American Cinematographer - June 2015 - 72
Q
Picturing Tomorrow
The camera is readied for the scene in which Casey enters Tomorrowland.
72
June 2015
American Cinematographer
it was always moving, pulsing, never
stagnant. We incorporated a lot of
LEDs and media behind the lenticular
lens for a 3D effect. Depending on how
you set the lenticular, it would bend and
stretch the light in different directions."
Tiffin adds that the tower incorporated approximately 150 Barco
MiStrip LED units, with an inch
between each MiStrip. "Using media
servers and custom content, our media
operator, Zach Alexander, created an
energy-wave movement," Tiffin
explains. "With the lenticular lens, each
LED was stretched to about 6 inches.
The trick was that we had to invert
every other row, as the MiStrip LEDs
are linear, not clusters - if they were all
hung the same way, you would always
see red or blue first, depending on which
way the camera was looking. By inverting the rows, you get a perfect blended
color from any angle."
The tower also includes forks,
where electricity jumps back and forth
between the tines. Tiffen explains, "The
forks had [Environmental Lights]
PixelPro units built into them, with a
timed fade pattern that the console
operators ran. Above them were four
250K Lightning Strikes and two 70K
Lightning Strikes on the sides, which
served to create energy blasts. Off the
sides of the tower with the MiStrips
were two walls that were approximately
60 feet long and 24 feet tall each, and
they had approximately 560 Philips iW
Blast and ColorBlast [LED fixtures]
hung vertically every 3 feet and bounced
into a white wall. Between these vertical
light towers and in front of the white
bounce was a giant wood gobo, painted
black, and in front of that was another
lenticular lens, which stretched the
image and gave the sense of a major
energy field. On the sides of that was
the base of the tower, which had long
runs of PixelPros that matched the
program running the forks. To help with
the scope of this, every 20 feet of
PixelPro was a DMX universe, so the
entire set consisted of almost 100 DMX
universes. All of it was running at the
same time through the GrandMa2 and
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 - 28
American Cinematographer - June 2015 - 29
American Cinematographer - June 2015 - 30
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American Cinematographer - June 2015 - 36
American Cinematographer - June 2015 - 37
American Cinematographer - June 2015 - 38
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American Cinematographer - June 2015 - 40
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American Cinematographer - June 2015 - 42
American Cinematographer - June 2015 - 43
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American Cinematographer - June 2015 - 45
American Cinematographer - June 2015 - 46
American Cinematographer - June 2015 - 47
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American Cinematographer - June 2015 - 50
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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
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American Cinematographer - June 2015 - Cover3
American Cinematographer - June 2015 - Cover4
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