American Cinematographer - June 2016 - 60

◗

Time and Space
Red and Canon. When we were looking
at the test footage side-by-side in an Imax
theater with digital laser projection, people
were picking out the C300 as the bestlooking of the bunch. An additional factor
was that [NASA was] already using
Canon cameras on the Space Station,
which meant that the batteries were
already certified for space. Everything we
send up needs to be tested and certified -
we can't have anything outgassing some
unknown chemical into the air. Since the
Canon battery system was already
certified, we saved a lot of money in
certification costs.
"Before we started actually
shooting, Canon came out with the
[Cinema EOS] C500," he adds. "We were
all completely impressed with the image. I
became a real believer in the need to shoot
uncompressed images, and the C500
offers a 4K uncompressed option that was
significantly superior to the other
contender." Neihouse and Myers therefore
opted to work primarily with C500
cameras, capturing raw 4K files to a Codex
Onboard S Plus recorder. "We flew three
C500s total," Neihouse notes, "but they
were only used one at a time. The camera
bodies were switched when the sensors
became too badly damaged from
radiation."
Additionally, they incorporated
Canon EOS-1D C cameras to shoot the
Earth in sequential still frames - at about
four frames per second. "We flew three 1D
Cs," Neihouse says, "but only two made it
to orbit, as one was lost when SpaceX 7
failed." As with the C500s, the crew shot
with one camera at a time, with the camera
bodies being switched out "when the
sensors showed considerable pixel
damage," Neihouse explains. "The first
camera shot over 149,000 frames, and the
second more than 101,000 frames during
the production." The raw CR2 files from
the 1D C were then processed in post in
order to interpolate between the frames
and create full-motion 24-fps footage.
"We used the full sensor, 5208x3477
[effective pixels], which is a 1.5:1 aspect
ratio," explains Neihouse. "That's pretty
close to the 1.44:1 Imax aspect ratio, so we
lost less information that way. Plus, using

Top: Astronaut
Kimiya Yui of the
Japan Aerospace
Exploration
Agency strikes a
Superman pose
while floating
through the ISS.
Middle: Wilmore
poses with the
camera. Bottom:
Virts preps for
shooting.

60

June 2016

American Cinematographer



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
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American Cinematographer - June 2016 - 14
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American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
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American Cinematographer - June 2016 - 27
American Cinematographer - June 2016 - 28
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American Cinematographer - June 2016 - 31
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American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
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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 - 60
American Cinematographer - June 2016 - 61
American Cinematographer - June 2016 - 62
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American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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