American Cinematographer - June 2015 - 77
The movie also features a monorail system meant to evoke Disneyland's
monorail. For those sequences, as well as
certain scenes in which characters fly
with the aid of futuristic jetpacks,
Miranda wanted to add realistic lightand-shadow effects to enhance the illusion of movement. Accordingly, on the
360-degree bluescreen monorail set, the
crew built six 32'x24' truss boxes that
were 4' deep and fitted with 270 Kino
Flo Image 87s in total. The boxes were
strung end-to-end and hung on I-beam
tracks. Twenty Martin Mac III
Performances were suspended on separate trusses on each side of the boxes,
with another 20 Vipers on each side on
the ground - for a total of 80 lights.
Tickell says Richard "was amazing at making a chase sequence out of
the [Image 87s], which is hard to do. A
lot of times when you are on and off
fluorescents, it gets very steppy. But this
was quite smooth - you really felt the
motion of the train. And we added gobo
light wheels that were basically 12-foot
aluminum wheels, with half of them
blacked out and a motor on them that
the rigging grips designed and we could
control. We could black out, say, an 18K
Arrimax and then open it to create sun
in and out of clouds. We did the same
kind of gobo effect for the flying
sequences, when [the characters] are
traveling on jetpacks through the city."
At press time, Miranda and Bird
were working with Company 3 colorist
Stephen Nakamura on the final digital
grade - using Blackmagic's DaVinci
Resolve - which afforded the filmmakers an opportunity to ensure the
film's overall look adhered to Bird's
thematic foundation for the story. In
contrast to the dystopian future often
visualized in modern science-fiction
films and literature, the director wanted
to show the brighter, more positive
future he remembers hearing about at
Disneyland when he was growing up.
One key to representing that optimistic
future was to make sure "we were not
too overbearing or overly systematic
during the DI," says Miranda. "We
didn't want to crush blacks. We forced
some cool tones and warm tones just to
play with mood a little bit, and we took
down some walls and created some extra
space, but it is all really subtle work. At
the end of the day, it is a pretty naturallooking movie. When you see
Tomorrowland, we want it to be a breath
of fresh air."
G
TECHNICAL SPECS
2.20:1 and 1.90:1 Imax
Digital Capture
Sony CineAlta F65, F55
Arri/Zeiss Master Primes,
Fujinon Premier
77
http://www.kinoflo.com
http://www.kinoflo.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
American Cinematographer - June 2015 - 15
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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
American Cinematographer - June 2015 - 23
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
American Cinematographer - June 2015 - 32
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 - 73
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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
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