◗ Ancient Aliens Top to bottom: On location in Iceland, a SuperTechno crane angles in on Rapace; a carmounted Pursuit Crane tracks actors traveling over Iceland’s terrain in ATVs; crewmembers capture a shot of performers suspended from wires during the staging of a storm sequence. suspended boxes of HMI Pars and the mixed-temperature work lights on the Prometheus to illuminate the swirl of particles generated by wind machines. As they go through the caves on the planet, the astronauts come upon a vast cavern with a giant, sculpted head, which marks the beginning of their troubles. Wolski lit the area with a 40' cluster of space lights diffused through Grid Cloth and CTB gel that was suspended high above the set. The edges of this rectangular source were taped off to create a hexagon that would provide a smaller reflection on the astronauts’ helmets. The crew also positioned HMI helium balloons to provide some sidelight on the actors. The other principal sources in the scene were warm LED practicals at the base of the neck of the astronauts’ spacesuits, and powerful LED flashlights whose beams were defined by a bit of smoke on set. Wolski would occasionally add some fluorescents or LEDs on a stand to help illuminate the actors’ faces during dialogue sequences. Stereographer James Goldman, who also worked with Wolski on the 3-D Pirates, explains that Prometheus was shot parallel, meaning that the convergence of the left and right images was accomplished in post. He adds that 38 July 2012 American Cinematographer