American Cinematographer - April 2014 - 70
◗
Outcast Power
wash the inner ring. That gave us a
fantastic, beautiful daylight unit that was
also dimmable and had a great spread -
a nice, even wash."
The lighting solution for the
sparring rings exemplified Küchler's
approach to the entire show: rely on
practicals built into sets whenever possible, including extensive use of LEDs.
This achieved Burger's desired aesthetic,
but also necessitated a strategic collaboration among the camera, grip, electric,
art, set-decoration and even transportation departments, according to the filmmakers. "Creatively, it made sense for
this story," Küchler says. "In the future
depicted in the film, large areas of the
city are abandoned, and the inhabitants
don't have as much electricity as we do
now. The practicals they use are the
direction we're actually heading in: more
LED and plasma lights that consume
less power but can be as bright or
brighter.
"Coming up with those kinds of
lighting solutions was exciting," the
cinematographer continues. "We came
across a lot of interesting light sources,
and our grips built a lot of unique rigs.
Len Levine, Jim Shelton and their crews
did really great work. We also worked
extremely closely with [set decorator]
Anne Kuljian, who helped me design
round light fittings for LED strip lights
that we could mount on metal plates in
the Dauntless Dining Hall [set]. They
were Plexiglas tubes about 4 inches
wide, with Plexiglas square rods about
1½ inches in diameter. It can be costly to
figure out how to mount, rig and recycle
things like that to accommodate the
schedule. It's high logistics to figure out
how to rig and de-rig practicals, how to
move them from one location to
another, and so on. Plus, this is a
science-fiction film, so we had to
develop examples and try them out.
Should they flicker? Can we dim them?
What is their true color spectrum? I
would advise any cinematographer
shooting a project like this to spend as
much prep time with the gaffer as
possible!
"In fact, for me, probably the
Top: Tris pleads
with fellow
faction
members, led by
Al (Christian
Madsen, right),
as they threaten
to harm her.
Bottom: Tris and
Four, both
Divergents,
venture past the
Navy Pier Ferris
wheel.
70
April 2014
American Cinematographer
American Cinematographer - April 2014
Table of Contents for the Digital Edition of American Cinematographer - April 2014
Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
American Cinematographer - April 2014 - 4
American Cinematographer - April 2014 - 5
American Cinematographer - April 2014 - 6
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