American Cinematographer - January 2017 - 53

add or subtract practicals based on the
blocking. We had big, big sets, and
literally miles and miles of LED strips.
There's a lot of action in the
grand concourse. What was your
general approach there?
Prieto: We built the first floor
and the second-floor balcony, and
everything above that is CGI. This was
one of the few sets that had no ceiling;
instead, there's a big skylight offering a
view of space. We had to light the
concourse for day mode, night mode,
emergency mode and also zero-gravity
stunt work. We placed greenscreen
around the perimeter of the set, and
above the greenscreen we surrounded
the set almost completely with Arri
SkyPanels. I wanted the light to be
slightly soft, and at the time there were
no Chimeras for SkyPanels, so [key
grip] Joey Dianda and [rigging key
grip] Chris Leidholdt made some out
of show card and 216 [diffusion]. That
gave us a long, soft source around the
perimeter of the set. We could program
all the lighting changes we needed, and
we could shut some of the units off to
create backlight or sidelight quickly.
Bryan Booth, our dimmer-board operator, is a real wizard and made it all run
smoothly.
One set that references The
Shining explicitly is the ship's bar,
where Jim and Aurora share several
scenes with the bartender, Arthur
[Michael Sheen].
Prieto: Yes, The Shining was the
inspiration for our lighting there,
specifically the lit bar top. I knew we'd
see this bar top constantly, so I insisted
on giving it some texture. After testing
a variety of options, we chose etched,
transparent Plexiglas, which looks a bit
like cut glass, and placed hybrid LEDs
through 216 underneath it. I noticed in
my testing that this low light source
wasn't flattering for the actors all the
time, so I asked Guy to incorporate
some practicals that would give the
actors a bit of frontal fill. He created a
Milk Plex wall behind the bar, and we
placed SkyPanels behind that. When
we had to look at the bar, we'd dim

them down to 2,800K and program in a
little Minus Green; for the reverses on
Jim and Aurora, we'd selectively bring
them up and cool them a bit.
You mentioned the importance
of lighting faces. What were your main
tools for that?
Prieto: Sourcemaker Hybrid
LED Blankets were very effective, and I
used them quite a bit on this film. We
had varying sizes, and most of the time

we used them in frames with Full Grid
Cloth diffusion and Lighttools Soft
Egg Crates in front of them. We
normally had them on the ground, but
one notable exception was the swimming pool, where Jim and Aurora have
several encounters. To build a soft,
warm ambience there, we rigged two
diffused
8-by-8
Sourcemaker
blankets on two condors just out of shot,
creating a 16-by-8-foot soft source. I


http://mactechled.com

Table of Contents for the Digital Edition of American Cinematographer - January 2017

Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
American Cinematographer - January 2017 - 5
American Cinematographer - January 2017 - 6
American Cinematographer - January 2017 - 7
American Cinematographer - January 2017 - 8
American Cinematographer - January 2017 - 9
American Cinematographer - January 2017 - 10
American Cinematographer - January 2017 - 11
American Cinematographer - January 2017 - 12
American Cinematographer - January 2017 - 13
American Cinematographer - January 2017 - 14
American Cinematographer - January 2017 - 15
American Cinematographer - January 2017 - 16
American Cinematographer - January 2017 - 17
American Cinematographer - January 2017 - 18
American Cinematographer - January 2017 - 19
American Cinematographer - January 2017 - 20
American Cinematographer - January 2017 - 21
American Cinematographer - January 2017 - 22
American Cinematographer - January 2017 - 23
American Cinematographer - January 2017 - 24
American Cinematographer - January 2017 - 25
American Cinematographer - January 2017 - 26
American Cinematographer - January 2017 - 27
American Cinematographer - January 2017 - 28
American Cinematographer - January 2017 - 29
American Cinematographer - January 2017 - 30
American Cinematographer - January 2017 - 31
American Cinematographer - January 2017 - 32
American Cinematographer - January 2017 - 33
American Cinematographer - January 2017 - 34
American Cinematographer - January 2017 - 35
American Cinematographer - January 2017 - 36
American Cinematographer - January 2017 - 37
American Cinematographer - January 2017 - 38
American Cinematographer - January 2017 - 39
American Cinematographer - January 2017 - 40
American Cinematographer - January 2017 - 41
American Cinematographer - January 2017 - 42
American Cinematographer - January 2017 - 43
American Cinematographer - January 2017 - 44
American Cinematographer - January 2017 - 45
American Cinematographer - January 2017 - 46
American Cinematographer - January 2017 - 47
American Cinematographer - January 2017 - 48
American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
American Cinematographer - January 2017 - 49
American Cinematographer - January 2017 - 50
American Cinematographer - January 2017 - 51
American Cinematographer - January 2017 - 52
American Cinematographer - January 2017 - 53
American Cinematographer - January 2017 - 54
American Cinematographer - January 2017 - 55
American Cinematographer - January 2017 - 56
American Cinematographer - January 2017 - 57
American Cinematographer - January 2017 - 58
American Cinematographer - January 2017 - 59
American Cinematographer - January 2017 - 60
American Cinematographer - January 2017 - 61
American Cinematographer - January 2017 - 62
American Cinematographer - January 2017 - 63
American Cinematographer - January 2017 - 64
American Cinematographer - January 2017 - 65
American Cinematographer - January 2017 - 66
American Cinematographer - January 2017 - 67
American Cinematographer - January 2017 - 68
American Cinematographer - January 2017 - 69
American Cinematographer - January 2017 - 70
American Cinematographer - January 2017 - 71
American Cinematographer - January 2017 - 72
American Cinematographer - January 2017 - 73
American Cinematographer - January 2017 - 74
American Cinematographer - January 2017 - 75
American Cinematographer - January 2017 - 76
American Cinematographer - January 2017 - 77
American Cinematographer - January 2017 - 78
American Cinematographer - January 2017 - 79
American Cinematographer - January 2017 - 80
American Cinematographer - January 2017 - 81
American Cinematographer - January 2017 - 82
American Cinematographer - January 2017 - 83
American Cinematographer - January 2017 - 84
American Cinematographer - January 2017 - 85
American Cinematographer - January 2017 - 86
American Cinematographer - January 2017 - 87
