American Cinematographer - February 2018 - 33

Ahch-To's Jedi village during a nighttime storm was staged on the Pinewood
back lot, where the filmmakers sought
an efficient and safe way to illuminate
the set while inundating it with rain.
"We wanted 'moon boxes' over the top
of the set for a nice, soft overall glow,"
Smith notes. "The rigging team put
together four 40-by-40-foot frames
rigged from large construction cranes."
The frames were lined with 1'-wide
wooden battens - 40 battens across -
each of which was fitted with a tungsten-balanced LED strip gelled with
Mist Blue. "We ended up using a couple
of kilometers of LED to pull off that
trick," the gaffer says.
The LEDs, Smith continues,
"were IP-rated as not fully submersible,
but they could take heavy rain no problem, which allowed the rain towers to
go directly above our lights and basically
pour right through the frames - the
rain towers were 200 feet up in the air,
and our lighting towers were only at 40
feet. It all worked really well."
Among the most prevalent lighting units on the production's sets were
Arri's SkyPanel S60-C color-tunable
LED fixtures. "I wanted to use the
SkyPanels as much as possible so we
could precisely control the color," Yedlin
notes. "We were using the HSI [hue,
saturation and intensity] mode, which
enables you to make any color that the
lamp can produce with only two DMX
channels for the chromaticity coordinates, and then adjust the intensity with
a third channel. It's very clear what
you're doing, and we could match
anything - or we could plug in a green
laser bolt, a red laser bolt, dusk, fire, etc.
The preference would have been to
shoot everything but hard light with
SkyPanels, but we only had so many of
them." Even still, he adds, "we carried
more of them than anyone else had up
to that time."
"We had about 1,000 SkyPanels,
which we used on pretty much most of
the sets," Smith elaborates. "We used
them in many ways: for effects lighting,
due to their color-changing versatility;
for soft boxes; and even built into sets.

Top: Rey trains with her staff. Middle: Ridley works through the scene in front of the camera on the
Ahch-To set. Bottom: Rey trades her staff for the lightsaber.

We also used about 800 bespoke 'Flo
Bank' fluorescent units, 600 space lights
and 200 Panalux TekTile 60 LED
squares. Then we had a lot of 20Ks,
T12 12K Fresnels, and all of the other
usual stuff. For filtration we used a lot of
Half Grid and Full Grid as 250-bywww.ascmag.com

100-foot silks [suspended above the
set], with SkyPanels built into motorized boxes to go [above] them." About
that latter setup, Yedlin adds, "Almost
every set that wasn't enclosed with a
roof had something like this - though
some sets had Flo Banks, space lights or
February 2018

33



http://www.ascmag.com

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

Contents
American Cinematographer - February 2018 - Sponsor
American Cinematographer - February 2018 - Cover1
American Cinematographer - February 2018 - Cover2
American Cinematographer - February 2018 - 1
American Cinematographer - February 2018 - 2
American Cinematographer - February 2018 - Contents
American Cinematographer - February 2018 - 4
American Cinematographer - February 2018 - 5
American Cinematographer - February 2018 - 6
American Cinematographer - February 2018 - 7
American Cinematographer - February 2018 - 8
American Cinematographer - February 2018 - 9
American Cinematographer - February 2018 - 10
American Cinematographer - February 2018 - 11
American Cinematographer - February 2018 - 12
American Cinematographer - February 2018 - 13
American Cinematographer - February 2018 - 14
American Cinematographer - February 2018 - 15
American Cinematographer - February 2018 - 16
American Cinematographer - February 2018 - 17
American Cinematographer - February 2018 - 18
American Cinematographer - February 2018 - 19
American Cinematographer - February 2018 - 20
American Cinematographer - February 2018 - 21
American Cinematographer - February 2018 - 22
American Cinematographer - February 2018 - 23
American Cinematographer - February 2018 - 24
American Cinematographer - February 2018 - 25
American Cinematographer - February 2018 - 26
American Cinematographer - February 2018 - 27
American Cinematographer - February 2018 - 28
American Cinematographer - February 2018 - 29
American Cinematographer - February 2018 - 30
American Cinematographer - February 2018 - 31
American Cinematographer - February 2018 - 32
American Cinematographer - February 2018 - 32a
American Cinematographer - February 2018 - 32b
American Cinematographer - February 2018 - 33
American Cinematographer - February 2018 - 34
American Cinematographer - February 2018 - 35
American Cinematographer - February 2018 - 36
American Cinematographer - February 2018 - 37
American Cinematographer - February 2018 - 38
American Cinematographer - February 2018 - 39
American Cinematographer - February 2018 - 40
American Cinematographer - February 2018 - 41
American Cinematographer - February 2018 - 42
American Cinematographer - February 2018 - 43
American Cinematographer - February 2018 - 44
American Cinematographer - February 2018 - 45
American Cinematographer - February 2018 - 46
American Cinematographer - February 2018 - 47
American Cinematographer - February 2018 - 48
American Cinematographer - February 2018 - 49
American Cinematographer - February 2018 - 50
American Cinematographer - February 2018 - 50a
American Cinematographer - February 2018 - 50b
American Cinematographer - February 2018 - 51
American Cinematographer - February 2018 - 52
American Cinematographer - February 2018 - 53
American Cinematographer - February 2018 - 54
American Cinematographer - February 2018 - 55
American Cinematographer - February 2018 - 56
American Cinematographer - February 2018 - 57
American Cinematographer - February 2018 - 58
American Cinematographer - February 2018 - 59
American Cinematographer - February 2018 - 60
American Cinematographer - February 2018 - 61
American Cinematographer - February 2018 - 62
American Cinematographer - February 2018 - 63
American Cinematographer - February 2018 - 64
American Cinematographer - February 2018 - 65
American Cinematographer - February 2018 - 66
American Cinematographer - February 2018 - 67
American Cinematographer - February 2018 - 68
American Cinematographer - February 2018 - 69
American Cinematographer - February 2018 - 70
American Cinematographer - February 2018 - 71
American Cinematographer - February 2018 - 72
American Cinematographer - February 2018 - 73
American Cinematographer - February 2018 - 74
American Cinematographer - February 2018 - 75
American Cinematographer - February 2018 - 76
American Cinematographer - February 2018 - 77
American Cinematographer - February 2018 - 78
American Cinematographer - February 2018 - 79
American Cinematographer - February 2018 - 80
American Cinematographer - February 2018 - 81
American Cinematographer - February 2018 - 82
American Cinematographer - February 2018 - 83
American Cinematographer - February 2018 - 84
American Cinematographer - February 2018 - 85
American Cinematographer - February 2018 - 86
American Cinematographer - February 2018 - 87
American Cinematographer - February 2018 - 88
American Cinematographer - February 2018 - Cover3
American Cinematographer - February 2018 - Cover4
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