Sought after Hollywood Gaffer, Harold Skinner was one of the first to use the new Area 48s for his work on Interstellar. The visually stunning feature, starring Matthew McConaughey, Anne Hathaway and Jessica Chastain portrays a team of explorers as they travel through a wormhole in space in an attempt to ensure humanity's survival.
Harold Skinner, Gaffer - directing the lighting on the set of Intersellar
Throughout the film, he relied on two Area 48’s mainly rigged overhead in the practical locations and sets. Explaining that the compact form factor “worked great”, he appreciated the onboard battery that contributed to fast set-up time. “I could prelight the set very quickly and could audition the lighting set-up while my crew ran power. It was very efficient.”
“I used the Area 48 lamps in various scenes at the Cooper farm. In Murph’s bedroom they played to wrap around the natural light from the windows. An 18K Fresnel on an 80’ Condor provided a consistent source outside, with the Area 48s wrapping around the source from the corners of the room inside. The DMX option allowed me to set levels and control the lamps precisely during scenes that were shot with a constantly moving handheld camera. I used both the 5600° and 3200° phosphors during the course of the shoot, balancing with the predominant color temperature of the scene and the film stock being shot.
When it came to the overall quality of light output, Skinner says “The output if the fixture is great. With the onboard grids and accessories I was able to soften and control the quality if the light with ease.
Following the completion of the film, Skinner and Intersteller DP, Hoyte Van Hoytema, put the Area 48 to work on a number of currently running spots for Toyota, Dodge, and Direct TV.