American Cinematographer - July 2018 - 42
◗
Portrait of a Scoundrel
the brightness level of [Lux Machina's
various] screens was enough to give a lot
of bounce, so the projection itself
became our main source. We then
augmented with extra SkyPanels pushing through the windows."
***
Top: Han brings the battered Falcon in for a rough landing on Savareen. Above: Beckett bids
adieu to Han, presumably to find work with a gangster on Tatooine.
move the content around while maintaining the proper proportions and
perspective. We passed these UVmapped objects back and forth with
ILM for content creation.
"We also developed a method to
frame-sync the Alexas - as they don't
have genlock built in - which meant
we could guarantee no blended frames
whatsoever on our screens, for extremely
clean, usable backgrounds that were all
captured live in-camera," Galler notes.
Additionally, Lux created an
immersive front-projection environment for scenes set aboard gangster
capo Dryden Vos' yacht. "We built two
large projection surfaces surrounding
the sets, one at 375-by-24 feet, and
42
July 2018
another at 275-by-24 feet," says Galler,
who adds that those surfaces were filled
with imagery from "numerous HD
projector systems and advanced playback setups utilizing 3D environments.
It was a major refinement over a technique we'd initially developed for
Oblivion [shot by Claudio Miranda,
ASC; AC May '13]; on Oblivion, we
had a two-and-a-half-week load-in,
and on Solo we got that down to four
days for a similar-size setup. We also
built 20-by-20-foot LED walls for various low-resolution reflection and lighting setups throughout the movie, on a
large variety of vehicles."
Evans adds, "Since we were
shooting at low apertures of T2 to T2.8,
American Cinematographer
After escaping the spice mines of
Kessel and making his famed run
through the planet's nearby nebula, Han
pilots the Falcon to the planet Savareen.
The filmmakers captured the planet's
sandy cliffs and ocean views
on Fuerteventura, one of Spain's Canary
Islands. "It was very windy in
Fuerteventura," recalls Evans, "so we
needed all hands on deck to hold down
our rigs. We did most of the exteriors
with available light and bounce. We
used 12-by-12-foot and 20-by-20-foot
blackout rags and scraps. For the onlocation structures, we'd cut holes in the
sides of the sets to let light in and then
use 12-by-12-foot bounce on the floors
to add fill."
The wind also tested Hymns' grip
team. "We used a Panagator, which is a
4-by-4 all-terrain-vehicle base to stabilize a 30-foot Technocrane," the key grip
explains. "When [the Technocrane was]
fully extended, the wind in
Table of Contents for the Digital Edition of American Cinematographer - July 2018
Contents
American Cinematographer - July 2018 - Cover1
American Cinematographer - July 2018 - Cover2
American Cinematographer - July 2018 - 1
American Cinematographer - July 2018 - 2
American Cinematographer - July 2018 - Contents
American Cinematographer - July 2018 - 4
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American Cinematographer - July 2018 - Cover3
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