American Cinematographer - June 2016 - 58

◗

Time and Space

Top: A view of
California's coast
and Central Valley
from the ISS.
Bottom, left:
Neihouse trains
NASA astronaut
Scott Kelly at the
Space Station
Mockup and
Training Facility
(SSMTF) at NASA's
Johnson Space
Center in Houston.
Bottom, right:
European Space
Agency astronaut
Samantha
Cristoforetti and
NASA astronaut
Terry Virts during a
camera-training
session at SSMTF.

We talk about the California drought.
We have great shots of the West Coast
and Lake Powell and Lake Mead, and
we talk about the water situation there.
That's the kind of film A Beautiful Planet
is."
Although he photographs the
requisite terrestrial footage for these Imax
films, Neihouse has never been in space,
and his primary responsibility as director
of photography is to properly train the
astronauts to serve as proxy
cinematographers capable of shooting
the footage themselves. "I have trained all
the crews on the Imax space movies since
1988," he explains - and with a laugh,
58

June 2016

he adds, "I tell everybody that I'm the
only [cinematographer] who has to train
his first unit how to shoot.
"We had three different astronaut
crews on this film," he continues. "Barry
'Butch' Wilmore [ISS Expeditions 41
and 42], Terry Virts [42 and 43], and
Kjell Lindgren [44 and 45] were the
primary shooters. Additional crew were
Samantha Cristoforetti [42 and 43],
Kimiya Yui [44 and 45], and Scott Kelly
[44 and 45]."
The time Neihouse had to train
the astronauts was extremely limited.
With Wilmore, Neihouse was given a
scant eight hours to teach him the
American Cinematographer

fundamentals of Imax photography and
the functions of the camera so that the
astronaut could operate reasonably well
and make lens, exposure and composition
decisions. "Eight hours was crazy,"
Neihouse admits. "Butch really put a lot
of extra effort into getting up to speed on
our cameras.
"[Shooting] with digital really
helps," the cinematographer continues.
"[The astronauts] would get feedback
right away, and they could download
proxies for us to see what they were
shooting. When they needed help, they'd
reach out about what exposure or focal
length I'd suggest for this or that situation.



American Cinematographer - June 2016

Table of Contents for the Digital Edition of American Cinematographer - June 2016

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
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American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
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American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
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American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
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American Cinematographer - June 2016 - 58
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