American Cinematographer - January 1999 - 34

Trouble in Paradise

A behind-the-

village as seen
through a

opted to shoot the Ba'ku environs
through a V2 Tiffen Black ProMist
filter to soften the imagery captured
on Kodak's fine-grained 100 ASA

"duckblind,"

EXR 5248.

scenes

view of

the Ba'ku

a

camouflaged
observation

post used by
Starfleet to

surreptitiously
study the
pastoral people.

Leonetti favors

long lenses,
primarily deployed Panavision's
C-series anamorphic primes, partly
because their light weight was welland

suited

to

the film's extensive

Steadicam. He

Ba'ku,

notes

that "for

used

use

of

scenes

really
long lenses - up to a 600mm and
800mm
because they give
everything a bit more sparkle and the
images are prettier. Just to do a closeup in anamorphic, you have to use a
180mm to get in tighter, but most of
set

on

we

some

-

the movie

was

shot with 50mm,

75mm, 180mm and 400mm lenses."
For one effects-filled sequence,
Leonetti

spherical
romantic

required to use a
lens. In this
scene, Picard and Anij

was

50mm

stand beside
her

a

waterfall while she

psychic powers to essentially
making the water and
other scenic elements seemingly slow
and freeze in place. The cameraman
recalls, "The effects people didn't
want to have to deal with anamorphic
[plates] when doing the composite
uses

"stall" time,

32

January 1999

work for the visual effects, which
include beams and shafts of

light.
They asked us to shoot the scene with
a
spherical lens, explaining that after
they did their work, they could go
back and anamorphosize the image."
(See "Effecting an Insurrection,"
beginning on page 40).
Much of the action
involves

the

Starfleet

on

Ba'ku

officers

defending the indigenous people
from various phases of Son'a attack.

150'

hung the lights right on it
Cyc lights with 216
diffusion paper and full plus-green
gels, and four Master Lights for the
end
and just pulled up the whole
apparatus, including the lights and
greenscreen. We did it with a crane
because we thought that would be
the cheapest and fastest way, since the
greenscreen had to come back out
for us to do the clean pass. You can't
touch the lights once the scene has

-

crane,

four Far

-

Leonetti therefore had to compose
some shots around CG effects that

been lit, because it all has to match

would later be

I also had to make

composited into the
sequence. As a result, he had to erect
greenscreens for several scenes shot
on

location. One such

case was

a

night exterior as the Ba'ku attempt to
elude capture by making a mass
exodus into

a

remote

mountainous

region. Several Ba'ku are seen
running towards camera as they are
"tagged" with markers by Son'a
drones buzzing overhead, and then
beamed off the planet's surface. In
order
for

to

the

shoot the elements needed
insertion

of

both

the

computer-generated Son'a drones
and the transporter effects, Leonetti
and his crew "built a 60' by 40'
greenscreen. We then brought in a

[throughout the various passes]. But
sure

that there was

enough room on the top of the frame
for the drones to be flying through."
Another scene featuring the
attacking drones became a lesson in
location logistics. The sequence in
question was shot over three days a
10,000' mountain peak in Mammoth,
which became the site of a phaserslinging, Sergio Leone-style standoff
between the mechanical marauders
and the Enterprise crew. Even from
the base camp parking lot, the
mountain's peak-another 2,000' in

elevation

could

only be accessed
by helicopter, and each flight had a
maximum load of just four people.
All of the equipment had to be carted
-



American Cinematographer - January 1999

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