American Cinematographer - July 2014 - 69

story points and action beats inside that
drop ship.
In addition to the LED ribbon,
how did you create that feeling of
daylight through the bottom doors?
Beebe: The doors were built to
open and close on cue. It was tricky,
because we had soldiers that needed to
actually drop out of the ship. Stunts had
put in matting that we covered with
bluescreen fabric, so the only areas I had
[for lights] were along the sides of the
stunt pads. I had to cross-light from
below up into the ship. We used a lot of
Maxi-Brutes because they are relatively
low profile; I could lay them flat on the
ground at a bit of an angle. We custom
built soft frames with 216 diffusion that
would sit over them to create a big soft
bank of light that had a lot of punch to
push into the ship and reach the actors
when the doors opened.
We also rigged a circle of automated moving lights [Vari-Lites]
around the perimeter of the ship. We

programmed moves so that when the
ship was traveling you could feel the 'sun'
shift across the actors' faces to suggest
that sense of movement. When the ship
gets hit and goes into a spiral, we ran a
program where the lights chased around
the perimeter to create the illusion that
the ship was spinning, which added to
the chaos.
How did you get your camera
into the carrier?
Beebe: We did some shots where
we elevated a 50-foot Technocrane to
the level of the set and telescoped the
camera into the capsule, but because of
some of the gimbal movements, that was
somewhat restricted. We also ran a
central tracking system in the ceiling of
the ship with a ball-bearing-type mount
from which we hooked a bosun's chair
that my Steadicam operator rode while a
grip pushed him. The whole setup was
literally shoulder-width in order to fit
down the passageway.
If there was a set that defined the

movie for me, the drop ship was it. That
was one of the areas where we could
really play around with the genre. It also
had to be a very versatile set in order to
accommodate all the action beats. And
if being suspended in the air on a burning, gimbaled set wasn't enough, in the
third act, the drop ship gets submerged
in water!
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American Cinematographer - July 2014

Table of Contents for the Digital Edition of American Cinematographer - July 2014

Contents
American Cinematographer - July 2014 - Cover1
American Cinematographer - July 2014 - Cover2
American Cinematographer - July 2014 - 1
American Cinematographer - July 2014 - 2
American Cinematographer - July 2014 - Contents
American Cinematographer - July 2014 - 4
American Cinematographer - July 2014 - 5
American Cinematographer - July 2014 - 6
American Cinematographer - July 2014 - 7
American Cinematographer - July 2014 - 8
American Cinematographer - July 2014 - 9
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American Cinematographer - July 2014 - 11
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American Cinematographer - July 2014 - 13
American Cinematographer - July 2014 - 14
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American Cinematographer - July 2014 - 17
American Cinematographer - July 2014 - 18
American Cinematographer - July 2014 - 19
American Cinematographer - July 2014 - 20
American Cinematographer - July 2014 - 21
American Cinematographer - July 2014 - 22
American Cinematographer - July 2014 - 23
American Cinematographer - July 2014 - 24
American Cinematographer - July 2014 - 25
American Cinematographer - July 2014 - 26
American Cinematographer - July 2014 - 27
American Cinematographer - July 2014 - 28
American Cinematographer - July 2014 - 29
American Cinematographer - July 2014 - 30
American Cinematographer - July 2014 - 31
American Cinematographer - July 2014 - 32
American Cinematographer - July 2014 - 33
American Cinematographer - July 2014 - 34
American Cinematographer - July 2014 - 35
American Cinematographer - July 2014 - 36
American Cinematographer - July 2014 - 37
American Cinematographer - July 2014 - 38
American Cinematographer - July 2014 - 39
American Cinematographer - July 2014 - 40
American Cinematographer - July 2014 - 41
American Cinematographer - July 2014 - 42
American Cinematographer - July 2014 - 43
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American Cinematographer - July 2014 - 45
American Cinematographer - July 2014 - 46
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American Cinematographer - July 2014 - 48
American Cinematographer - July 2014 - 49
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American Cinematographer - July 2014 - 53
American Cinematographer - July 2014 - 54
American Cinematographer - July 2014 - 55
American Cinematographer - July 2014 - 56
American Cinematographer - July 2014 - 57
American Cinematographer - July 2014 - 58
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American Cinematographer - July 2014 - 60
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American Cinematographer - July 2014 - 62
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American Cinematographer - July 2014 - Cover3
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