American Cinematographer - August 2016 - 61

Scheinert and Seiple plan the next move.

light circling around him as though he
were falling head over heels," Seiple
explains. "The tubes are RGB, have 16
pixels per meter and take DMX directly.
There were six people hitting [Radcliffe]
with branches, and [there was] someone
behind him with a tree so that when he
landed, the tree would end up against his
back. We shot him against a 20-by-20
solid, as we were trying to pull it off practically."
Particularly useful for the bearattack scene were three Condors, each
fitted with a theatrical moving-light rig -
comprised of two Vari-Lite VL4000
Spots, two GLP Impression X4s and a
wireless DMX receiver - that Ardine
controlled via a GrandMa2 lighting
console, and remotely via iPad or iPhone.
"We never had to extend a lift up or down,"
Seiple notes, "or even put a [crewmember]
in it. They were all unmanned Condors,
which made it a lot quicker."
Ardine notes, "The Condors were
placed as a straight backlight and two kickers at 45-degree angles. The Vari-Lite
4000 Spots have a large zoom range and a
long throw to light specific parts from far
away. The X4s were used to wash parts of
the background."
Also used for the bear scene, Seiple
relates, were "two Matty Pads mounted on
[a single] stand with a wireless DMX
receiver so that we had a large mobile soft
source."

Sheinert credits Ardine with
another night-exterior lighting array,
which was used throughout the production. The co-director describes the
rigging as a "lo-fi lighting grid with
complex lighting setups all [linked] to a
board, so that we could switch lighting
cues and tweak things really
quickly, after very brief dialogue with
Larkin - which allowed us to shoot a
pretty ambitious amount. It was a lighting grid like you would have in the
studio, except he was doing it out in the
woods, using speed rail or whatever we
had around, or attaching [fixtures] to
trees in non-invasive ways. If we had a
gap in time, like a costume change, Matt
could put on a little disco show to keep
us all entertained."
Seiple adds that Ardine's rig
comprised "ETC Source Four Series 2
[LED] Lustr units, which were [hung]
in trees or used to hit bounces that were
rigged in trees. These lights have a
seven-color light engine, which allows
us to use it as moonlight fill for one shot
or fire-flickers for another without the
need to change gel. By putting a wireless
DMX receiver on each light, they could
float around the set and be quickly
utilized anywhere."
Further, Seiple supervised the
construction of a rig dubbed a "fire pie"
to supplement firelight. "It was like a
covered wagon," he says, "but we built a
61



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Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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