American Cinematographer - September 2014 - 48
◗
Space Cases
Top: The Guardians travel to Knowhere, a frontier community on the skull of a long-dead god
floating in space. Bottom: The crew preps a shot as Bautista steels himself for action.
ment. (The greenscreen surrounding
the cockpit was illuminated with
Panalux FloBank fluorescents.)
Above the cockpit, for scenes
when the Milano is in space, Smith and
Davis employed a soft box of fluorescent
Panalux HighLites through Full Grid
dyed with 728 Steel Green. They also
devised a number of interactive lighting
elements to simulate the ship's transition into the Earth-like, daylight
48
September 2014
atmosphere of Xandar, the utopian
home of the Nova Corps.
"We built a horseshoe-shaped rig
21 feet high that went from one side [of
the cockpit] to the other," Smith
explains. The cockpit, he adds, "was
about 14 feet off the stage floor," and the
horseshoe rig incorporated a series of
side-by-side 2'x2' Panalux TekTile 60
daylight LED panels. "We could chase
those lights backwards and forwards to
American Cinematographer
make it look like the cockpit was spinning," the gaffer continues. "We also
had TekTiles going along the top of the
ship, so we were able to chase them as
though the ship was going in a forward
motion. Above that we had a roof of
silked daylight fluorescent HighLites
that we also chased to give a feeling of
movement. On either side of the cockpit, we had 12 Martin Mac Viper
Profile [moving fixtures], which we
could swipe through to give us a little
more movement. And above the ship
we had Vari-Lites rigged to sweep
across. My desk operator [Onkar
Narang] got worked!"
Additionally, a 20K was positioned on a crane arm to serve as a hard
"sun" source, and Panalux HiLo
Softsource fixtures were mounted to the
end of a Grip Factory Munich GF-16
Crane, capable of up to a 50' reach, to
move around the cockpit as a key light.
The newly developed LED light has a
progressively adjustable color temperature range between 3,000K and 6,000K.
"We were really the first show to put the
Panalux HiLo to the test," Smith says.
"They were originally designed to
compete with the space light, but we
ended up having stirrups made for them
and using them on stands as a conven➣
tional light."
American Cinematographer - September 2014
Table of Contents for the Digital Edition of American Cinematographer - September 2014
Contents
American Cinematographer - September 2014 - Cover1
American Cinematographer - September 2014 - Cover2
American Cinematographer - September 2014 - 1
American Cinematographer - September 2014 - 2
American Cinematographer - September 2014 - Contents
American Cinematographer - September 2014 - 4
American Cinematographer - September 2014 - 5
American Cinematographer - September 2014 - 6
American Cinematographer - September 2014 - 7
American Cinematographer - September 2014 - 8
American Cinematographer - September 2014 - 9
American Cinematographer - September 2014 - 10
American Cinematographer - September 2014 - 11
American Cinematographer - September 2014 - 12
American Cinematographer - September 2014 - 13
American Cinematographer - September 2014 - 14
American Cinematographer - September 2014 - 15
American Cinematographer - September 2014 - 16
American Cinematographer - September 2014 - 17
American Cinematographer - September 2014 - 18
American Cinematographer - September 2014 - 19
American Cinematographer - September 2014 - 20
American Cinematographer - September 2014 - 21
American Cinematographer - September 2014 - 22
American Cinematographer - September 2014 - 23
American Cinematographer - September 2014 - 24
American Cinematographer - September 2014 - 25
American Cinematographer - September 2014 - 26
American Cinematographer - September 2014 - 27
American Cinematographer - September 2014 - 28
American Cinematographer - September 2014 - 29
American Cinematographer - September 2014 - 30
American Cinematographer - September 2014 - 31
American Cinematographer - September 2014 - 32
American Cinematographer - September 2014 - 33
American Cinematographer - September 2014 - 34
American Cinematographer - September 2014 - 35
American Cinematographer - September 2014 - 36
American Cinematographer - September 2014 - 37
American Cinematographer - September 2014 - 38
American Cinematographer - September 2014 - 39
American Cinematographer - September 2014 - 40
American Cinematographer - September 2014 - 41
American Cinematographer - September 2014 - 42
American Cinematographer - September 2014 - 43
American Cinematographer - September 2014 - 44
American Cinematographer - September 2014 - 44a
American Cinematographer - September 2014 - 44b
American Cinematographer - September 2014 - 45
American Cinematographer - September 2014 - 46
American Cinematographer - September 2014 - 47
American Cinematographer - September 2014 - 48
American Cinematographer - September 2014 - 49
American Cinematographer - September 2014 - 50
American Cinematographer - September 2014 - 51
American Cinematographer - September 2014 - 52
American Cinematographer - September 2014 - 53
American Cinematographer - September 2014 - 54
American Cinematographer - September 2014 - 55
American Cinematographer - September 2014 - 56
American Cinematographer - September 2014 - 57
American Cinematographer - September 2014 - 58
American Cinematographer - September 2014 - 59
American Cinematographer - September 2014 - 60
American Cinematographer - September 2014 - 61
American Cinematographer - September 2014 - 62
American Cinematographer - September 2014 - 63
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American Cinematographer - September 2014 - 73
American Cinematographer - September 2014 - 74
American Cinematographer - September 2014 - 75
American Cinematographer - September 2014 - 76
American Cinematographer - September 2014 - 77
American Cinematographer - September 2014 - 78
American Cinematographer - September 2014 - 79
American Cinematographer - September 2014 - 80
American Cinematographer - September 2014 - 81
American Cinematographer - September 2014 - 82
American Cinematographer - September 2014 - 83
American Cinematographer - September 2014 - 84
American Cinematographer - September 2014 - 85
American Cinematographer - September 2014 - 86
American Cinematographer - September 2014 - 87
American Cinematographer - September 2014 - 88
American Cinematographer - September 2014 - 89
American Cinematographer - September 2014 - 90
American Cinematographer - September 2014 - 91
American Cinematographer - September 2014 - 92
American Cinematographer - September 2014 - 93
American Cinematographer - September 2014 - 94
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American Cinematographer - September 2014 - 100
American Cinematographer - September 2014 - 101
American Cinematographer - September 2014 - 102
American Cinematographer - September 2014 - 103
American Cinematographer - September 2014 - 104
American Cinematographer - September 2014 - 104a
American Cinematographer - September 2014 - 104b
American Cinematographer - September 2014 - 105
American Cinematographer - September 2014 - 106
American Cinematographer - September 2014 - 107
American Cinematographer - September 2014 - 108
American Cinematographer - September 2014 - 109
American Cinematographer - September 2014 - 110
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American Cinematographer - September 2014 - Cover3
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