American Cinematographer - April 2018 - 44

◗

Across the Universe
also limited camera access. "Our
coordinator,
Bob
construction
Blackburn, [mitigated] that with platforms outside the set and flyable walls,
which allowed cameras - on
Chapman Hydrascope cranes with
remote heads - to reach anywhere in
the cave," the cinematographer notes.
Another planet, Camazotz, was
home to a menacing disembodied
brain referred to simply as "It," which
threatens to take over the minds of
Meg and her companions. The characters go to the proverbial heart of the
evil entity in a set that was meant to
look like a living construct, with electrical synapses reverberating throughout the scene. The action was shot on
limited set pieces on a bluescreen stage,
with visual-effects supervisor Richard
McBride's visual-effects team providing fantastical embellishments in post.
On the "It's lair" set, the filmmakers wanted to generate intense
lighting effects that the visual effects
could later match. "We used long runs
of Chroma-Q Color Force 72 LED
battens," Levine explains. "They were
very responsive and provided a clean,
extremely bright white light. Joshua
controlled the [synapse] strikes on the
console."
Camazotz is also where Meg
eventually finds her father, who's been
trapped in a setting the filmmakers
referred to simply as "father's room."
Schliessler describes the set as "an
endless tunnel of diminishing cubes."
Working with production
designer Naomi Shohan, Levine
relates, "Ava and Tobias chose colors for
the backgrounds as Meg and her father
interact, and we simply had [Thatcher]
utilize the Road Hog 4's color wheel to
change color, controlling diffused
Color Force 72 LED strips [that were
positioned to shine through 6-inch
seams between each wall layer] to get
even [colored] light on the white
walls."
The "round room" set also
presented unique opportunities for
lighting. Built 4' off the ground, 210
degrees of the oval-shaped room was

Top and above:
In a scene shot
on location
among Northern
California's
redwoods, Meg
and Calvin arrive
in a dark, living
forest. A chase
scene takes
place at this
location as well.
Right: DuVernay
discusses a
sequence with
Reid.

44

April 2018

American Cinematographer



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

Contents
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American Cinematographer - April 2018 - Cover2
American Cinematographer - April 2018 - 1
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