American Cinematographer - June 2015 - 75

while keeping the props lightweight
enough to not burden the actors. With
the resultant props, pulling the trigger
would simultaneously emit a visible
white light followed by a color and
signal the lighting console to send
matching color combinations through
the rigged Color Force LEDs.
Perhaps the most complicated set
to rig was the "monitor room," which
appears onscreen as a floating sphere
that hovers above the Bridgeway Plaza.
Inside the sphere is an immersive 360degree environment that shows the
characters events from anywhere in the
world and any time in the future.
"Think of it like being inside a planetarium, surrounded 360 degrees by a
complete visual medium," Miranda
says. "It's a true immersive space, with
video playing all around the actors,
wrapping around them."
Miranda adds that the environment itself provides all of the light. To
realize the effect, his team rigged two
custom ring frames - each 5' tall and
52' in diameter, and each divided into
eight equal sections - from aircraft
cable attached to a chain motor. Tiffin
says there were approximately 1,200
inverted MiStrips on each ring, and
each of the 16 sections could be raised,
lowered, or separated entirely to permit
cameras to access the set. "The MiStrips
had a diffusion frame 1 foot off the
front, and in the center above the set was
a 30-by-30-foot truss rig with [Pixled]
F-11 LED panels, which we had to
bring in from Europe," Tiffin explains.
He adds that all of this rigging
combined to create "the ability to have
two 360-degree rings that could become
one, or be separated to become two,
with an interactive top. Using custom
video content sent to our media servers,
Zach Alexander gave us the ability to
provide constant interactive lighting
that Claudio helped create to match the
changing tone as the scene evolved.
When the screens opened up for the
camera to poke through on one side,
Claudio would open the other side to
reveal a bluescreen lit by Kino Flo
ยข
Image 87s."


http://www.cinematographyelectronics.com http://www.cttrentals.com http://www.cttrentals.com

American Cinematographer - June 2015

Table of Contents for the Digital Edition of American Cinematographer - June 2015

Contents
American Cinematographer - June 2015 - Cover1
American Cinematographer - June 2015 - Cover2
American Cinematographer - June 2015 - 1
American Cinematographer - June 2015 - 2
American Cinematographer - June 2015 - Contents
American Cinematographer - June 2015 - 4
American Cinematographer - June 2015 - 5
American Cinematographer - June 2015 - 6
American Cinematographer - June 2015 - 7
American Cinematographer - June 2015 - 8
American Cinematographer - June 2015 - 9
American Cinematographer - June 2015 - 10
American Cinematographer - June 2015 - 11
American Cinematographer - June 2015 - 12
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American Cinematographer - June 2015 - 14
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American Cinematographer - June 2015 - 17
American Cinematographer - June 2015 - 18
American Cinematographer - June 2015 - 19
American Cinematographer - June 2015 - 20
American Cinematographer - June 2015 - 21
American Cinematographer - June 2015 - 22
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American Cinematographer - June 2015 - 24
American Cinematographer - June 2015 - 25
American Cinematographer - June 2015 - 26
American Cinematographer - June 2015 - 27
American Cinematographer - June 2015 - 28
American Cinematographer - June 2015 - 29
American Cinematographer - June 2015 - 30
American Cinematographer - June 2015 - 31
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American Cinematographer - June 2015 - 33
American Cinematographer - June 2015 - 34
American Cinematographer - June 2015 - 35
American Cinematographer - June 2015 - 36
American Cinematographer - June 2015 - 37
American Cinematographer - June 2015 - 38
American Cinematographer - June 2015 - 39
American Cinematographer - June 2015 - 40
American Cinematographer - June 2015 - 41
American Cinematographer - June 2015 - 42
American Cinematographer - June 2015 - 43
American Cinematographer - June 2015 - 44
American Cinematographer - June 2015 - 45
American Cinematographer - June 2015 - 46
American Cinematographer - June 2015 - 47
American Cinematographer - June 2015 - 48
American Cinematographer - June 2015 - 49
American Cinematographer - June 2015 - 50
American Cinematographer - June 2015 - 51
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American Cinematographer - June 2015 - 53
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American Cinematographer - June 2015 - 55
American Cinematographer - June 2015 - 56
American Cinematographer - June 2015 - 57
American Cinematographer - June 2015 - 58
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American Cinematographer - June 2015 - 60
American Cinematographer - June 2015 - 61
American Cinematographer - June 2015 - 62
American Cinematographer - June 2015 - 63
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American Cinematographer - June 2015 - 65
American Cinematographer - June 2015 - 66
American Cinematographer - June 2015 - 67
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American Cinematographer - June 2015 - 70
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American Cinematographer - June 2015 - 73
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American Cinematographer - June 2015 - 75
American Cinematographer - June 2015 - 76
American Cinematographer - June 2015 - 77
American Cinematographer - June 2015 - 78
American Cinematographer - June 2015 - 79
American Cinematographer - June 2015 - 80
American Cinematographer - June 2015 - 80a
American Cinematographer - June 2015 - 80b
American Cinematographer - June 2015 - 80c
American Cinematographer - June 2015 - 80d
American Cinematographer - June 2015 - 80e
American Cinematographer - June 2015 - 80f
American Cinematographer - June 2015 - 80g
American Cinematographer - June 2015 - 80h
American Cinematographer - June 2015 - 81
American Cinematographer - June 2015 - 82
American Cinematographer - June 2015 - 83
American Cinematographer - June 2015 - 84
American Cinematographer - June 2015 - 85
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American Cinematographer - June 2015 - Cover3
American Cinematographer - June 2015 - Cover4
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