American Cinematographer - June 2017 - 61
integrated. What role does the production design play in your lighting?
Wolski: It's huge.
Scott: I bring Dariusz and the
production designer on board very early
on, as soon as I've got the screenplay
right. I call it 'the triangle' - them and
me.
Wolski: The production designer
and I are inseparable. On the other films
it's been Arthur Max; on Covenant it was
Chris Seagers. He and Ridley and I are
in constant discussion very early on in
prep - discussion into textures, fabrics,
lighting fixtures, you name it. Especially
on these science-fiction movies, a lot of
the lighting is coming from within, built
into the set. It's very well-planned from
the beginning. Yet the great thing is that
with the new technologies, we can
constantly change things on the fly: 'It's
too blue - make it orange.' Most of the
time we used daylight/tungsten LEDs,
and occasionally we used RGB LEDs.
You can intuitively feel where it's going
and then quickly make a switch. No
matter how much you prep, you still
have the freedom of doing it last
minute.
I imagine the prep is what
enables that freedom.
Wolski: Right. Ridley and I come
in with a plan, but we're not religious
about it at all. In terms of the lighting
units, we had this terrific fixture guy in
Australia, Joel Klinger, who custombuilt an amazing amount of lights into
the sets - commercial lights adapted to
film. All the fixtures were dimmable and
adjustable; we hardly used any conventional light. We had great people in
Australia, particularly gaffer Shaun
Conway and key grip Toby Copping -
and then I had Ryan Nguyen, who lives
in the U.S. He's traveled with me as my
DIT on every movie since I entered the
digital world. He has taught me a lot.
On this film the biggest challenge
in terms of lighting was the creatures,
making them look realistic and fright-
ening. It's what separates a horror film
from something like The Counselor,
which is basically a dialogue movie, or
even The Martian, which is still essentially just dealing with human beings.
Scott: Lighting is about taste, and
I like Dariusz's taste. Sometimes you
want it to be beautiful, sometimes you
want it to be brutal. At the end of the
day, I love cameramen and love climbing the mountain with them each day.
You've got to be a team; you've got to be
pals. Dariusz is definitely one of my
pals.
●
TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT, Mini
Angenieux Optimo DP Rouge;
Panavision Primo Compact Zoom,
PVintage
61
http://www.k5600.com/onelight
Table of Contents for the Digital Edition of American Cinematographer - June 2017
Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
American Cinematographer - June 2017 - 12
American Cinematographer - June 2017 - 13
American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
American Cinematographer - June 2017 - 16
American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
American Cinematographer - June 2017 - 23
American Cinematographer - June 2017 - 24
American Cinematographer - June 2017 - 25
American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
American Cinematographer - June 2017 - 38
American Cinematographer - June 2017 - 39
American Cinematographer - June 2017 - 40
American Cinematographer - June 2017 - 41
American Cinematographer - June 2017 - 42
American Cinematographer - June 2017 - 43
American Cinematographer - June 2017 - 44
American Cinematographer - June 2017 - 45
American Cinematographer - June 2017 - 46
American Cinematographer - June 2017 - 47
American Cinematographer - June 2017 - 48
American Cinematographer - June 2017 - 49
American Cinematographer - June 2017 - 50
American Cinematographer - June 2017 - 51
American Cinematographer - June 2017 - 52
American Cinematographer - June 2017 - 53
American Cinematographer - June 2017 - 54
American Cinematographer - June 2017 - 55
American Cinematographer - June 2017 - 56
American Cinematographer - June 2017 - 57
American Cinematographer - June 2017 - 58
American Cinematographer - June 2017 - 59
American Cinematographer - June 2017 - 60
American Cinematographer - June 2017 - 61
American Cinematographer - June 2017 - 62
American Cinematographer - June 2017 - 63
American Cinematographer - June 2017 - 64
American Cinematographer - June 2017 - 65
American Cinematographer - June 2017 - 66
American Cinematographer - June 2017 - 67
American Cinematographer - June 2017 - 68
American Cinematographer - June 2017 - 69
American Cinematographer - June 2017 - 70
American Cinematographer - June 2017 - 71
American Cinematographer - June 2017 - 72
American Cinematographer - June 2017 - 73
American Cinematographer - June 2017 - 74
American Cinematographer - June 2017 - 75
American Cinematographer - June 2017 - 76
American Cinematographer - June 2017 - 77
American Cinematographer - June 2017 - 78
American Cinematographer - June 2017 - 79
American Cinematographer - June 2017 - 80
American Cinematographer - June 2017 - 81
American Cinematographer - June 2017 - 82
American Cinematographer - June 2017 - 83
American Cinematographer - June 2017 - 84
American Cinematographer - June 2017 - 85
American Cinematographer - June 2017 - 86
American Cinematographer - June 2017 - 87
American Cinematographer - June 2017 - 88
American Cinematographer - June 2017 - 89
American Cinematographer - June 2017 - 90
American Cinematographer - June 2017 - 91
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American Cinematographer - June 2017 - 93
American Cinematographer - June 2017 - 94
American Cinematographer - June 2017 - 95
American Cinematographer - June 2017 - 96
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American Cinematographer - June 2017 - 98
American Cinematographer - June 2017 - 99
American Cinematographer - June 2017 - 100
American Cinematographer - June 2017 - 101
American Cinematographer - June 2017 - 102
American Cinematographer - June 2017 - 103
American Cinematographer - June 2017 - 104
American Cinematographer - June 2017 - 105
American Cinematographer - June 2017 - 106
American Cinematographer - June 2017 - 107
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American Cinematographer - June 2017 - 109
American Cinematographer - June 2017 - 110
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American Cinematographer - June 2017 - 113
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American Cinematographer - June 2017 - 119
American Cinematographer - June 2017 - 120
American Cinematographer - June 2017 - 121
American Cinematographer - June 2017 - 122
American Cinematographer - June 2017 - 123
American Cinematographer - June 2017 - 124
American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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