liebowitz. They were then
skinned with a translucent and slightly
painted acrylic.
"There were warm sandstone
walls, and we had to discuss how to
light them, because we [were looking
toward] the floor and into the ceiling,"
Levine continues. "So we used
ColorBlast TRXs - which are
RGBAW - hidden in the floor, for
their color-changing ability and low
profile. Then, from above, we used
Martin Mac Quantum Washes for
their quiet operation, wonderful color
and super-wide beam, which was
necessary because of the proximity to
the walls. Almost all units from above
were 'movers,' because we had no accessibility to any of the lights for pan-andtilt control. For accents on the cave
walls and backlights for the actors, we
used Clay Paky Scenius units."
The question then became "how
to light an ensemble elevated on teeters
in a way that could be quick and yet
flattering," Levine adds. Building on an
idea from rigging gaffer Roger
Meilink, Levine used SkyPanel S60-C
lights with extra-large 12K space-light
skirts, sometimes grouping a few of
them together to create large soft boxes
that could be moved up and down on
small chain motors. "For most of our
closer work, we used LiteGear
LiteMats and 19-inch Jem Balls with
hybrid LED ribbon inserts built by our
fixtures department," Levine notes.
"Joshua controlled everything on his
console, parked right next to the DIT
tent so that Tobias could make subtle
adjustments on the fly," Levine notes.
Schliessler points out that the set

Above: Meg
speaks with Mrs.
Who. Right: The
crew preps the
cave where the
Happy Medium
(Zach Galifianakis,
not pictured)
dwells. Below:
Mrs. Which
guides Meg
across the cave's
"teeters."

