American Cinematographer - July 2018 - 56

◗

Life of the Mind

The crew readies
the upside-down
set for Lenny's
surreal
interrogation.

At the beginning of Season 2,
Wylie approached Webster with the
idea that the Division III facility would
feature a kind of hexagonal architecture:
soffits in the apartment ceilings, overhead fixtures in Cary's lab, and other
accents including walls and windows
around the facility.
"We added a lot of practical
fixtures, depending on what Wylie
asked for, and what Dana or Polly
thought might add to the scene," says
Webster. Practical lamps in 'the Boat'
[Division III's surreal, boat-themed
56

July 2018

cafeteria] were rehoused gas lamps
equipped with large Edison bulbs "for a
warm glow and on-camera sparkle."
One of the most-used spaces on
the show was The Lot's Stage 5, a
multipurpose set with a 30'x200' backdrop curtain rail for greenscreen,
Ultrabounce or black velvet. This is
where David gets trapped in his coffin,
where Syd does her light writing, where
Lenny dances - where anything
outside of time and space happens. Fifty
Arri S60 SkyPanels were hung in two
overhead 20'x30' soft boxes and skinned
American Cinematographer

with intermediate 1⁄2 Soft Frost and
Full Silk underside for ambience. The
greenscreens and seamless Ultrabounces
were lit with Kino Flo Image 87s.
"Rigging grip Eddie Gutierrez and
rigging gaffer Bobby DeChellis built
this amazing setup," Gonzales enthuses.
The lighting package for Legion
has included Arri LEDs, Digital
Sputnik DS1s and DS6s; ETC Source
Four LEDs (Tungsten HD, Daylight
HD, Lustr+); Astera AX1 Wireless
PixelTubes; battery-powered LiteGear
LiteMats; and Outsight Creamsource
Doppio+ and Micro units. "Depending
on the episode, we threw in 200K
Parabolic Lightning Strikes by
Luminys, and [open-faced] K5600
Alpha 18Ks for ultra-hard shadows
through windows, and even DS1s
mounted on drones with wireless
control," Webster notes. Their moving
lights have included the Clay Paky
Scenius and Mythos, Ayrton Ghibli,
GLP JDC1 strobe, and Robe BMFL
Blade.
Whenever the filmmakers
needed a light that didn't come with the
truck, or if a practical or special needed
to be built, Webster and fixtures foreman Mike Beckman were on hand with
a few hundred rolls of LED hybrid



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

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