American Cinematographer - May 2016 - 43

Standing beside the 3D-camera rig, Favreau examines a setup for a live-action scene.

forth between the virtual realm and the
live-action stages, as photographic decisions continued to evolve during the
course of production. The filmmakers
took great care to follow their virtuallighting blueprints - including their
animatics, which incorporated virtuallighting data and metadata - and
gaffer Bobby Finley and lightingconsole programmer Joshua Thatcher
also carefully logged all real-world
lighting setups, instruments and other
details for the visual-effects team so
that they could ensure the real and
virtual lighting always matched.
"What's interesting here,"
Balakrishnan opines, "is that virtuallighting data was actually dictated by
Pope in the virtual-camera layout in
Photon, and then was brought onto the
live-action set, all down to the exact
position and angles of the sun. MPC
and Weta would then receive this lighting information to ensure that the base
lighting of their virtual sets matched the
live-action captured plates."
Meanwhile, for live-action filming, the art department devised a
system of breaking large sets into what
Pope calls "palettes," or sections on
rollers - many of which were modular
and could be reused and reconfigured to
represent multiple locations, while
others were set-specific. Representing

the portions of the jungle that Sethi
needed to interact with, these palettes
could be quickly rolled onto either of
the two stages, assembled, disassembled
and rolled back off, keeping the production moving at peak efficiency.
Supporting this strategy, both
stages featured identical bluescreens
and lighting rigs so that the filmmakers
could move between the stages and
"change lighting quickly so that we
could be anywhere - day or night,
dusk or dawn, and [looking] in any
direction," Pope explains.
To light the stages' bluescreens,
Finley says he used LEDs - specifically Cineo TruColor HS instruments
- more than he ever had on a feature.
Finley adds, "Mac Tech 960 [LED
Sleds] were my overall ambient top
light. I had Quarter Grid bags made for
the 960s to give them a space-light feel,
[and they were] bulbed at 3,200
degrees. At either end of the stage, we
built three 8-by-12-foot soft boxes,
which were used to extend the skylight.
Each rig was on chain motors, so we
could raise and lower them as needed.
Each soft box had two 960 LED Sleds
in them. To wrap around fill light when
needed, [key grip Tony Mazzucchi's
team] hung eight 20-foot-wide by 40foot-high Ultrabounces on traveler
track, in front of the bluescreen, into



http://www.chroma-q.com http://www.aclighting.com

Table of Contents for the Digital Edition of American Cinematographer - May 2016

Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
American Cinematographer - May 2016 - 2
American Cinematographer - May 2016 - Contents
American Cinematographer - May 2016 - 4
American Cinematographer - May 2016 - 5
American Cinematographer - May 2016 - 6
American Cinematographer - May 2016 - 7
American Cinematographer - May 2016 - 8
American Cinematographer - May 2016 - 9
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