American Cinematographer - June 2016 - 68
◗
Time and Space
don't see that it's the laptop until the
camera comes around."
All of the footage of Earth was shot
from inside the ISS, looking out through
existing windows. To eliminate any
reflections from inside, Neihouse built
window shrouds - flat cloths with a hole
in the middle for the lens. "One of the
areas that we struggled with was the big
Cupola. There are seven windows in the
'back porch' of the Station, and they're
covered with what NASA calls 'scratch
planes' - basically cheap plastic coating.
So there's this beautiful view with these
incredible quartz optical-glass windows,
and it's ruined by these 27-cent, scratched
plastic panels, which are also covered in
nose grease and fingerprints from
astronauts ogling Earth over the years. We
came up with a 'bump shield,' a clear
plastic replacement for the scratch shield.
We built these little French doors into it
so you could open the doors and shoot
through the perfect window. Those helped
a lot, and NASA liked them so much that
they said, 'We're keeping these!' So that
was our little contribution to the future of
space photography."
High-energy particles were perhaps
the most significant concern with regard
to the cameras' performance throughout
the shoot. Without Earth's atmosphere to
shield them from this "galactic cosmic
radiation," as Neihouse explains, the
cameras' sensors would receive high hits
of pixel-killing radiation. "The higher you
get, the more radiation damage you start
picking up," he notes. "You can't really
shield against it. NASA has tested several
ways to shield film and then digital
cameras from this damage, [but] none
have proven very effective."
Instead, he explains, "When they
weren't shooting, [the astronauts] would
pack water bags around the equipment.
The water - like water vapor in our
atmosphere - shields against the highenergy particle radiation; it really slows it
down. In the end, we had to do a lot of
post work to clean up dead pixels, but
other than losing pixels, we had no
technical issues at all, which is
astounding."
The dead pixels also prompted
Top: A view from
Wilmore's helmet
as he looks down
at Earth. Middle:
Earth's aurora in
action. Bottom:
The deforestation
of Madagascar as
seen from the
ISS.
68
June 2016
American Cinematographer
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
American Cinematographer - June 2016 - 44
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American Cinematographer - June 2016 - 47
American Cinematographer - June 2016 - 48
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American Cinematographer - June 2016 - 56
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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
American Cinematographer - June 2016 - 68
American Cinematographer - June 2016 - 69
American Cinematographer - June 2016 - 70
American Cinematographer - June 2016 - 71
American Cinematographer - June 2016 - 72
American Cinematographer - June 2016 - 73
American Cinematographer - June 2016 - 74
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American Cinematographer - June 2016 - 76
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American Cinematographer - June 2016 - 78
American Cinematographer - June 2016 - 79
American Cinematographer - June 2016 - 80
American Cinematographer - June 2016 - 81
American Cinematographer - June 2016 - 82
American Cinematographer - June 2016 - 83
American Cinematographer - June 2016 - 84
American Cinematographer - June 2016 - 85
American Cinematographer - June 2016 - 86
American Cinematographer - June 2016 - 87
American Cinematographer - June 2016 - 88
American Cinematographer - June 2016 - 89
American Cinematographer - June 2016 - 90
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American Cinematographer - June 2016 - 92
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American Cinematographer - June 2016 - 100
American Cinematographer - June 2016 - 101
American Cinematographer - June 2016 - 102
American Cinematographer - June 2016 - 103
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American Cinematographer - June 2016 - 120
American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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