American Cinematographer - July 2005 - 45
But when you
all of
add the video moni¬
sudden you have an
army going across the set. You
destroy the set for every shot, and
tors,
a
then you
rebuild it afterwards." The
cinematographer says he hopes to
use
the Cablecam in the future, but
with
more
"circumspection."
Rousselot
had
a
similar
for the fragile set when
designing the lighting for the
respect
Chocolate
Room
with
his
"marvelous"
gaffer, John "Biggies"
Higgins. Rousselot decided early on
to keep all the lighting off the set,
and to suspend the fixtures from a
ceiling grid above the Cablecam
installation. According to Higgins,
the massive scale of tungsten lighting
fixtures included 600 space lights,
100 Pars, 56
Maxi-Brutes and 12 20K
Mole Beams, all
suspended from the
ceiling. The total potential power
consumption provided by three
generators
off-stage
was
4
megawatts, enough for a small city,
although Higgins is quick to point
out that "we never used all the lights
at
once."
Each space
wired each
light with two cables,
allowing for three intensities: two
bulbs, three bulbs
light contained
crew
five bulbs. This
enabled Rousselot
to change the
intensity without dimming,
which changes color temperature.
Half of the space lights provided an
overall level for the huge stage and
overall
Directional
Mole
Beams
created
limit
spill. The remaining units could be
quickly lowered by cable to provide
of the river could represent a contin¬
uation of the right side while main-
fitted with black skirts
to
Above:A group
of blue-clad
Oompa Loompas
(all played by
diminutive actor
Deep Roy, who
was
big spots of sunlight to
dapple the landscape below. They
were placed on either side of the
river, so that portions of the left side
were
five 800-watt bulbs, and the
or
sources for a scene
staged below. To
provide maximum coverage, skirted
and skirtless lights were alternated
on the
ceiling grid.
further
miniaturized and
multiplied
digitally) man
the
oars on a
seahorse¬
shaped galley
traversing the
factory's
Chocolate River.
Left: Motioncontrol shots of
the
gimbalgalley
mounted
were
executed
on a
greenscreen
stage.
American
Cinematographer 41
American Cinematographer - July 2005
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