American Cinematographer - September 2013 - 46
◗
Worlds Apart
A rig comprising
two Red Epics and
23 Canon 5Ds was
used to create
bullet-time effects
for a climactic
fight scene on a
moving gantry.
latter because it suited their sciencefiction lighting scheme better. “It was a
little green,” Rumak points out, “but on
camera it just blew out behind Plexiglas
when incorporated into the set build,
and we didn’t light actors with it. We
only used it to light reflections and kicks
on walls.” (Over the course of production, Rumak used about 5,000' of the
Cool White LED tape.)
The control room’s main light
sources were two 20'x30' articulating
truss frames packed with Kino Flo
46
September 2013
daylight Image 85s hanging overhead
and layered with double diffusion and
Light Tools soft directional grid.
Double Bobbinet was used to reduce
the curse of white reflective values while
helping to create an even softer source.
“It was gimbaled, and when we got into
Jodie’s coverage, we could bring it down
and play it as a big soft source for her
close-ups. It was the softest, creamiest,
wrappiest source we could get. We had
two of them, key and fill. For the wider
shots, we’d move it up into the roof and
American Cinematographer
use it as toplight.”
Tucked away throughout the set
to enhance its architecture were dimmable 4-bank daylight Kino Flo Tegras
and dimmable Color Kinetics IW
Blasts, daylight-balanced LED sources
from Phillips. Opaloch, who had almost
200 of the fixtures on hand, used the
extremely bright sources as a colored
flashing backlight on various actors.
“We also found that by stringing 12 of
them together, we were able to create a
realistic-looking decay of an explosion,”
notes Rumak.
With so many sources on the set,
Rumak had everything wired through
DMX and controlled through a lighting
console; there were as many as 450 looks
and 200 separate lighting effects. “We
needed a DMX-controlled set to get
through all the script pages we had,”
says Opaloch. “The challenge was
getting the light where we needed it
without limiting the scope of the other
cameras. We could just dial the background up or down, and that capability
got us out of a lot of trouble.”
Another unique Elysium set is
the scanner room, which is bathed in
ultraviolet light. That’s where Rhodes
and John Carlyle (William Fichtner),
American Cinematographer - September 2013
Table of Contents for the Digital Edition of American Cinematographer - September 2013
Contents
American Cinematographer - September 2013 - Cover1
American Cinematographer - September 2013 - Cover2
American Cinematographer - September 2013 - 1
American Cinematographer - September 2013 - 2
American Cinematographer - September 2013 - Contents
American Cinematographer - September 2013 - 4
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American Cinematographer - September 2013 - K1
American Cinematographer - September 2013 - K2
American Cinematographer - September 2013 - K3
American Cinematographer - September 2013 - K4
American Cinematographer - September 2013 - K5
American Cinematographer - September 2013 - K6
American Cinematographer - September 2013 - K7
American Cinematographer - September 2013 - K8
American Cinematographer - September 2013 - K9
American Cinematographer - September 2013 - K10
American Cinematographer - September 2013 - K11
American Cinematographer - September 2013 - K12
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American Cinematographer - September 2013 - 46
American Cinematographer - September 2013 - 47
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American Cinematographer - September 2013 - Cover3
American Cinematographer - September 2013 - Cover4
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