American Cinematographer - July 2013 - 50
◗
Wild Planet
Kitai confronts one of the many fierce creatures that
have evolved in Earth’s toxic environment.
50
July 2013
the vessel’s crash to Earth, where it splits
open. Suschitzky and Flam used Mac
Tech modular strips of LEDs that could
be assembled into tubular sources with
varying numbers of rows. “This was my
first film with a lot of LEDs,” notes the
cinematographer, “and we picked them
because they are so flexible, their spread
is very even, and their color always
seemed to me to be correct.”
In the spaceship, the crew created
a grid of LED panels similar to fluorescents. “We used several hundred Mac
Tech LED strips as building blocks,”
says Flam. “Tom wanted everything in
the set to look organic, as if the materials were farmed rather than the result of
an industrial process. We created a mold
and put Mac Tech single units that were
about 1 inch in diameter and 2 or 4 feet
long inside. They stayed very cool.” The
LED units were dimmed via Variacs
away from the set, which enabled about
41⁄2 stops of dimming and could be
turned on or off via DMX.
Outside the cargo area’s windows,
Arri 24K Fresnels on Giraffe cranes
were moved slowly to simulate shifting
American Cinematographer
sunlight as the spaceship changed its
orientation. When the spaceship breaks
apart, daylight streams in, an effect
sourced by “two Dino lights through
diffusion frames that were brought up
to create a big burst of light,” says Flam.
“We went with Par 64 bulbs because
they come up more quickly than 10Ks.”
The cockpit was on a gimbal, and
inside the crew fitted custom RGB
LED practicals and optical fiber
“spaghetti” to create “a kind of retro
organic look,” continues Flam. All of
the lights were controlled via DMX on
a GrandMa dimming board. Two
media servers fed low-resolution video
to the strands of fiber to create shifting,
glowing colors. “We also added interactive LED units to stand in for the holograms that were added in post,” adds
Flam.
When the camera moved in for
closer shots of Kitai and his father in the
ship, the crew would sometimes turn off
a section of the LED grid above to keep
the camera side of the faces dark.
Suschitzky often added some soft
sources to provide edge light or fill,
American Cinematographer - July 2013
Table of Contents for the Digital Edition of American Cinematographer - July 2013
American Cinematographer - July 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Dreamland
Production Slate: Laurence Anyways • Post Tenebras Lux
Prime Target
Wild Planet
An Indie Twist on Shakespeare
Tournament of Death
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - American Cinematographer - July 2013
American Cinematographer - July 2013 - Cover2
American Cinematographer - July 2013 - 1
American Cinematographer - July 2013 - 2
American Cinematographer - July 2013 - Contents
American Cinematographer - July 2013 - 4
American Cinematographer - July 2013 - 5
American Cinematographer - July 2013 - 6
American Cinematographer - July 2013 - 7
American Cinematographer - July 2013 - 8
American Cinematographer - July 2013 - 9
American Cinematographer - July 2013 - Editor’s Note
American Cinematographer - July 2013 - 11
American Cinematographer - July 2013 - President’s Desk
American Cinematographer - July 2013 - 13
American Cinematographer - July 2013 - Short Takes: Dreamland
American Cinematographer - July 2013 - 15
American Cinematographer - July 2013 - 16
American Cinematographer - July 2013 - 17
American Cinematographer - July 2013 - 18
American Cinematographer - July 2013 - 19
American Cinematographer - July 2013 - Production Slate: Laurence Anyways • Post Tenebras Lux
American Cinematographer - July 2013 - 21
American Cinematographer - July 2013 - 22
American Cinematographer - July 2013 - 23
American Cinematographer - July 2013 - 24
American Cinematographer - July 2013 - 25
American Cinematographer - July 2013 - 26
American Cinematographer - July 2013 - 27
American Cinematographer - July 2013 - 28
American Cinematographer - July 2013 - 29
American Cinematographer - July 2013 - 30
American Cinematographer - July 2013 - 31
American Cinematographer - July 2013 - Prime Target
American Cinematographer - July 2013 - 33
American Cinematographer - July 2013 - 34
American Cinematographer - July 2013 - 35
American Cinematographer - July 2013 - 36
American Cinematographer - July 2013 - 37
American Cinematographer - July 2013 - 38
American Cinematographer - July 2013 - 39
American Cinematographer - July 2013 - 40
American Cinematographer - July 2013 - 41
American Cinematographer - July 2013 - 42
American Cinematographer - July 2013 - 43
American Cinematographer - July 2013 - Wild Planet
American Cinematographer - July 2013 - 45
American Cinematographer - July 2013 - 46
American Cinematographer - July 2013 - 47
American Cinematographer - July 2013 - 48
American Cinematographer - July 2013 - 49
American Cinematographer - July 2013 - 50
American Cinematographer - July 2013 - 51
American Cinematographer - July 2013 - 52
American Cinematographer - July 2013 - 53
American Cinematographer - July 2013 - 54
American Cinematographer - July 2013 - 55
American Cinematographer - July 2013 - An Indie Twist on Shakespeare
American Cinematographer - July 2013 - 57
American Cinematographer - July 2013 - 58
American Cinematographer - July 2013 - 59
American Cinematographer - July 2013 - 60
American Cinematographer - July 2013 - 61
American Cinematographer - July 2013 - 62
American Cinematographer - July 2013 - 63
American Cinematographer - July 2013 - Tournament of Death
American Cinematographer - July 2013 - 65
American Cinematographer - July 2013 - 66
American Cinematographer - July 2013 - 67
American Cinematographer - July 2013 - 68
American Cinematographer - July 2013 - 69
American Cinematographer - July 2013 - 70
American Cinematographer - July 2013 - 71
American Cinematographer - July 2013 - 72
American Cinematographer - July 2013 - 73
American Cinematographer - July 2013 - 74
American Cinematographer - July 2013 - 75
American Cinematographer - July 2013 - New Products & Services
American Cinematographer - July 2013 - 77
American Cinematographer - July 2013 - 78
American Cinematographer - July 2013 - 79
American Cinematographer - July 2013 - 80
American Cinematographer - July 2013 - 81
American Cinematographer - July 2013 - International Marketplace
American Cinematographer - July 2013 - Classified Ads
American Cinematographer - July 2013 - Ad Index
American Cinematographer - July 2013 - 85
American Cinematographer - July 2013 - Clubhouse News
American Cinematographer - July 2013 - 87
American Cinematographer - July 2013 - ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - Cover3
American Cinematographer - July 2013 - Cover4
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