American Cinematographer - July 2016 - 50
◗
The Aliens Strike Back
Top: The crew films a scene in which Levinson and pilot Jake Morrison (Liam Hemsworth) walk on the
moon. Middle, from left: Pilots Dylan Hiller (Jessie Usher) and Morrison meet with Cmdr. Jiang Lao (Chin
Han) in the moon base. Bottom: Förderer and A-camera/Steadicam operator François Daignault ready a
scene with Han.
50
July 2016
American Cinematographer
LiteRibbon LED strips and Digital
Sputnik DS 6 LED fixtures. "One of the
problems with LED technology is that
the color and spectrum of the lights vary
so much from manufacturer to
manufacturer," he notes. "Mixing and
matching can be a nightmare, so I stuck
with limited choices. Sometimes even
various batches of LEDs from the same
manufacturer can have a different
spectrum, so we had to be careful."
Also during prep, gaffer Jay Kemp
collaborated with LiteRibbon to create
custom 4'x4' and 6'x6' soft sources that
were lined with RGBW LEDs. "These
fixtures were basically a self-lit diffusion
frame," Förderer explains. "I essentially
used them for every setup. I don't like
stands; I believe filmmaking and stands
are enemies. Wherever you put a stand,
you can't point a camera. With
traditional soft lights you have a
stand for the light and a stand for the
diffusion and stands for the flags - it
gets crazy. With these fixtures there was
only one stand, and it was all selfcontained." To control the soft light, the
cinematographer employed custom 30and 40-degree DOPChoice Snapgrids
- soft egg-crate accessories that attach
quickly to fixture frames - which
eliminated the need for flags.
LiteRibbon LED strips were also
integrated into the production design.
Practical fixtures were fitted with LED
clusters instead of traditional tungsten
bulbs, thus allowing the cinematographer to easily dial-in intensity and
color on a shot-by-shot basis. A wide
shot might have had a practical at 30percent intensity, for example, but when
the camera moved in for a close-up, the
cinematographer would increase the
intensity to accentuate the modeling on
the actors without introducing new
fixtures into the setup.
"We built the LiteRibbon into the
set wherever it made sense," the
cinematographer explains. "When I
needed something harder [and]
punchier, I went with the Digital
Sputnik fixtures, which are very powerful
LED lights with narrow beams. You can
group them in clusters, and they work as
American Cinematographer - July 2016
Table of Contents for the Digital Edition of American Cinematographer - July 2016
Contents
American Cinematographer - July 2016 - Intro
American Cinematographer - July 2016 - Cover1
American Cinematographer - July 2016 - Cover2
American Cinematographer - July 2016 - 1
American Cinematographer - July 2016 - 2
American Cinematographer - July 2016 - 3
American Cinematographer - July 2016 - 4
American Cinematographer - July 2016 - Contents
American Cinematographer - July 2016 - 6
American Cinematographer - July 2016 - 7
American Cinematographer - July 2016 - 8
American Cinematographer - July 2016 - 9
American Cinematographer - July 2016 - 10
American Cinematographer - July 2016 - 11
American Cinematographer - July 2016 - 12
American Cinematographer - July 2016 - 13
American Cinematographer - July 2016 - 14
American Cinematographer - July 2016 - 15
American Cinematographer - July 2016 - 16
American Cinematographer - July 2016 - 17
American Cinematographer - July 2016 - 18
American Cinematographer - July 2016 - 19
American Cinematographer - July 2016 - 20
American Cinematographer - July 2016 - 21
American Cinematographer - July 2016 - 22
American Cinematographer - July 2016 - 23
American Cinematographer - July 2016 - 24
American Cinematographer - July 2016 - 25
American Cinematographer - July 2016 - 26
American Cinematographer - July 2016 - 27
American Cinematographer - July 2016 - 28
American Cinematographer - July 2016 - 29
American Cinematographer - July 2016 - 30
American Cinematographer - July 2016 - 31
American Cinematographer - July 2016 - 32
American Cinematographer - July 2016 - 33
American Cinematographer - July 2016 - 34
American Cinematographer - July 2016 - 35
American Cinematographer - July 2016 - 36
American Cinematographer - July 2016 - 37
American Cinematographer - July 2016 - 38
American Cinematographer - July 2016 - 39
American Cinematographer - July 2016 - 40
American Cinematographer - July 2016 - 41
American Cinematographer - July 2016 - 42
American Cinematographer - July 2016 - 43
American Cinematographer - July 2016 - 44
American Cinematographer - July 2016 - 45
American Cinematographer - July 2016 - 46
American Cinematographer - July 2016 - 47
American Cinematographer - July 2016 - 48
American Cinematographer - July 2016 - 49
American Cinematographer - July 2016 - 50
American Cinematographer - July 2016 - 51
American Cinematographer - July 2016 - 52
American Cinematographer - July 2016 - 53
American Cinematographer - July 2016 - 54
American Cinematographer - July 2016 - 55
American Cinematographer - July 2016 - 56
American Cinematographer - July 2016 - 57
American Cinematographer - July 2016 - 58
American Cinematographer - July 2016 - 59
American Cinematographer - July 2016 - 60
American Cinematographer - July 2016 - 61
American Cinematographer - July 2016 - 62
American Cinematographer - July 2016 - 63
American Cinematographer - July 2016 - 64
American Cinematographer - July 2016 - 65
American Cinematographer - July 2016 - 66
American Cinematographer - July 2016 - 67
American Cinematographer - July 2016 - 68
American Cinematographer - July 2016 - 69
American Cinematographer - July 2016 - 70
American Cinematographer - July 2016 - 71
American Cinematographer - July 2016 - 72
American Cinematographer - July 2016 - 73
American Cinematographer - July 2016 - 74
American Cinematographer - July 2016 - 75
American Cinematographer - July 2016 - 76
American Cinematographer - July 2016 - 77
American Cinematographer - July 2016 - 78
American Cinematographer - July 2016 - 79
American Cinematographer - July 2016 - 80
American Cinematographer - July 2016 - 81
American Cinematographer - July 2016 - 82
American Cinematographer - July 2016 - 83
American Cinematographer - July 2016 - 84
American Cinematographer - July 2016 - 85
American Cinematographer - July 2016 - 86
American Cinematographer - July 2016 - 87
American Cinematographer - July 2016 - 88
American Cinematographer - July 2016 - Cover3
American Cinematographer - July 2016 - Cover4
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