42

April 2018

American Cinematographer



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
American Cinematographer - April 2018 - 5
American Cinematographer - April 2018 - 6
American Cinematographer - April 2018 - 7
American Cinematographer - April 2018 - 8
American Cinematographer - April 2018 - 9
American Cinematographer - April 2018 - 10
American Cinematographer - April 2018 - 11
American Cinematographer - April 2018 - 12
American Cinematographer - April 2018 - 13
American Cinematographer - April 2018 - 14
American Cinematographer - April 2018 - 15
American Cinematographer - April 2018 - 16
American Cinematographer - April 2018 - 17
American Cinematographer - April 2018 - 18
American Cinematographer - April 2018 - 19
American Cinematographer - April 2018 - 20
American Cinematographer - April 2018 - 21
American Cinematographer - April 2018 - 22
American Cinematographer - April 2018 - 23
American Cinematographer - April 2018 - 24
American Cinematographer - April 2018 - 25
American Cinematographer - April 2018 - 26
American Cinematographer - April 2018 - 27
American Cinematographer - April 2018 - 28
American Cinematographer - April 2018 - 29
American Cinematographer - April 2018 - 30
American Cinematographer - April 2018 - 31
American Cinematographer - April 2018 - 32
American Cinematographer - April 2018 - 33
American Cinematographer - April 2018 - 34
American Cinematographer - April 2018 - 35
American Cinematographer - April 2018 - 36
American Cinematographer - April 2018 - 37
American Cinematographer - April 2018 - 38
American Cinematographer - April 2018 - 39
American Cinematographer - April 2018 - 40
American Cinematographer - April 2018 - 41
American Cinematographer - April 2018 - 42
American Cinematographer - April 2018 - 43
American Cinematographer - April 2018 - 44
American Cinematographer - April 2018 - 45
American Cinematographer - April 2018 - 46
American Cinematographer - April 2018 - 47
American Cinematographer - April 2018 - 48
American Cinematographer - April 2018 - 49
American Cinematographer - April 2018 - 50
American Cinematographer - April 2018 - 51
American Cinematographer - April 2018 - 52
American Cinematographer - April 2018 - 53
American Cinematographer - April 2018 - 54
American Cinematographer - April 2018 - 55
American Cinematographer - April 2018 - 56
American Cinematographer - April 2018 - 57
American Cinematographer - April 2018 - 58
American Cinematographer - April 2018 - 59
American Cinematographer - April 2018 - 60
American Cinematographer - April 2018 - 61
American Cinematographer - April 2018 - 62
American Cinematographer - April 2018 - 63
American Cinematographer - April 2018 - 64
American Cinematographer - April 2018 - 65
American Cinematographer - April 2018 - 66
American Cinematographer - April 2018 - 67
American Cinematographer - April 2018 - 68
American Cinematographer - April 2018 - 69
American Cinematographer - April 2018 - 70
American Cinematographer - April 2018 - 71
American Cinematographer - April 2018 - 72
American Cinematographer - April 2018 - 73
American Cinematographer - April 2018 - 74
American Cinematographer - April 2018 - 75
American Cinematographer - April 2018 - 76
American Cinematographer - April 2018 - 77
American Cinematographer - April 2018 - 78
American Cinematographer - April 2018 - 79
American Cinematographer - April 2018 - 80
American Cinematographer - April 2018 - 81
American Cinematographer - April 2018 - 82
American Cinematographer - April 2018 - 83
American Cinematographer - April 2018 - 84
American Cinematographer - April 2018 - 85
American Cinematographer - April 2018 - 86
American Cinematographer - April 2018 - 87
American Cinematographer - April 2018 - 88
American Cinematographer - April 2018 - 89
American Cinematographer - April 2018 - 90
American Cinematographer - April 2018 - 91
American Cinematographer - April 2018 - 92
American Cinematographer - April 2018 - 93
American Cinematographer - April 2018 - 94
American Cinematographer - April 2018 - 95
American Cinematographer - April 2018 - 96
American Cinematographer - April 2018 - 97
American Cinematographer - April 2018 - 98
American Cinematographer - April 2018 - 99
American Cinematographer - April 2018 - 100
American Cinematographer - April 2018 - 101
American Cinematographer - April 2018 - 102
American Cinematographer - April 2018 - 103
American Cinematographer - April 2018 - 104
American Cinematographer - April 2018 - 105
American Cinematographer - April 2018 - 106
American Cinematographer - April 2018 - 107
American Cinematographer - April 2018 - 108
American Cinematographer - April 2018 - 109
American Cinematographer - April 2018 - 110
American Cinematographer - April 2018 - 111
American Cinematographer - April 2018 - 112
American Cinematographer - April 2018 - 113
American Cinematographer - April 2018 - 114
American Cinematographer - April 2018 - 115
American Cinematographer - April 2018 - 116
American Cinematographer - April 2018 - 117
American Cinematographer - April 2018 - 118
American Cinematographer - April 2018 - 119
American Cinematographer - April 2018 - 120
American Cinematographer - April 2018 - 121
American Cinematographer - April 2018 - 122
American Cinematographer - April 2018 - 123
American Cinematographer - April 2018 - 124
American Cinematographer - April 2018 - 125
American Cinematographer - April 2018 - 126
American Cinematographer - April 2018 - 127
