American Cinematographer - August 2006 - 81

Left: The

crew

readies for
some

wire

stunt work on

the

luxury top

deck of the

airplane.
Greenberg had
much of his

lighting
integrated into
the plane set,
including very
spotty "Japan
lights" (below)
MR16-type
-

bulbs from
Ushio.

lighting situations. I didn't want to
give the entire movie the same look,

seats, and rendering a slightly darker
look; this look applied to scenes set

but I wanted

at

to create

believable looks

realistic and

nothing futuris¬
tic. The audience really has to believe
this is taking place aboard a normal
flight. David and I worked it out so
that

more

down

as

increases. I
seven

-

and

more

circuits go

the

passengers' peril
believe we actually have

different

looks

in

night, before the snakes invade the

cabin.

"As the story gets darker," says
Greenberg, "the lighting also
changes. First, I started using the
Japan lights more and more as the
danger increased. They were so
spotted that the light coming from

them

was

almost 10 stops overex¬

posed. I think it looked good when
the characters would run through
that light; they just glow under it.
Then, as the plane's circuits go
down, there are sparks and fires, and
that motivated a steady increase of
smoke levels

on

the set, which

worked well with the
It's

Japan lights.
surprising, but with the negative

all.

Fortunately, during the prerig, John
and I were able to spend time pro¬
gramming all of our various looks
into the dimmer board. As

we were

shooting, I was able to say, 'Go to
stage two,' and John knew exactly
which lights and cues that involved."
The first of these settings rep¬
resented a "normal," brighter state
when "the passengers are boarding
the plane and everything seems
pleasant and fine," says the cine¬
matographer. This dimmer cue
served

as a

base look. For the second

look, Greenberg modified this set¬

ting, lowering the brightness of the
cove lights, utilizing more of the
overhead Par units rigged above the
American

Cinematographer 77



American Cinematographer - August 2006

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