American Cinematographer - December 2016 - 16
Top: David wakes from his cryo-coffin and is greeted by his wife, Evelyn (Jana Klinge). Middle: Marti and
Klinge rehearse a scene, while director Christoph Heimer (second from left) observes. Bottom: The crew
prepares the medical-bay set.
16
December 2016
American Cinematographer
up the underground facility in a studio,"
Gomoll remembers. "But it was too expensive, so we looked for real locations."
Used as an armory storage facility
during the Cold War, the bunker provided
an inherently subterranean feel courtesy of
its long tunnels and massive steel door,
which remains operational and was put to
prominent use in the film. The filmmakers
did share an early concern about the location, however. "It was owned by a motorcycle gang, and it was not so easy to get familiar with these people," Gomoll recounts.
"On the location-scout days, we had to
drink vodka and Jägermeister with them.
But in the end, they welcomed us to shoot
the movie on their property." Once the
production had approval, the art department worked for nearly two months, building and preparing the sets within the bunker.
Apart from limited access to electricity and the sub-freezing temperatures,
Gomoll says the greatest difficulty he faced
in the bunker stemmed from the location's
white walls. "We had them everywhere in
the bunker," he recalls. "Therefore, the
entire infirmary set was painted dark gray,
but the corridors were too big for that, so I
tried to light with backlight and flashlights as
much as I could to make it moody."
To establish a flickering-light effect
after the facility's computer systems are
damaged, Gomoll turned to Philips Showline Nitro 510 LED strobes. In addition, arrays
of Trilux LED and T5 and T8 fluorescent tube
lamps were placed within the set at various
positions to emulate a real facility. "Trilux
sponsored us with many LED fixtures, which
were normally [used] in buildings," the cinematographer says. "The LED lamps came
with their own housings in different oval and
rectangular shapes. We had dimmable electronic ballasts for the [fluorescent] tubes with
a self-built dimmer board. The rest of the
conventional lights were controlled by a
GrandMA [lighting console] via DMX. With
all these lamps as practicals in the background, we had a good basic setup to establish a futuristic look." The cinematographer
notes his appreciation for the work of gaffer
Johannes Reichau, as well as the contributions of 1st AC Dino von Wintersdorff.
When additional lighting was
required, Gomoll keyed the actors with
TheLight Velvet Light 1 units fitted with
American Cinematographer - December 2016
Table of Contents for the Digital Edition of American Cinematographer - December 2016
Contents
American Cinematographer - December 2016 - Cover1
American Cinematographer - December 2016 - Cover2
American Cinematographer - December 2016 - 1
American Cinematographer - December 2016 - 2
American Cinematographer - December 2016 - Contents
American Cinematographer - December 2016 - 4
American Cinematographer - December 2016 - 5
American Cinematographer - December 2016 - 6
American Cinematographer - December 2016 - 7
American Cinematographer - December 2016 - 8
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