American Cinematographer - October 2016 - 51
For hardware, Ryan turned to
Solomon Group, a New Orleans
company whose founders came from
theater lighting, entertainment technology and live arena productions, and
who now create large-scale events and
attractions, from Lollapalooza's EDM
stage to the LED display at the
Superdome in New Orleans. For their
test presentation, Solomon Group
brought in a 12'x12' wall of interlocking
LED modules - specifically ROE
Visual's Radiant MC-9H panels, each
of which measures approximately 2'x2',
features a 9.375mm pixel pitch, and
outputs 3,000 lumens. Moving
forward, the production used these
panels like building blocks, putting
together walls of various sizes.
Their largest, used for conflagrations on the Six Flags sets, was a 42'x24'
wall comprising 252 panels. Placed
inside a truss box, it was so large it had
to be dropped into place using one of
the enormous 500-ton construction
cranes that production had initially
ordered for the exterior sets. "This
particular setup had an overall resolution of 1,344x768 pixels per inch,
running on [ROE's] Evision processors
and software," says Ryan. "The LED
wall was receiving video from a PRG
Mbox Media Server fed into an
ImagePro-II [video scaler, made by
Barco], which was being controlled via
Art-Net by a GrandMA2 lighting
console."
Chediak says, "When we are in
these big extensions, the LED wall
provides the base [ambience] and
sometimes the key light for whatever
action is happening up there on the rig
platform. All that is enhanced with
either gelled Maxi-Brutes for background or real fire. The whole set was
rigged with fire: fire in the sets, fire in
the water. I don't know how much
propane we used, but it was a crazy
amount."
As Ryan elaborates, "When we
were shooting in the big tank, we had
eight scissor lifts - each with four 12light Maxis, through a double CTO, on
flicker generators. Once the big fire
started, we had the real fires as our
primary foreground element, and then
we'd turn on those scissor lifts to
augment it - always in the background, never on the actors. When we
shot actors, it was always either real fire
or the LED wall."
For scenes on the bridge sets, the
same approach was simply scaled down.
"We had three video walls that were 8by-8 [feet]," says Ryan. "They could be
run independently or combined to form
one large 24-by-8 video screen." The
8x8s hung like a curtain off a truss and
were moved by forklift. "We used the 8by-8 walls every single day when shooting the bridges," says Ryan. For instance,
Chediak adds, "We did a row of smaller
LEDs and put that outside the bridge
when it's on fire and [the oil rig starts]
losing electricity." At times, the walls
were broken down further into 4'x4'
http://manfrotto.us
American Cinematographer - October 2016
Table of Contents for the Digital Edition of American Cinematographer - October 2016
Contents
American Cinematographer - October 2016 - Intro
American Cinematographer - October 2016 - Cover1
American Cinematographer - October 2016 - Cover2
American Cinematographer - October 2016 - 1
American Cinematographer - October 2016 - 2
American Cinematographer - October 2016 - Contents
American Cinematographer - October 2016 - 4
American Cinematographer - October 2016 - 5
American Cinematographer - October 2016 - 6
American Cinematographer - October 2016 - 7
American Cinematographer - October 2016 - 8
American Cinematographer - October 2016 - 9
American Cinematographer - October 2016 - 10
American Cinematographer - October 2016 - 11
American Cinematographer - October 2016 - 12
American Cinematographer - October 2016 - 13
American Cinematographer - October 2016 - 14
American Cinematographer - October 2016 - 15
American Cinematographer - October 2016 - 16
American Cinematographer - October 2016 - 17
American Cinematographer - October 2016 - 18
American Cinematographer - October 2016 - 19
American Cinematographer - October 2016 - 20
American Cinematographer - October 2016 - 21
American Cinematographer - October 2016 - 22
American Cinematographer - October 2016 - 23
American Cinematographer - October 2016 - 24
American Cinematographer - October 2016 - 25
American Cinematographer - October 2016 - 26
American Cinematographer - October 2016 - 27
American Cinematographer - October 2016 - 28
American Cinematographer - October 2016 - 29
American Cinematographer - October 2016 - 30
American Cinematographer - October 2016 - 31
American Cinematographer - October 2016 - 32
American Cinematographer - October 2016 - 33
American Cinematographer - October 2016 - 34
American Cinematographer - October 2016 - 35
American Cinematographer - October 2016 - 36
American Cinematographer - October 2016 - 37
American Cinematographer - October 2016 - 38
American Cinematographer - October 2016 - 39
American Cinematographer - October 2016 - 40
American Cinematographer - October 2016 - 41
American Cinematographer - October 2016 - 42
American Cinematographer - October 2016 - 43
American Cinematographer - October 2016 - 44
American Cinematographer - October 2016 - 45
American Cinematographer - October 2016 - 46
American Cinematographer - October 2016 - 47
American Cinematographer - October 2016 - 48
American Cinematographer - October 2016 - 49
American Cinematographer - October 2016 - 50
American Cinematographer - October 2016 - 51
American Cinematographer - October 2016 - 52
American Cinematographer - October 2016 - 53
American Cinematographer - October 2016 - 54
American Cinematographer - October 2016 - 55
American Cinematographer - October 2016 - 56
American Cinematographer - October 2016 - 57
American Cinematographer - October 2016 - 58
American Cinematographer - October 2016 - 59
American Cinematographer - October 2016 - 60
American Cinematographer - October 2016 - 61
American Cinematographer - October 2016 - 62
American Cinematographer - October 2016 - 63
American Cinematographer - October 2016 - 64
American Cinematographer - October 2016 - 65
American Cinematographer - October 2016 - 66
American Cinematographer - October 2016 - 67
American Cinematographer - October 2016 - 68
American Cinematographer - October 2016 - 69
American Cinematographer - October 2016 - 70
American Cinematographer - October 2016 - 71
American Cinematographer - October 2016 - 72
American Cinematographer - October 2016 - 73
American Cinematographer - October 2016 - 74
American Cinematographer - October 2016 - 75
American Cinematographer - October 2016 - 76
American Cinematographer - October 2016 - 77
American Cinematographer - October 2016 - 78
American Cinematographer - October 2016 - 79
American Cinematographer - October 2016 - 80
American Cinematographer - October 2016 - 81
American Cinematographer - October 2016 - 82
American Cinematographer - October 2016 - 83
American Cinematographer - October 2016 - 84
American Cinematographer - October 2016 - 85
American Cinematographer - October 2016 - 86
American Cinematographer - October 2016 - 87
American Cinematographer - October 2016 - 88
American Cinematographer - October 2016 - Cover3
American Cinematographer - October 2016 - Cover4
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