We used a 435 and Justins Cameflex shooting with F64 for most
sequences, switching to '84 for the night shots.
We could only shoot when the public wasn't there, before 10am
and after 5pm and we had to remove all our lamps and other
kit during opening hours.
This was a hell of a problem because the director
wanted the domes to glow green at night and each dome is 250
metres across!!
An endless amount of 12K's and 6K's being rigged
and aimed at empty air.
We couldn't see where anyhting was pointing until
it got dark but we needed to shoot in the last seconds of teighlight
to get the balance right.
We had the lamps in and roughly set by 8:30pm ut couldn't see
any effect from them at all. I'd used a program on my Palm
to calculate the right balance between civil and nautical twighlight
and had told everyone that it would be 9:54 that the balance
was right.
I have to admit that I started to lose it when
at 9:30 none of my lights were visible. I wasn't helped by a
photographer from National Geographic making comments about about
my competence.
Happily it all started to come together at 9:45
and the stills guys motordrive started to go wild, we held off
shooting for a while longer and got 6 takes of the crane move
bewteen 9:50 and 10 pm.
I notice that the stills guy was happy to take
credit for the photographs he shot with my lighting :-)
