American Cinematographer - June 2016 - 64
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Time and Space
Top: The Strait of Gibraltar, Spain, the Mediterranean Sea and North Africa captured from the ISS.
Middle: NASA astronaut Kjell Lindgren aims the camera over an empty space suit. Bottom:
Cristoforetti takes her first look at Earth upon arrival in the Russian Service Module of the ISS.
64
June 2016
American Cinematographer
14mm (T3.1) and 24mm (T1.5) Canon
CN-E lenses. "The 24mm Canon was
pretty close to our typical Imax 40mm
standard wide lens, and I liked that one a
lot," he notes. Neihouse also employed a
Nikon adapter in order to take advantage
of the complement of Nikon lenses that
were already aboard the ISS. "They have a
ton of Nikon lenses up there," he says. "We
used the 58mm [Noct-Nikkor f1.2] and
the 180mm [Nikkor] f2.8. For the C500
we flew a 12mm [T1.3 Arri/Zeiss] Master
Prime and a lightweight 15.5-47mm
[T2.8] Canon Cine Zoom."
Without the Space Shuttle,
supplies for the ISS are now sent up on a
variety of launch vehicles, only one of
which, the SpaceX Dragon, returns to
Earth; all the other supply vehicles burn
up on re-entry into the Earth's
atmosphere. When the supplies arrive, the
astronauts unload them, then pack the
non-return vehicle with trash so it can be
disposed of as the vehicle enters the
atmosphere. "That's how they get rid of
trash up there," Neihouse explains. "You
put it in an empty supply capsule and send
it out, and it is totally incinerated in the
atmosphere." In the case of the Dragon,
he adds, "it is packed with items requiring
return to Earth, and it then re-enters [the
atmosphere] and splashes down off the
coast of California."
After completion of the film, the
camera equipment was scheduled for
disposal aboard the non-return vehicles.
"The plan was always to burn up the
equipment," Neihouse notes. "None of it
was to return. The 12mm Master Prime,
the 15.5-47mm Canon Cine Zoom, a 1D
C and C500, and all of our accessories
have already burned up, and we just found
out that the remainder of our equipment
will be disposed of on the next non-return
vehicle. We had hoped to get it back to do
some 'post-mortem' on the sensors, but
there is very limited space for returning
equipment and experiments, so anything
that does not absolutely have to be
returned is burned up. It applies to all
payloads, and is also a reason we couldn't
fly film - there just isn't enough room to
return it to Earth."
To capture a first-person perspective
American Cinematographer - June 2016
Table of Contents for the Digital Edition of American Cinematographer - June 2016
Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
American Cinematographer - June 2016 - 15
American Cinematographer - June 2016 - 16
American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
American Cinematographer - June 2016 - 22
American Cinematographer - June 2016 - 23
American Cinematographer - June 2016 - 24
American Cinematographer - June 2016 - 25
American Cinematographer - June 2016 - 26
American Cinematographer - June 2016 - 27
American Cinematographer - June 2016 - 28
American Cinematographer - June 2016 - 29
American Cinematographer - June 2016 - 30
American Cinematographer - June 2016 - 31
American Cinematographer - June 2016 - 32
American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
American Cinematographer - June 2016 - 35
American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
American Cinematographer - June 2016 - 39
American Cinematographer - June 2016 - 40
American Cinematographer - June 2016 - 41
American Cinematographer - June 2016 - 42
American Cinematographer - June 2016 - 43
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American Cinematographer - June 2016 - 47
American Cinematographer - June 2016 - 48
American Cinematographer - June 2016 - 49
American Cinematographer - June 2016 - 50
American Cinematographer - June 2016 - 51
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American Cinematographer - June 2016 - 53
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American Cinematographer - June 2016 - 55
American Cinematographer - June 2016 - 56
American Cinematographer - June 2016 - 57
American Cinematographer - June 2016 - 58
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American Cinematographer - June 2016 - 60
American Cinematographer - June 2016 - 61
American Cinematographer - June 2016 - 62
American Cinematographer - June 2016 - 63
American Cinematographer - June 2016 - 64
American Cinematographer - June 2016 - 65
American Cinematographer - June 2016 - 66
American Cinematographer - June 2016 - 67
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American Cinematographer - June 2016 - 70
American Cinematographer - June 2016 - 71
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American Cinematographer - June 2016 - 73
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American Cinematographer - June 2016 - 81
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American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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