![]() Pinewood's mammoth "007 Stage" (famed for its use on various James Bond films) was dressed as a plush hotel ballroom during the final days of production to facilitate an extensive shootout sequence pitting Dallas against Mangalore mercenaries who have boarded the Fhloston Paradise. The motivation was that there might be a hole in the temple ceiling with sunlight coming in." We had also hung a large softbox overhead for overall ambience. As Arbogast recalls, "I tried to bounce my lighting, because their metal suits took reflections very well. ![]() They were lit much like an automobile might be in order to highlight their gleaming contours. We didn't use any lens filtration, because the sets were already done in warm tones, but we did use warming gels on the lights."Ĭlad in copper-colored armor, the lumbering Mondo-shawan resemble nothing so much as a group of giant walking alarm clocks. We then used a Xenon light to get the reflection of the 'sun' from the mirrors. I decided to deploy 18K HMIs for this general daylight effect, because I wanted to use a few very strong sources. Luc had the brilliant idea to have children use mirrors to reflect light into the temple. The location-shot footage was later augmented with set work photographed at Pinewood Studios.Īrbogast details, "We wanted to give the desert a presence, and we used very bright light outside to give the temple the feeling of a black oven or corridor. With advisory assistance from Digital Domain effects cinematographer Bill Neil, Arbogast shot background plates for the ship's vertical landing and takeoff. Ten days' worth of photography took place in Mauritania, a nation on the eastern peninsula of the African continent. The film's first sequence begins in early 20th-century Egypt, where a spaceship piloted by the benevolent Mondoshawan lands near a temple to retrieve four of the five elements needed to vanquish the evil forces threatening the universe. Location work factored into the picture's prologue as well. Therefore, we used a lot of flags to focus our lighting precisely on the people." ![]() "The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. ![]() "Most of the lights you see in the opera house were already there," he adds. I lit her with a 4K Xenon from the balcony seats above, but since the stability of the light on her wasn't perfect, I used a 6K Cinepar for the tighter shots. I lit her to be slightly overexposed, which would help give the impression that some of the light was emanating from within her. In our film, the diva's outfit was blue and the set was a bit golden in tone, so I thought it would be best to play with the color temperatures a bit. Recalls Arbogast, "When we were planning this, I remembered the scene from A Clockwork Orange where the nude woman on the stage was lit by a blue follow-spot. While on stage, the aquamarine diva is bathed in an intense but cold spotlight. The scene was one of the film's few that was filmed on location, inside the towering London Covent Garden Royal Opera House. Before the pair can acquire any information, the strange siren must first take the stage and perform for an eclectic audience of admirers. Midway through Element's stellar adventure, Dallas and Leeloo board the floating pleasure cruiser Fhloston Paradise to contact an extraterrestrial opera diva and find clues to the whereabouts of the five artifacts they seek.
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