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LOST IN SPACE SHOOT STORY
source within the spacecraft itself, within all of the rooms off the main spacecraft. Pretty much every set we had, we came up with a lighting plan that worked within Ross’ production design. “I had complete control over everything. For instance around the outside of the main hub of the spaceship there was a kind of a tramway lighting system around the whole circumference. We fitted, in four foot sections, RGB LEDs and bi-colour LEDs and every single section of the four foot panels was controllable back to us via an iPad. So I had complete control of colour, density, weight; in fact everything within the spaceship. This included the control panels so we could have them as bright as we wanted, we could have them flicker, go into emergency mode, we could do almost anything we wanted in the ship. For me it was kind of like having a massive rig but it was basically just fixtures and fittings
of that filmmaking procedure on set. I love digital but sometimes you do lose some of that old school precision. It’s great that everyone was on board to do it properly, to block something through and allow everyone to see it so that we know what we’re doing rather than that very quick blocking then set up some cameras and see what we get. Hopefully it gave it a sense of personality over and above some other similar episodics.” PRODUCTION LIGHTING One of the first conversations that Sam had was with Ross Dempster, the production designer and Todd Lapp the gaffer, so he could design a suitable lighting approach. “I had said to Todd that to design the lighting on the main set I’d love it if I didn’t bring one light on to the set. Between the three of us we came up with a system that we could put into all of Ross’ fixtures and fittings which included all of the control panels, the main lighting
PRETTY MUCH EVERY SET WE HAD, WE CAME UP WITH A LIGHTING PLAN
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JULY 2018 DEFINITION
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