lockers. Opaloch notes that he used more colored light there than he has since his music-video days. "There were so many holes in the ceiling and in the walls that it was effectively an outdoor location," the cinematographer recalls. "We were there for weeks, shooting eight-page scenes over multiple days, and of course the sun was going from one side of the building to the other." Key grip J.P. Ridgway adds, "The location was a 'biggie.' We had a rigging team to complement the lighting team, and one of the main concerns was blacking down the ambience during the day." For daytime scenes, the crew lit the overall space with HMIs, and for night scenes with Dino lights and 20K, 10K and 5K tungsten fixtures. They would begin shooting day-for-day until the sun faded, at which point they Top: The reporter interviews Bradley. Bottom: Blomkamp and crew prepare a scene inside the manufacturing facility. www.theasc.com April 2015 41http://www.theasc.com