American Cinematographer - October 1990 - 97

ANNOUNCING...
merit, and freedom in the use of
available light, which is important
because we don't have the time to
control everything on a TV sched¬
ule."
Alien Nation is typically

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shot five days on sets and three at
locations. However, some of the

swing sets are like locations.
Usually, they are built while the
company is out shooting, so fre¬
quently Smith sees them for the
first time the day they are used.
Typically, he uses 20 to 25
footcandles of key light for day¬
light interiors. At night, Smith
dims the level of key light to about
12 footcandles, eliminates fill light
coming through windows, and
turns on lamps built into the sets.
For day and night scenes, in addi¬
tion to diffusing overhead light so
it is softer and wraps
uses a

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light levels is especially important
to Pierpoint and other regulars
who wear the alien makeup 16
hours a day.
"It's like having an air¬
tight box on your head," Smith
said. "We do whatever

we can

to

help keep them comfortable, and
to keep lighting levels down."
In the opening episode,
there was a two-minute night
crane shot that set the
the look for the show. It
started with a long shot on an

exterior
tone for

open street. With the 5296 film,
Smith was getting a reading of T
2.8 with all of his light overhead.

Then,
across

as

he panned 180 degrees

the street, his meter read¬

ing dropped to T 2 and T 1.4, and
finally it fell off the meter, but
Smith knew he was in the area of
T.7.
There were city lights in
the background, but there was
only unmeasurable ambient light
the two characters in the scene.
The moving shot continued with
the characters coming out near
total darkness to the front of a
on

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American Cinematographer - October 1990

Table of Contents for the Digital Edition of American Cinematographer - October 1990

American Cinematographer - October 1990 - 1
American Cinematographer - October 1990 - 2
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