American Cinematographer - January 2017 - 88
American Cinematographer - January 2017 - 89
American Cinematographer - January 2017 - 90
American Cinematographer - January 2017 - 91
American Cinematographer - January 2017 - 92
American Cinematographer - January 2017 - 93
American Cinematographer - January 2017 - 94
American Cinematographer - January 2017 - 95
American Cinematographer - January 2017 - 96
American Cinematographer - January 2017 - 97
American Cinematographer - January 2017 - 98
American Cinematographer - January 2017 - 99
American Cinematographer - January 2017 - 100
American Cinematographer - January 2017 - 101
American Cinematographer - January 2017 - 102
American Cinematographer - January 2017 - 103
American Cinematographer - January 2017 - 104
American Cinematographer - January 2017 - 105
American Cinematographer - January 2017 - 106
American Cinematographer - January 2017 - 107
American Cinematographer - January 2017 - 108
American Cinematographer - January 2017 - Cover3
American Cinematographer - January 2017 - Cover4
http://www.nxtbook.com/nxtbooks/ac/ac0420
http://www.nxtbook.com/nxtbooks/ac/ac0320
http://www.nxtbook.com/nxtbooks/ac/ac0220
http://www.nxtbook.com/nxtbooks/ac/ac0120
http://www.nxtbook.com/nxtbooks/ac/ac1219
http://www.nxtbook.com/nxtbooks/ac/ac1119
http://www.nxtbook.com/nxtbooks/ac/ac1019
http://www.nxtbook.com/nxtbooks/ac/ac0919
http://www.nxtbook.com/nxtbooks/ac/ac0819
http://www.nxtbook.com/nxtbooks/ac/ac0719
http://www.nxtbook.com/nxtbooks/ac/ac0619
http://www.nxtbook.com/nxtbooks/ac/ac0519
http://www.nxtbook.com/nxtbooks/ac/ac0419
http://www.nxtbook.com/nxtbooks/ac/ac0319
http://www.nxtbook.com/nxtbooks/ac/ac0219_v2
http://www.nxtbook.com/nxtbooks/ac/ac0219
http://www.nxtbook.com/nxtbooks/ac/ac0119_v2
http://www.nxtbook.com/nxtbooks/ac/ac0119
http://www.nxtbook.com/nxtbooks/ac/ac1218
http://www.nxtbook.com/nxtbooks/ac/ac1118
http://www.nxtbook.com/nxtbooks/ac/ac1018
http://www.nxtbook.com/nxtbooks/ac/ac0918
http://www.nxtbook.com/nxtbooks/ac/ac0818
http://www.nxtbook.com/nxtbooks/ac/ac0718
http://www.nxtbook.com/nxtbooks/ac/ac0618
http://www.nxtbook.com/nxtbooks/ac/ac0518
http://www.nxtbook.com/nxtbooks/ac/ac0418
http://www.nxtbook.com/nxtbooks/ac/ac0318
http://www.nxtbook.com/nxtbooks/ac/ac0218
http://www.nxtbook.com/nxtbooks/ac/ac0118
http://www.nxtbook.com/nxtbooks/ac/ac1217
http://www.nxtbook.com/nxtbooks/ac/ac1117
http://www.nxtbook.com/nxtbooks/ac/ac1017
http://www.nxtbook.com/nxtbooks/ac/ac0917
http://www.nxtbook.com/nxtbooks/ac/ac0817
http://www.nxtbook.com/nxtbooks/ac/ac0717
http://www.nxtbook.com/nxtbooks/ac/ac0617
http://www.nxtbook.com/nxtbooks/ac/ac0517
http://www.nxtbook.com/nxtbooks/ac/ac0417
http://www.nxtbook.com/nxtbooks/ac/ac0317
http://www.nxtbook.com/nxtbooks/ac/ac0217
http://www.nxtbook.com/nxtbooks/ac/ac0117
http://www.nxtbook.com/nxtbooks/ac/ac1216
http://www.nxtbook.com/nxtbooks/ac/ac1116
http://www.nxtbook.com/nxtbooks/ac/ac1016
http://www.nxtbook.com/nxtbooks/ac/ac0916
http://www.nxtbook.com/nxtbooks/ac/ac0816
http://www.nxtbook.com/nxtbooks/ac/ac0716
http://www.nxtbook.com/nxtbooks/ac/ac0616
http://www.nxtbook.com/nxtbooks/ac/ac0516
http://www.nxtbook.com/nxtbooks/ac/ac0416
http://www.nxtbook.com/nxtbooks/ac/ac0316
http://www.nxtbook.com/nxtbooks/ac/ac0216
http://www.nxtbook.com/nxtbooks/ac/ac0116
http://www.nxtbook.com/nxtbooks/ac/ac1215
http://www.nxtbook.com/nxtbooks/ac/ac1115
http://www.nxtbook.com/nxtbooks/ac/ac1015
http://www.nxtbook.com/nxtbooks/ac/ac0915
http://www.nxtbook.com/nxtbooks/ac/ac0815
http://www.nxtbook.com/nxtbooks/ac/ac0715
http://www.nxtbook.com/nxtbooks/ac/ac0615
http://www.nxtbook.com/nxtbooks/ac/ac0515
http://www.nxtbook.com/nxtbooks/ac/ac0415
http://www.nxtbook.com/nxtbooks/ac/ac0315
http://www.nxtbook.com/nxtbooks/ac/ac0215
http://www.nxtbook.com/nxtbooks/ac/ac0115
http://www.nxtbookMEDIA.com