We switched to extreme wide lenes when we got close to the Spybotic remotes, usually a 10mm Zeiss or a 9.8mm on a Revolution

The images on the screens were obviously keyed in later but in the case of the big screens this nessecitated building large light boxes so that we could light them internally with blue KinoFlo tubes. I kept having to add ND to them to get them dark enough, I think it was ND9 by the time we finished.

I really used the latitude of the '84 on this shoot, working at exteremly low light levels, it wasn't that I didn't have the light, I did! I just scrimmed it all down. I like the idea of using a lot of out of focus areas to give it all a bit more of a "look"

I also liked the way that the set itself started to interact with the actors in quite a dramatic way, their faces getting much brighter as they leaned towards a screen or the red lights that were flashing at one time just filling the shadows nicely.

Director Brian Percival