◗ A Clash of Titans Top and middle: The two combatants confront each other again, this time atop the Batmobile. Bottom: The Edge camera crane - mounted on a Mercedes-AMG and operated by Brooks Guyer - is employed to capture the Batmobile driving through an explosion. 80 April 2016 American Cinematographer tive wing at the Michigan Motion Picture Studios. The story required various lighting cues on the Planet set, so Grce and rigging gaffer Roger Meilink replaced the overhead fluorescent fixtures with hybrid LiteGear LiteRibbon LEDs that were independently operated from a board by Jeff Amaral and Michael Monte. Custom-made LiteRibbon sources attached to foam board of various sizes and covered with muslin were used as key lights for close-ups. Key grip Gary Dodd and rigging key Kevin Erb set up giant greenscreens lit with Kino Flo Image 80s outside the windows, and Fong simulated daylight with Arri M40s and Arrimax 18Ks. The Metropolis skyline was later inserted courtesy of the visual-effects artists supervised by John "DJ" DesJardin. Instead of a greenscreen in the deep background, however, Fong simply asked the art department for large prints of a stock-footage cityscape - a day version and a night version - that he taped onto the windows. "Even though this is a big-budget movie, if there was a way to do something cheaply and simply, we did it," says the cinematographer. "We did some pretty heavy effects work on this show," Dodd notes. "We stacked shipping containers and truss to support four connected 42-footby-80-foot greenscreens in an empty parking lot in Pontiac that serviced