American Cinematographer - August 2015 - 58

◗

Time Travelers

Top: The Terminator arrives in 1984 Los Angeles. Middle and Bottom: Reese follows the Terminator
into the past, where he is pursued by the shape-shifting T-1000 (Byung-hun Lee).

58

August 2015

American Cinematographer

cues, giving the impression that the TDD
was "spinning or transitioning,"
Morgenthau notes.
"We had 30 1-foot-by-1-foot LED
strips glued to [polycarbonate sheets] and
soldered together that we scattered around
the set to amplify the [movement]," adds
gaffer Steve Mathis. Serving the same
purpose were six customized three-circuit
halogen MR16s in metal housings
prepared by Mathis' crew, who nicknamed
them "spook lights."
The steel TDD's arms, which were
lit by embedded LED LiteRibbon, start to
spin around Reese. The effect was partially
realized in-camera by powering the arms
with relatively quiet custom batteries.
Special-effects supervisor Mark Hawker
says his department prepped the moving
TDD for 10 weeks. As the machine revs
up, the faster-spinning arms become a
digital element, and CG electrical streaks
were added as well.
Shots of Reese time traveling within
the TDD sphere were captured on the
2.5K Vision Research Phantom Flex at
1,000 fps. "We took an ultra-high-framerate image of him turning around and
played it as though he's moving really
slowly and the world is zipping by in
comparison," Sirrs explains.
The largest-scale scene has the
humans - armed with guns, "Goer" military vehicles and helicopters - attacking
the Skynet camp where their compatriots
are imprisoned, and facing off against a
variety of land and air Hunter Killer (HK)
machines and skeletal, gun-toting T-800s.
The night exterior was shot over a couple
of weeks in a vacant lot near New Orleans'
Industrial Canal. The quarter-mile-long
set featured Spisak's huge wall builds -
constructed from reconfigurable 20'x20'
Styrofoam panels - and was digitally
extended by MPC to give a massive sense
of space.
The walls were illuminated by builtin ColorBlast TR LED fixtures and
LiteGear LED strips that provided a red
glow motivated by an electrical fence
created by the visual-effects department.
For closer shots, the glow was augmented
by spook lights, Celebs, Baby and/or Junior
lights gelled with what the crew dubbed



American Cinematographer - August 2015

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American Cinematographer - August 2015 - 1
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