American Cinematographer - June 2009 - 34

A Bold, New Enterprise Above: Capt. Robau (Faran Tahir, center) faces off against the Narada’s Romulan crew. Below left: Nero ponders his next move. Below right: Chambliss designed the interior of the ship as an assortment of pieces that could be rearranged numerous ways to suggest the vessel’s immense scale. Thatcher, “allowed us to put a little life into [the set],” says Prampin. “We could set up a little pulse in them, or we could make it look like something was flickering and the power was going out.” Red-alert situations have been a Star Trek staple from the very beginning. To make the most of those sequences, Mindel had the electricians fit a red-gelled XFlo alongside all of the clean tubes built into the bridge, enabling the dimmer-board operator to instantaneously establish the red-alert look. To further punctuate the change in ship’s status, “we incorporated a lot of LED technology, such as LiteGear LiteRibbon RGB strips, which allowed us to change the color,” says Prampin. The strips were installed as architectural accents around steps and other cutaways on the bridge; when not in red alert, the strips glowed blue to match Neoflex tubing running through narrow channels Chambliss designed into the set’s walls and ceiling. (Neoflex is a flexible, plastic-encased LED strip that creates a glow similar to a neon fixture.) When the Enterprise arrives at Vulcan, its crew finds the planet endangered by Nero’s Narada, which, Chambliss says, “makes the scale of the Enterprise look rather insignificant.” To economically suggest the immense scale of the Narada’s interior, Chambliss drew on his experience working in theater. “I thought we should treat the soundstage like a theater stage and create a world where we could mix and match elements to create differ- ent and new environments over and over again. It’s not a traditional way of designing movies, but it’s a very traditional way of designing theatrical scenery.” Last year, AC visited the Paramount soundstage housing the Narada’s interior “elements.” The result of Chambliss’ approach was a seemingly random arrangement of almost countless pieces, some on casters, some incorporating display interfaces and Romulan insignia, some hanging from wires run to the ceiling, and many featuring corrugated black tubing that lent the entire stage an eerie quality that was enhanced by Mindel’s use of smoke and yellow light. “The larger tower elements could be shot from any side,” notes Chambliss. “We could put them together to make some massive 34 June 2009

American Cinematographer - June 2009

Table of Contents for the Digital Edition of American Cinematographer - June 2009

American Cinematographer - June 2009
Contents
Editor's Note
Short Takes: A 65mm Microsoft Installation
Production Slate: Drag Me to Hell Downloading Nancy
A Bold, New Enterprise
Back to the Future
Making History Fun
Testing Digital Cameras
Assessing Previs
Post Focus: Cinematographers, Colorists and the DI
New Products & Services
International Marketplace
Ad Index
Classified Ads
ASC Membership Roster
Clubhouse News
ASC Close-Up: Alan Caso
American Cinematographer - June 2009 - American Cinematographer - June 2009
American Cinematographer - June 2009 - Cover2
American Cinematographer - June 2009 - 1
American Cinematographer - June 2009 - 2
American Cinematographer - June 2009 - Contents
American Cinematographer - June 2009 - 4
American Cinematographer - June 2009 - 5
American Cinematographer - June 2009 - 6
American Cinematographer - June 2009 - 7
American Cinematographer - June 2009 - Editor's Note
American Cinematographer - June 2009 - 9
American Cinematographer - June 2009 - Short Takes: A 65mm Microsoft Installation
American Cinematographer - June 2009 - 11
American Cinematographer - June 2009 - 12
American Cinematographer - June 2009 - 13
American Cinematographer - June 2009 - Production Slate: Drag Me to Hell Downloading Nancy
American Cinematographer - June 2009 - 15
American Cinematographer - June 2009 - 16
American Cinematographer - June 2009 - 17
American Cinematographer - June 2009 - 18
American Cinematographer - June 2009 - 19
American Cinematographer - June 2009 - 20
American Cinematographer - June 2009 - 21
American Cinematographer - June 2009 - 22
American Cinematographer - June 2009 - 23
American Cinematographer - June 2009 - 24
American Cinematographer - June 2009 - 25
American Cinematographer - June 2009 - 26
American Cinematographer - June 2009 - 27
American Cinematographer - June 2009 - A Bold, New Enterprise
American Cinematographer - June 2009 - 29
American Cinematographer - June 2009 - 30
American Cinematographer - June 2009 - 31
American Cinematographer - June 2009 - 32
American Cinematographer - June 2009 - 33
American Cinematographer - June 2009 - 34
American Cinematographer - June 2009 - 35
American Cinematographer - June 2009 - 36
American Cinematographer - June 2009 - 37
American Cinematographer - June 2009 - 38
American Cinematographer - June 2009 - 39
American Cinematographer - June 2009 - Back to the Future
American Cinematographer - June 2009 - 41
American Cinematographer - June 2009 - 42
American Cinematographer - June 2009 - 43
American Cinematographer - June 2009 - 44
American Cinematographer - June 2009 - 45
American Cinematographer - June 2009 - 46
American Cinematographer - June 2009 - 47
American Cinematographer - June 2009 - 48
American Cinematographer - June 2009 - 49
American Cinematographer - June 2009 - 50
American Cinematographer - June 2009 - 51
American Cinematographer - June 2009 - 52
American Cinematographer - June 2009 - 53
American Cinematographer - June 2009 - Making History Fun
American Cinematographer - June 2009 - 55
American Cinematographer - June 2009 - 56
American Cinematographer - June 2009 - 57
American Cinematographer - June 2009 - 58
American Cinematographer - June 2009 - 59
American Cinematographer - June 2009 - 60
American Cinematographer - June 2009 - 61
American Cinematographer - June 2009 - 62
American Cinematographer - June 2009 - 63
American Cinematographer - June 2009 - Testing Digital Cameras
American Cinematographer - June 2009 - 65
American Cinematographer - June 2009 - 66
American Cinematographer - June 2009 - 67
American Cinematographer - June 2009 - 68
American Cinematographer - June 2009 - 69
American Cinematographer - June 2009 - Assessing Previs
American Cinematographer - June 2009 - 71
American Cinematographer - June 2009 - 72
American Cinematographer - June 2009 - 73
American Cinematographer - June 2009 - 74
American Cinematographer - June 2009 - 75
American Cinematographer - June 2009 - 76
American Cinematographer - June 2009 - 77
American Cinematographer - June 2009 - Post Focus: Cinematographers, Colorists and the DI
American Cinematographer - June 2009 - 79
American Cinematographer - June 2009 - 80
American Cinematographer - June 2009 - 81
American Cinematographer - June 2009 - 82
American Cinematographer - June 2009 - 83
American Cinematographer - June 2009 - New Products & Services
American Cinematographer - June 2009 - 85
American Cinematographer - June 2009 - 86
American Cinematographer - June 2009 - 87
American Cinematographer - June 2009 - 88
American Cinematographer - June 2009 - 89
American Cinematographer - June 2009 - 90
American Cinematographer - June 2009 - 91
American Cinematographer - June 2009 - International Marketplace
American Cinematographer - June 2009 - 93
American Cinematographer - June 2009 - Classified Ads
American Cinematographer - June 2009 - 95
American Cinematographer - June 2009 - ASC Membership Roster
American Cinematographer - June 2009 - 97
American Cinematographer - June 2009 - Clubhouse News
American Cinematographer - June 2009 - 99
American Cinematographer - June 2009 - ASC Close-Up: Alan Caso
American Cinematographer - June 2009 - Cover3
American Cinematographer - June 2009 - Cover4
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