BLACK MIRROR PRODUCTION
FLYING COLOURS The USS Callister sequel was even more ambitious than the original episode, with new locations and costumes
into a slicker, more modern sci-fi look. “We moved from Shatner Star Trek to JJ Abrams Star Trek ,” Pehrsson grins. “Whenever you were in the gaming world, in the spaceship, I wanted it to feel like a big Hollywood blockbuster. We had flares, smoke, lights flashing everywhere.” They shot on the ARRI ALEXA 35 with Panavision’s T Series anamorphics. “It looks like a vintage lens, but is actually more modern. It has all that good anamorphic flair – the kind of stuff you see in big event movies,” he continues. “We weren’t allowed those the first time around. Back then, we had one opportunity on the last day to shoot with vintage glass, and we chose these Japanese Toyo lenses from the sixties – they looked like something Doc Brown would have made in Back to the Future ! They were almost falling apart, and weren’t practical, but they looked amazing. This time, though, the T Series anamorphics gave us the look, but were much easier to deal with.” Another upgrade was swapping out the green screen for an LED wall, for the view outside the spaceship window. “VFX worked out that it would actually be cheaper to display space on a volume- type screen. I was sort of against it
27
DEFINITIONMAGS
Powered by FlippingBook