DiCinema

The live-action cyberspace sequences were shot in Los Angeles, including on sound stages on the Disney lot. In an original two-minute feasibility test, an actor in a gray suit was placed against a white background. At the behest of cinematographer Bruce Logan (who worked on the visual effects of both Star Wars: A New Hope and 2001: A Space Odyssey), a white background just wasn't feasible. As Logan puts it in the 2002 documentary The Making of Tron, there wouldn't be "enough lights in Hollywood" to properly light an all-white set. And so, the all-white void was swapped out for an all-black one. The result: actors in white costumes with black vector lines shot against a pitch-black stage. In the same making-of documentary, Jeff Bridges remembers feeling "bombarded by color" every time he'd exit the soundstage. Even with the void swap, per American Cinematographer, the production was using so much current to bounce light on-set that the City of Burbank supposedly called the studio to complain. One other takeaway from the feasibility test was the realization that they would have to shoot on a large format negative because even a 35mm anamorphic wouldn't be able to handle the demands of compositing. At Logan's behest, they switched to 65mm. The computer segments of the film were shot in black-and-white because, per Logan, this was the most "elegant" way to do it. This footage was then enlarged for blow-ups (~ 20" x 12") and then transferred into large format, continuous tone, high-contrast Kodalith transparencies that only contained opaque and transparent elements. Clear cels were then laid over each sheet and all portions of the figure (except the areas that were going to be exposed) were manually blacked out. Next, the sheets and overlays were placed over a lightbox while an above-mounted camera made passes for different elements: teeth, the whites of eyes, faces, etc. One part of this process would be to expose carefully cut-out segments to light sources to create the impression of a neon glow that was simultaneously tied to both the live-action photography and the CGI elements.

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