American Cinematographer - July 2014 - 38

◗

Dark Majesty

Top and Middle: This forest scene from the finished film required a team effort to bring the concept
drawing to life. Bottom: The filmmakers opted to shoot against bluescreen instead of green
due to the extensive foliage in the film's sets.

38

July 2014

American Cinematographer

smoke throughout all the sets, interior
and exterior, which surprised me a bit,"
continues Semler. "Usually the visualeffects people don't want smoke because
it contaminates the bluescreens, which
we used instead of green due to the
amount of green foliage in the sets. I
was happy because the smoke gave me
the opportunity to create beautiful
beams of light!"
Eddie Knight was the initial
gaffer on Maleficent, putting the show's
lighting plans and systems into action.
"Eddie is very thorough and creative,
with invaluable experience working the
Pinewood stages," says Semler. "He and
his loyal team of electrics and riggers,
including his four sons, made my job
relatively easy. Sadly, Eddie had to leave
the show for personal reasons. My longtime U.S. gaffer, Jim 'Jiminy Cricket'
Gilson, then joined us, fitting in well
with the London lads."
Knight and his crew rigged
Mole-Richardson space lights in the
ceilings of each stage that housed a
castle interior. Half the space lights
were left un-gelled to provide ambience
for the daylight scenes, while the second
half had a combination of ½ CTB and
White Flame Green gels for night or
dusk ambience. Lighting-desk operator
Graham Driscoll used ChamSys'
iPhone application MagicQ Remote to



American Cinematographer - July 2014

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