American Cinematographer - July 2010 - 46
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Elements of Power
Right: Production designer Phil Messina’s spectacular set for the Northern Water Tribe village, the site of the final battle, was housed in a hangar at the Philadelphia Navy Yard. Below: In a frame from the battle, Master Pakku (Francis Guinan, center) uses his waterbending abilities to fend off Fire Nation soldiers.
ceiling would take the weight of our 200-by-250-foot lighting truss, a 30ton weight was hung for 30 minutes from each of the ceiling’s 42 load-bearing points.” One hundred feet of greenbeds were hung beneath the truss, with 300 sets of scaffolding for lighting platforms running down both sides. About 1,500' of mobile greenscreens ran down the sides and at one end of the hangar, and the curved sides of the ceiling were painted green to blend with the tapered section of the greenscreens. “The lighting challenges in this building were substantial,” says Lesnie. “The set just about touched the corners of the
46 July 2010
hangar; the ‘ground’ started 10 feet in the air, necessitating the use of a small construction crane to get heavy technology, such as Technocranes, onto the set; and scenes took place at various times of day. There was also the possibility that the schedule would not be in chronological script order. Provision had to be made for extensive special effects and stunt wire-rigging, and multiple units needed to be able to work simultaneously on the big battles, which involved up to 400 extras.” “For this set, we commissioned Airstar to build 12 16K HMI balloons,” explains Fortune. “Each balloon was 24 feet long and contained
American Cinematographer
four 4K HMI bulbs placed toward the ends of the sausage and run from a dimmable ballast unit. With that much firepower, we were able to shoot highspeed without re-rigging. Andrew loved the quality of the light, and the balloons saved a lot of time because they didn’t take space from the stuntriggers or the visual-effects and specialeffects crews. They also ensured that the gantry didn’t have too much weight put on it. We hung 160 space lights, half straight tungsten, the rest gelled with Half CTB, for ambient illumination. 12K and 18K HMI Pars provided moonlight, while 24-bulb Dinos for flame and fireball effects were positioned on both sides of the set and on top of buildings inside the set. If Andrew wanted something coming from a particular direction, the unit was already in place.” Adding another layer of complexity were 3,000 candle fixtures that adorned the set. Most of these contained three 250-watt or 500-watt bulbs, depending on what could be fit inside them; the bigger fixtures used six bulbs running off a three-circuit chase to create the appearance of flames. A combination of patterned glass and brushed silk was used in the fixtures.➣
American Cinematographer - July 2010
Table of Contents for the Digital Edition of American Cinematographer - July 2010
The International Journal of Motion Imaging - July 2010 Vol. 91 No. 7
Features
Dream Thieves (Inception)
Elements of Power (The Last Airbender)
An Emotional Rebirth (I Am Love)
Crowning Achievements (The Tudors)
Departments
Editor’s Note
President’s Desk
Short Takes: “Telephone”
Production Slate: Lie to Me • The Killer Inside Me
Post Focus: Enhancing Frozen
Filmmakers’ Forum: Gale Tattersall
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Karl Malkames, ASC • Vincent Martinelli, ASC
Clubhouse News
ASC Close-Up: Thomas A. Del Ruth
American Cinematographer - July 2010 - The International Journal of Motion Imaging - July 2010 Vol. 91 No. 7
American Cinematographer - July 2010 - Cover2
American Cinematographer - July 2010 - 1
American Cinematographer - July 2010 - 2
American Cinematographer - July 2010 - 3
American Cinematographer - July 2010 - 4
American Cinematographer - July 2010 - 5
American Cinematographer - July 2010 - 6
American Cinematographer - July 2010 - 7
American Cinematographer - July 2010 - Editor’s Note
American Cinematographer - July 2010 - 9
American Cinematographer - July 2010 - President’s Desk
American Cinematographer - July 2010 - 11
American Cinematographer - July 2010 - Short Takes: “Telephone”
American Cinematographer - July 2010 - 13
American Cinematographer - July 2010 - 14
American Cinematographer - July 2010 - 15
American Cinematographer - July 2010 - Production Slate: Lie to Me • The Killer Inside Me
American Cinematographer - July 2010 - 17
American Cinematographer - July 2010 - 18
American Cinematographer - July 2010 - 19
American Cinematographer - July 2010 - 20
American Cinematographer - July 2010 - 21
American Cinematographer - July 2010 - 22
American Cinematographer - July 2010 - 23
American Cinematographer - July 2010 - 24
American Cinematographer - July 2010 - 25
American Cinematographer - July 2010 - Dream Thieves (Inception)
American Cinematographer - July 2010 - 27
American Cinematographer - July 2010 - 28
American Cinematographer - July 2010 - 29
American Cinematographer - July 2010 - 30
American Cinematographer - July 2010 - 31
American Cinematographer - July 2010 - 32
American Cinematographer - July 2010 - 33
American Cinematographer - July 2010 - 34
American Cinematographer - July 2010 - 35
American Cinematographer - July 2010 - 36
American Cinematographer - July 2010 - 37
American Cinematographer - July 2010 - 38
American Cinematographer - July 2010 - 39
American Cinematographer - July 2010 - Elements of Power (The Last Airbender)
American Cinematographer - July 2010 - 41
American Cinematographer - July 2010 - 42
American Cinematographer - July 2010 - 43
American Cinematographer - July 2010 - 44
American Cinematographer - July 2010 - 45
American Cinematographer - July 2010 - 46
American Cinematographer - July 2010 - 47
American Cinematographer - July 2010 - 48
American Cinematographer - July 2010 - 49
American Cinematographer - July 2010 - An Emotional Rebirth (I Am Love)
American Cinematographer - July 2010 - 51
American Cinematographer - July 2010 - 52
American Cinematographer - July 2010 - 53
American Cinematographer - July 2010 - 54
American Cinematographer - July 2010 - 55
American Cinematographer - July 2010 - 56
American Cinematographer - July 2010 - 57
American Cinematographer - July 2010 - Crowning Achievements (The Tudors)
American Cinematographer - July 2010 - 59
American Cinematographer - July 2010 - 60
American Cinematographer - July 2010 - 61
American Cinematographer - July 2010 - 62
American Cinematographer - July 2010 - 63
American Cinematographer - July 2010 - 64
American Cinematographer - July 2010 - 65
American Cinematographer - July 2010 - 66
American Cinematographer - July 2010 - 67
American Cinematographer - July 2010 - Post Focus: Enhancing Frozen
American Cinematographer - July 2010 - 69
American Cinematographer - July 2010 - 70
American Cinematographer - July 2010 - 71
American Cinematographer - July 2010 - Filmmakers’ Forum: Gale Tattersall
American Cinematographer - July 2010 - 73
American Cinematographer - July 2010 - New Products & Services
American Cinematographer - July 2010 - 75
American Cinematographer - July 2010 - 76
American Cinematographer - July 2010 - 77
American Cinematographer - July 2010 - 78
American Cinematographer - July 2010 - 79
American Cinematographer - July 2010 - 80
American Cinematographer - July 2010 - 81
American Cinematographer - July 2010 - International Marketplace
American Cinematographer - July 2010 - Classified Ads
American Cinematographer - July 2010 - Ad Index
American Cinematographer - July 2010 - 85
American Cinematographer - July 2010 - In Memoria: Karl Malkames, ASC • Vincent Martinelli, ASC
American Cinematographer - July 2010 - Clubhouse News
American Cinematographer - July 2010 - ASC Close-Up: Thomas A. Del Ruth
American Cinematographer - July 2010 - Cover3
American Cinematographer - July 2010 - Cover4
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