American Cinematographer - October 1995 - 95

of the hangar, I had rows of 2Ks
hidden all the way down one side
of the building, up-lighting the
wooden structure - on every
other rib down the entire side.
The building almost looks like
Noah's Ark turned upside-down.
We then used 6K clear-glass
Brutes - which are favorite

lamps of mine because they have
really beautiful light -coming
through specially-made wooden
shuttered partitions up on the
balcony over to one side. They
put in really defined, crystalsharp shafts of light going all the
way down to the end of the build¬
ing. We also had 2'-diameter clear
plastic tubing with pulsating
lights inside snaked all around
the set. It worked quite well for
creating perspective. You can see
the pipe, which is obviously very
big, running off to the distant
background."
At the center of the large
VR simulator set

dable

was a

display "wall"

on

which

been seen. "We had the biggest
LCD screen in the world and six
Barco 8100 LCD projectors," says
Leonard. The arrayed display
measured 24' x 12' and was made
with Optiwave screen material,
which utilizes fused fiber-optics
to allow filming from even ob¬

lique angles without a noticeable
loss in screen brightness. How¬
ever, the huge display did
somewhat dictate how Tattersall would light and expose se¬

quences on the L.E.T.A.C. set.
"There are a tremendous
number of screens in the movie
and the look of the screens was

"My

key," explains Leonard.
L2 Communica¬

company,

tions, did all of the computer

graphic visuals
screens, as

well

seen on
as

all of the

the visual ef¬

fects in the film - so Gale and I
were able to coordinate the look
of the screens. The Optiwave
material created a very saturated,

windowing look with the back¬

ground
came

film

screens,

which really be¬

the environment for the

media itself, in
saturated with media
-

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American Cinematographer - October 1995

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