American Cinematographer - December 2017 - 40

◗

Uncanny Valley
square cuts for the light some 15 feet
below the lamps so that there were
defined patterns across the walls.
When Deckard is brought to
Wallace's office toward the end of the
film, we bounced 10Ks off the water, and
by using wave machines to move the
water very slightly, we created caustics on
the wall. But this was just a background
to the action; to actually light the characters, we used 285 Tweenies rigged in two
concentric rigs directly above the center
of the action. Thus, an ever-revolving
circle of light passed across the actors
throughout the scene and gradually grew
in softness as more lights were added to
the circle.
Some of what we did was very lowtech. We took a 24K bare bulb and three
10K bare bulbs to light the stairway, down
which Luv [Sylvia Hoeks] and K walk
through the replicant 'museum.' These
bare bulbs, housed in safety protection,
were rigged to a channel track above the
set, and the electricians pulled them by
hand to create a hard light that traversed
the set as our characters descended. For
the wide shot that follows this, in which
K and Luv walk down a long passageway
to the 'memory library' door, we rigged
two 24K Skypans on a pulley system,
which the grips slowly lowered during the
scene to create a pattern of light that
slowly grew up the wall.
One of the subtlest uses of visual
effects in the film is K's holographic
companion, Joi [Ana De Armas]. Most
of the time she looks like a flesh-andblood human, with just a slight shimmer
or degree of transparency to suggest that
she isn't. How did you approach those
scenes?
Deakins: I was always arguing for
less. You need to connect to Joi as a character, and I don't think you would if she'd
become this bit of effects wizardry. There
was a lot of talk about how far we'd go
with the transparency. You see some
transparency when she's against a highlight, but it's subtle. Basically we shot the
actress on the set, and for every shot we
did we also shot a background plate. That
way [visual-effects supervisor] John
Nelson and his team always had that

Top and above:
Luv reports to
Niander Wallace
(Jared Leto).
Right:
Surrounded by
water, with
caustic lighting
rippling across
the walls,
Villeneuve
considers an
upcoming scene
while seated in
Wallace's office.

40

December 2017

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - December 2017

Contents
American Cinematographer - December 2017 - Intro
American Cinematographer - December 2017 - Cover1
American Cinematographer - December 2017 - Cover2
American Cinematographer - December 2017 - 1
American Cinematographer - December 2017 - 2
American Cinematographer - December 2017 - 3
American Cinematographer - December 2017 - 4
American Cinematographer - December 2017 - Contents
American Cinematographer - December 2017 - 6
American Cinematographer - December 2017 - 7
American Cinematographer - December 2017 - 8
American Cinematographer - December 2017 - 9
American Cinematographer - December 2017 - 10
American Cinematographer - December 2017 - 11
American Cinematographer - December 2017 - 12
American Cinematographer - December 2017 - 13
American Cinematographer - December 2017 - 14
American Cinematographer - December 2017 - 15
American Cinematographer - December 2017 - 16
American Cinematographer - December 2017 - 17
American Cinematographer - December 2017 - 18
American Cinematographer - December 2017 - 19
American Cinematographer - December 2017 - 20
American Cinematographer - December 2017 - 21
American Cinematographer - December 2017 - 22
American Cinematographer - December 2017 - 23
American Cinematographer - December 2017 - 24
American Cinematographer - December 2017 - 25
American Cinematographer - December 2017 - 26
American Cinematographer - December 2017 - 27
American Cinematographer - December 2017 - 28
American Cinematographer - December 2017 - 29
American Cinematographer - December 2017 - 30
American Cinematographer - December 2017 - 31
American Cinematographer - December 2017 - 32
American Cinematographer - December 2017 - 33
American Cinematographer - December 2017 - 34
American Cinematographer - December 2017 - 35
American Cinematographer - December 2017 - 36
American Cinematographer - December 2017 - 37
American Cinematographer - December 2017 - 38
American Cinematographer - December 2017 - 39
American Cinematographer - December 2017 - 40
American Cinematographer - December 2017 - 41
American Cinematographer - December 2017 - 42
American Cinematographer - December 2017 - 43
American Cinematographer - December 2017 - 44
American Cinematographer - December 2017 - 45
American Cinematographer - December 2017 - 46
American Cinematographer - December 2017 - 47
American Cinematographer - December 2017 - 48
American Cinematographer - December 2017 - 49
American Cinematographer - December 2017 - 50
American Cinematographer - December 2017 - 51
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American Cinematographer - December 2017 - 53
American Cinematographer - December 2017 - 54
American Cinematographer - December 2017 - 55
American Cinematographer - December 2017 - 56
American Cinematographer - December 2017 - 57
American Cinematographer - December 2017 - 58
American Cinematographer - December 2017 - 59
American Cinematographer - December 2017 - 60
American Cinematographer - December 2017 - 61
American Cinematographer - December 2017 - 62
American Cinematographer - December 2017 - 63
American Cinematographer - December 2017 - 64
American Cinematographer - December 2017 - 65
American Cinematographer - December 2017 - 66
American Cinematographer - December 2017 - 67
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American Cinematographer - December 2017 - 70
American Cinematographer - December 2017 - 71
American Cinematographer - December 2017 - 72
American Cinematographer - December 2017 - 73
American Cinematographer - December 2017 - 74
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American Cinematographer - December 2017 - 76
American Cinematographer - December 2017 - 77
American Cinematographer - December 2017 - 78
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American Cinematographer - December 2017 - 81
American Cinematographer - December 2017 - 82
American Cinematographer - December 2017 - 83
American Cinematographer - December 2017 - 84
American Cinematographer - December 2017 - 85
American Cinematographer - December 2017 - 86
American Cinematographer - December 2017 - 87
American Cinematographer - December 2017 - 88
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American Cinematographer - December 2017 - 90
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American Cinematographer - December 2017 - 92
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American Cinematographer - December 2017 - 100
American Cinematographer - December 2017 - 101
American Cinematographer - December 2017 - 102
American Cinematographer - December 2017 - 103
American Cinematographer - December 2017 - 104
American Cinematographer - December 2017 - 105
American Cinematographer - December 2017 - 106
American Cinematographer - December 2017 - 107
American Cinematographer - December 2017 - 108
American Cinematographer - December 2017 - 109
American Cinematographer - December 2017 - 110
American Cinematographer - December 2017 - 111
American Cinematographer - December 2017 - 112
American Cinematographer - December 2017 - 113
American Cinematographer - December 2017 - 114
American Cinematographer - December 2017 - 115
American Cinematographer - December 2017 - 116
American Cinematographer - December 2017 - 117
American Cinematographer - December 2017 - 118
American Cinematographer - December 2017 - 119
American Cinematographer - December 2017 - 120
American Cinematographer - December 2017 - 121
American Cinematographer - December 2017 - 122
American Cinematographer - December 2017 - 123
American Cinematographer - December 2017 - 124
American Cinematographer - December 2017 - 125
American Cinematographer - December 2017 - 126
American Cinematographer - December 2017 - 127
American Cinematographer - December 2017 - 128
American Cinematographer - December 2017 - Cover3
American Cinematographer - December 2017 - Cover4
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