A typical shooting procedure began with the camera crew encoding a shot of the actors fighting the non-existent bugs. Selected takes were played back via motion-control and a clean pass was then made sans actors for background plate purposes. When time permitted, a reference pass with visual markers was also taken. Next, a large 18-percent neutral-gray sphere was rolled into the positions where the creatures would be composited into frame, followed by a exposure of a short burst of film (only a few frames were necessary for reference). The gray ball informed the 3-D animators of the exact light situation for that specific shooting time.
Elaborating upon this strategy, Vacano says, "You could see, for instance, if it was a side light or a top light. We could also look at the shadow areas, and also check the relationship between the bright areas on the ball and the fill light on the opposite side. This was very useful for Tippett, because he had to tell the computers exactly what the light situation was, where the key light was coming from [back, front, side], the angle of the light [toplight for midday or low angle for close to sunrise or sunset], the contrast situation [key-to-fill ratio, artificial or real fill light] or if they all had to repeat. Whatever we did, he had to follow [our setups] precisely, not only in the perspective and primary shooting angles, but even in the negative stock, so as to get the same image characteristics out of his computer." Vacano and his crew primarily utilized Kodak's 500 ASA 5298 for night scenes and 50 ASA 5245 for daylight exteriors. Since each emulsion has a certain contrast curve, the effects companies needed specific logistical information regarding selected takes in order to create convincing CGI images and composites. Therefore, extensive notes on sun angle, compass headings, artificial-light inclinations and footcandle readings were taken by a camera-surveying team, headed by Steve Redding and second-unit effects supervisor Jay Riddle. When the motion-control unit was inactive, we would fill in for people on his crew. In addition, Cathy Waterman operated an information-gathering device known as theodolite, or surveyor's transit. This instrument gave a very precise digital readout for pan-and-tilt, with a timed response metering device which emitted a pulse. By timing the pulse's return, the device could accurately determine the distance to any object.
"They would try to position the theodolite at one of the known landscape features identified in the topo fly-over," recalls Hardin. "They would then place fluorescent-painted cubes and balls over the landscape where the bugs would be, and take theodolite readings to these reference markers and the camera. They lined up [the cross-hairs] on some specific target placed in the shot and, by aiming at that target, obtain a pan, tilt and distance measurement. When the shot was finished, we would set up another theodolite marker, which was a little prism device, on a ma chined mount that was the same as a standard dovetail plate mount. The camera came off and the prism was slipped on, placing it exactly in the nodal point for the given lens that we were using. We then took readings of that prism from the same theodolite position that measured all the other bug markers, so we knew where the camera existed in space. Using all of this data in conjunction with their Softimage software, Tippett Studio and the other effects companies were able to place their CG camera in space quite precisely in the same position as the actual production camera."
On a humorous note, military/technical advisor Dale Dye and some of the actors playing the embattled troopers regarded Tippett's personnel as the enemy, due to the fact that the then-invisible bugs were killing off most of their comrades.
A key logistical problem for the production turned out to be the sheer number of effects shots that needed to be done per day. Because of this workload, portions of Starship Troopers were doled out to nearly every California-based effects house, including Sony Pictures ImageWorks, Tippett Studio, Industrial Light & Magic, VCE and Boss Film. The extensive compo-siting schedule eventually led to the film's release date being pushed back from July 4 to November 7. First assistant cameraman Greg Irwin comments, "On a lot of movies, you have one visual effects crew handling the effects shots. Here, the first unit was dealing with normal photography and the effects photography [at the same time], along with the different companies that were conducting the visual effects. The most fun part was in learning the different protocols that applied to each visual effects house. Tippett had one set of rules we had to follow to prep each shot, whereas Sony had a whole other set of criteria. We had to handle this on first unit in addition to normal photography!"
Vacano adds, "Each effects house has a different way of working; for example, one might prefer different negative stocks. Since almost every shot had effects, I would have to think: 'Is Boss or ILM doing this effect?' and then do the shot a certain way. That's unusual. Normally, one company will work exclusively on a film. We even had a continuous second unit for six months. Typically, you have them only for a selected period."
Given each effects company's preference for distinct film stocks and developing laboratories, Vacano found the film's timing process to be more laborious than usual. The various sources of original negative have lent a slight variation to the film's overall look.
Taking such discrepancies into account, the cinematographer offers this advice regarding the use of filtration in effects-laden photography: "Normally, you use filters according to the light situation or for a certain artistic effect. If you have a deep blue sky and a dark ground, you would filter differently than having an overcast sky, which gives much less contrast. The Badlands offered more traditional desert shooting very rocky, with sandy colors. When shooting effects, it's always dangerous if you go too heavy with diffusion filters, because you always try to keep your negative as clear and as crisp as possible. It's always easier to degrade it later than to go the other way."
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