American Cinematographer - March 2018 - 51

camera flares appear strange and unnatural. During prep at Panavision
London, Hardy shot about six hours of
flare tests on the F65 in front of black,
projecting colored light into every lens
he could find. Lowe recalls using various
lights, including Source Fours; small
flashlights; and a Rosco X24 X-Effects
projector, which creates a rippling lighting effect via two spinning, colored
gobos. "We would shine that into the
lens at different angles to create various
funky flares," the gaffer says. They then
blew up the flares they had shot, selected
desired portions for specific moments
within the Shimmer, and composited
them into the footage to enhance the
in-camera flares captured in the park.
"Except for the CG creatures, we
physically generated the core ingredients of every visual effect," Hardy says.
"All the visual layers are generated in a
very analog and natural way. The effect
is something that feels real even though
it's trippy. We didn't want to be outand-out weird. We wanted everything
to be embedded in reality."
The cinematographer's overall
lighting approach in Area X was essentially independent of actor movement.
"The actors were free to move, as most
of the lighting was either integral to the
sets or 'off set,'" he says. "We did not
differentiate between darker and lighter
parts of the room; the actors used the
shadow as well as the light. I did not
want to restrict their movement and did
not want it to feel preconceived by
having them land in lit areas, as that
feels fake to me. It's about the space and
the environment. The characters enter
into that environment and the light
behaves the way it behaves and we don't
change it. For me, it's never about lighting specific people - it's about lighting
environments."
The characters in these scenes are
surrounded by points of light in the
background and around the edges, as if,
as Shoul suggests, "they were being
oppressed or overwhelmed by the new
environment, while enlightenment was
just out of their reach."
The sun effect around the actors
51

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

Contents
American Cinematographer - March 2018 - Cover1
American Cinematographer - March 2018 - Cover2
American Cinematographer - March 2018 - 1
American Cinematographer - March 2018 - 2
American Cinematographer - March 2018 - Contents
American Cinematographer - March 2018 - 4
American Cinematographer - March 2018 - 5
American Cinematographer - March 2018 - 6
American Cinematographer - March 2018 - 7
American Cinematographer - March 2018 - 8
American Cinematographer - March 2018 - 9
American Cinematographer - March 2018 - 10
American Cinematographer - March 2018 - 11
American Cinematographer - March 2018 - 12
American Cinematographer - March 2018 - 13
American Cinematographer - March 2018 - 14
American Cinematographer - March 2018 - 15
American Cinematographer - March 2018 - 16
American Cinematographer - March 2018 - 17
American Cinematographer - March 2018 - 18
American Cinematographer - March 2018 - 19
American Cinematographer - March 2018 - 20
American Cinematographer - March 2018 - 21
American Cinematographer - March 2018 - 22
American Cinematographer - March 2018 - 23
American Cinematographer - March 2018 - 24
American Cinematographer - March 2018 - 25
American Cinematographer - March 2018 - 26
American Cinematographer - March 2018 - 27
American Cinematographer - March 2018 - 28
American Cinematographer - March 2018 - 29
American Cinematographer - March 2018 - 30
American Cinematographer - March 2018 - 31
American Cinematographer - March 2018 - 32
American Cinematographer - March 2018 - 33
American Cinematographer - March 2018 - 34
American Cinematographer - March 2018 - 35
American Cinematographer - March 2018 - 36
American Cinematographer - March 2018 - 37
American Cinematographer - March 2018 - 38
American Cinematographer - March 2018 - 39
American Cinematographer - March 2018 - 40
American Cinematographer - March 2018 - 41
American Cinematographer - March 2018 - 42
American Cinematographer - March 2018 - 43
American Cinematographer - March 2018 - 44
American Cinematographer - March 2018 - 45
American Cinematographer - March 2018 - 46
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American Cinematographer - March 2018 - 48
American Cinematographer - March 2018 - 49
American Cinematographer - March 2018 - 50
American Cinematographer - March 2018 - 51
American Cinematographer - March 2018 - 52
American Cinematographer - March 2018 - 53
American Cinematographer - March 2018 - 54
American Cinematographer - March 2018 - 55
American Cinematographer - March 2018 - 56
American Cinematographer - March 2018 - 57
American Cinematographer - March 2018 - 58
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American Cinematographer - March 2018 - 60
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American Cinematographer - March 2018 - 76
American Cinematographer - March 2018 - 77
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American Cinematographer - March 2018 - 79
American Cinematographer - March 2018 - 80
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American Cinematographer - March 2018 - Cover4
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