American Cinematographer - April 2018 - 128
American Cinematographer - April 2018 - 129
American Cinematographer - April 2018 - 130
American Cinematographer - April 2018 - 131
American Cinematographer - April 2018 - 132
American Cinematographer - April 2018 - 133
American Cinematographer - April 2018 - 134
American Cinematographer - April 2018 - 135
American Cinematographer - April 2018 - 136
American Cinematographer - April 2018 - Cover3
American Cinematographer - April 2018 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac0524
https://www.nxtbook.com/nxtbooks/ac/ac0424
https://www.nxtbook.com/nxtbooks/ac/ac0324
https://www.nxtbook.com/nxtbooks/ac/ac0224
https://www.nxtbook.com/nxtbooks/ac/ac0124
https://www.nxtbook.com/nxtbooks/ac/ac1223
https://www.nxtbook.com/nxtbooks/ac/ac1123
https://www.nxtbook.com/nxtbooks/ac/ac1023
https://www.nxtbook.com/nxtbooks/ac/ac0923
https://www.nxtbook.com/nxtbooks/ac/ac0823
https://www.nxtbook.com/nxtbooks/ac/ac0723
https://www.nxtbook.com/nxtbooks/ac/ac0623
https://www.nxtbook.com/nxtbooks/ac/ac0523
https://www.nxtbook.com/nxtbooks/ac/ac0423
https://www.nxtbook.com/nxtbooks/ac/ac0323
https://www.nxtbook.com/nxtbooks/ac/ac0223
https://www.nxtbook.com/nxtbooks/ac/ac0123
https://www.nxtbook.com/nxtbooks/ac/ac1222
https://www.nxtbook.com/nxtbooks/ac/ac1122
https://www.nxtbook.com/nxtbooks/ac/ac1022
https://www.nxtbook.com/nxtbooks/ac/ac0922
https://www.nxtbook.com/nxtbooks/ac/ac0822
https://www.nxtbook.com/nxtbooks/ac/ac0722
https://www.nxtbook.com/nxtbooks/ac/ac0622
https://www.nxtbook.com/nxtbooks/ac/ac0522
https://www.nxtbook.com/nxtbooks/ac/ac0422
https://www.nxtbook.com/nxtbooks/ac/ac0322
https://www.nxtbook.com/nxtbooks/ac/ac0222
https://www.nxtbook.com/nxtbooks/ac/ac0122
https://www.nxtbook.com/nxtbooks/ac/ac1221
https://www.nxtbook.com/nxtbooks/ac/ac1121
https://www.nxtbook.com/nxtbooks/ac/ac1021
https://www.nxtbook.com/nxtbooks/ac/ac0921
https://www.nxtbook.com/nxtbooks/ac/ac0821
https://www.nxtbook.com/nxtbooks/ac/ac0721
https://www.nxtbook.com/nxtbooks/ac/ac0621
https://www.nxtbook.com/nxtbooks/ac/ac0521
https://www.nxtbook.com/nxtbooks/ac/ac0421
https://www.nxtbook.com/nxtbooks/ac/ac0321
https://www.nxtbook.com/nxtbooks/ac/ac0221
https://www.nxtbook.com/nxtbooks/ac/ac0121
https://www.nxtbook.com/nxtbooks/ac/ac1220
https://www.nxtbook.com/nxtbooks/ac/ac1020
https://www.nxtbook.com/nxtbooks/ac/ac0920
https://www.nxtbook.com/nxtbooks/ac/ac0820
https://www.nxtbook.com/nxtbooks/ac/ac0720
https://www.nxtbook.com/nxtbooks/ac/ac0620
https://www.nxtbook.com/nxtbooks/ac/ac0520
https://www.nxtbook.com/nxtbooks/ac/ac0420
https://www.nxtbook.com/nxtbooks/ac/ac0320
https://www.nxtbook.com/nxtbooks/ac/ac0220
https://www.nxtbook.com/nxtbooks/ac/ac0120
https://www.nxtbook.com/nxtbooks/ac/ac1219
https://www.nxtbook.com/nxtbooks/ac/ac1119
https://www.nxtbook.com/nxtbooks/ac/ac1019
https://www.nxtbook.com/nxtbooks/ac/ac0919
https://www.nxtbook.com/nxtbooks/ac/ac0819
https://www.nxtbook.com/nxtbooks/ac/ac0719
https://www.nxtbook.com/nxtbooks/ac/ac0619
https://www.nxtbook.com/nxtbooks/ac/ac0519
https://www.nxtbook.com/nxtbooks/ac/ac0419
https://www.nxtbook.com/nxtbooks/ac/ac0319
https://www.nxtbook.com/nxtbooks/ac/ac0219_v2
https://www.nxtbook.com/nxtbooks/ac/ac0219
https://www.nxtbook.com/nxtbooks/ac/ac0119_v2
https://www.nxtbook.com/nxtbooks/ac/ac0119
https://www.nxtbook.com/nxtbooks/ac/ac1218
https://www.nxtbook.com/nxtbooks/ac/ac1118
https://www.nxtbook.com/nxtbooks/ac/ac1018
https://www.nxtbook.com/nxtbooks/ac/ac0918
https://www.nxtbook.com/nxtbooks/ac/ac0818
https://www.nxtbook.com/nxtbooks/ac/ac0718
https://www.nxtbook.com/nxtbooks/ac/ac0618
https://www.nxtbook.com/nxtbooks/ac/ac0518
https://www.nxtbook.com/nxtbooks/ac/ac0418
https://www.nxtbook.com/nxtbooks/ac/ac0318
https://www.nxtbook.com/nxtbooks/ac/ac0218
https://www.nxtbook.com/nxtbooks/ac/ac0118
https://www.nxtbook.com/nxtbooks/ac/ac1217
https://www.nxtbook.com/nxtbooks/ac/ac1117
https://www.nxtbook.com/nxtbooks/ac/ac1017
https://www.nxtbook.com/nxtbooks/ac/ac0917
https://www.nxtbook.com/nxtbooks/ac/ac0817
https://www.nxtbook.com/nxtbooks/ac/ac0717
https://www.nxtbook.com/nxtbooks/ac/ac0617
https://www.nxtbook.com/nxtbooks/ac/ac0517
https://www.nxtbook.com/nxtbooks/ac/ac0417
https://www.nxtbook.com/nxtbooks/ac/ac0317
https://www.nxtbook.com/nxtbooks/ac/ac0217
https://www.nxtbook.com/nxtbooks/ac/ac0117
https://www.nxtbook.com/nxtbooks/ac/ac1216
https://www.nxtbook.com/nxtbooks/ac/ac1116
https://www.nxtbook.com/nxtbooks/ac/ac1016
https://www.nxtbook.com/nxtbooks/ac/ac0916
https://www.nxtbook.com/nxtbooks/ac/ac0816
https://www.nxtbook.com/nxtbooks/ac/ac0716
https://www.nxtbook.com/nxtbooks/ac/ac0616
https://www.nxtbook.com/nxtbooks/ac/ac0516
https://www.nxtbook.com/nxtbooks/ac/ac0416
https://www.nxtbook.com/nxtbooks/ac/ac0316
https://www.nxtbook.com/nxtbooks/ac/ac0216
https://www.nxtbook.com/nxtbooks/ac/ac0116
https://www.nxtbook.com/nxtbooks/ac/ac1215
https://www.nxtbook.com/nxtbooks/ac/ac1115
https://www.nxtbook.com/nxtbooks/ac/ac1015
https://www.nxtbook.com/nxtbooks/ac/ac0915
https://www.nxtbook.com/nxtbooks/ac/ac0815
https://www.nxtbook.com/nxtbooks/ac/ac0715
https://www.nxtbook.com/nxtbooks/ac/ac0615
https://www.nxtbook.com/nxtbooks/ac/ac0515
https://www.nxtbook.com/nxtbooks/ac/ac0415
https://www.nxtbook.com/nxtbooks/ac/ac0315
https://www.nxtbook.com/nxtbooks/ac/ac0215
https://www.nxtbook.com/nxtbooks/ac/ac0115
https://www.nxtbookmedia.com