American Cinematographer - June 2015 - 71
Bridgeway Plaza - where travelers enter and exit Tomorrowland.
our dailies operator, who used
[Colorfront
On-Set
Dailies].
Colorfront is a powerful tool for bridging the set with dailies and editorial;
tied to a MySQL database to be used
with visual-effects pulls later on, it is a
very efficient way to create grades and
keep them throughout postproduction
and compositing."
Miranda often kept the cameras
on cranes and dollies, sometimes flew
them on cables, and made extensive use
of a 73' Hydrascope on a Titan base.
"Tomorrowland is a place we haven't
seen before," the cinematographer
notes, adding that scenes set therein
consequently have "more hero shots and
vistas [than scenes set] in the 'real'
world."
Bird sought to further distinguish
Tomorrowland with an interactive
lighting scheme that would suggest a
sense of living light and energy. For
particular sets and lengthy sequences,
Miranda made interactive lighting
effects the primary - and sometimes
only - lighting sources. In fact,
Miranda says the intent with virtually
all of the light in Tomorrowland was to
make it constantly move with "a Tesla
type of energy, like electrical charges."
"Claudio is very attuned to light,
how it reacts and how to keep it consis-
tent, whether we are in situations with
effects and bluescreen or not," Bird says.
"He has this amazing ability to orchestrate the light from one scene to the
next, changing it in an almost musical
way."
One of the movie's key locales is
the Bridgeway Plaza, where travelers to
and from Tomorrowland enter and exit
the reality. Crackling energy visibly
pulsates up and down the plaza's "power
tower" - which was built on an exterior
set in Vancouver - in homage to the
work of the electrical pioneer Nikola
Tesla. Rather than relying on CG
constructs, the filmmakers created most
of the pulsating effect on set by
photographing various LEDs positioned behind lenticular lens sheets.
"Lenticular is [the type of ] plastic sheet
on those old 3D postcards," Miranda
explains. "It has an amazing look when
used as a screen in front of light
sources."
"It is flexible, as it's maybe 3
millimeters thick," notes rigging gaffer
Jarrod Tiffin, "and it comes in different
magnification levels."
Miranda describes the constantly
moving and reshaping light as "a kind of
in-camera energy-field effect." Gaffer
David Tickell adds that the goal was to
imbue "a life force to the energy, to show
71
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American Cinematographer - June 2015
Table of Contents for the Digital Edition of American Cinematographer - June 2015
Contents
American Cinematographer - June 2015 - Cover1
American Cinematographer - June 2015 - Cover2
American Cinematographer - June 2015 - 1
American Cinematographer - June 2015 - 2
American Cinematographer - June 2015 - Contents
American Cinematographer - June 2015 - 4
American Cinematographer - June 2015 - 5
American Cinematographer - June 2015 - 6
American Cinematographer - June 2015 - 7
American Cinematographer - June 2015 - 8
American Cinematographer - June 2015 - 9
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American Cinematographer - June 2015 - 14
American Cinematographer - June 2015 - 15
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American Cinematographer - June 2015 - 17
American Cinematographer - June 2015 - 18
American Cinematographer - June 2015 - 19
American Cinematographer - June 2015 - 20
American Cinematographer - June 2015 - 21
American Cinematographer - June 2015 - 22
American Cinematographer - June 2015 - 23
American Cinematographer - June 2015 - 24
American Cinematographer - June 2015 - 25
American Cinematographer - June 2015 - 26
American Cinematographer - June 2015 - 27
American Cinematographer - June 2015 - 28
American Cinematographer - June 2015 - 29
American Cinematographer - June 2015 - 30
American Cinematographer - June 2015 - 31
American Cinematographer - June 2015 - 32
American Cinematographer - June 2015 - 33
American Cinematographer - June 2015 - 34
American Cinematographer - June 2015 - 35
American Cinematographer - June 2015 - 36
American Cinematographer - June 2015 - 37
American Cinematographer - June 2015 - 38
American Cinematographer - June 2015 - 39
American Cinematographer - June 2015 - 40
American Cinematographer - June 2015 - 41
American Cinematographer - June 2015 - 42
American Cinematographer - June 2015 - 43
American Cinematographer - June 2015 - 44
American Cinematographer - June 2015 - 45
American Cinematographer - June 2015 - 46
American Cinematographer - June 2015 - 47
American Cinematographer - June 2015 - 48
American Cinematographer - June 2015 - 49
American Cinematographer - June 2015 - 50
American Cinematographer - June 2015 - 51
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American Cinematographer - June 2015 - 53
American Cinematographer - June 2015 - 54
American Cinematographer - June 2015 - 55
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American Cinematographer - June 2015 - 57
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American Cinematographer - June 2015 - 60
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American Cinematographer - June 2015 - 62
American Cinematographer - June 2015 - 63
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American Cinematographer - June 2015 - 73
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American Cinematographer - June 2015 - 76
American Cinematographer - June 2015 - 77
American Cinematographer - June 2015 - 78
American Cinematographer - June 2015 - 79
American Cinematographer - June 2015 - 80
American Cinematographer - June 2015 - 80a
American Cinematographer - June 2015 - 80b
American Cinematographer - June 2015 - 80c
American Cinematographer - June 2015 - 80d
American Cinematographer - June 2015 - 80e
American Cinematographer - June 2015 - 80f
American Cinematographer - June 2015 - 80g
American Cinematographer - June 2015 - 80h
American Cinematographer - June 2015 - 81
American Cinematographer - June 2015 - 82
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