American Cinematographer - August 2016 - 39

giving the filmmakers full creative
control over light movement and other
subtleties. "We designed nodes
throughout the set to max out certain
areas due to the high volume of DMX
slots needed for LED," Tiffin says. "It
was all brought back to Gigabyte
switches, where we could drop Cat5e
lines down so the board could be moved
and plugged into the full network. We
also ran a Wi-Fi signal from the console
so that we could see what our program
was doing, due to the many factors that
could change, which would have been
impossible to accomplish from the desk.
We used Wireless Solution's W-DMX
G4 series BlackBox F-2 G4 MK2
transmitters and Micro F-1 Lite G4
transmitters for wireless transmission.
For receivers, we used the Micro R-512
Lite G4. The Enterprise bridge alone
had 11 wireless universes, and 66 with
the hard-wired elements."
The curved hallway of the ship's
saucer section was built on 80'-long
rotators capable of tilting 180 degrees
left or right. For the enemy's attack on
the ship, red-alert lighting was generated in this hallway with an interactive
LED scheme that complements the
iconic, haunting audio alarm that Star
Trek fans have come to know. Tiffin
explains that the red-alert lighting was
accomplished with RGB PixelPro strip
technology and complex programming
techniques, which "allowed light to
move directionally down the hallways,
helping to create a sense of depth while
also adding to the confusion of the redalert situation."
Windon adds, "We literally go to
black, and then a red wave of light
moves through the hallway, giving the
sensation of movement, rather than
simply having red lights flashing. They
are like a warp - or waves - of red
light, about 6 feet long, that travel all the
way around the hallway, disappear, and
are then followed by another one a
second or two later."
The attack on the Enterprise also
required a great deal of CG work,
created by Double Negative under the
supervision of Peter Chiang. For this

sequence, as well as many others, extensive previsualization was performed by a
split team of artists from vendor Proof
Inc. and production company Bad
Robot, with oversight by previs supervisor Alex Vegh. Previs work was imperative to ensuring that Windon's camera
style was seamlessly reproduced when
CG elements and sequences were introduced.
Lin emphasizes that he applied

the same basic approach to designing
Beyond 's set pieces that he has for years
on Fast and Furious movies. "But instead
of talking to a second-unit director," he
notes, "I'm talking to the visual-effects
supervisor, and using all the same terms
and language. The camera lens, the
camera moves - it is all designed. And
to make that work, Alex Vegh got
involved very early in the process, when
we first began writing the script, to help


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American Cinematographer - August 2016

Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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