It is, of course, difficult to determine the actual dimensions. Although the desks and filling cabinet offer something to hold on to.
The set was built on Stage 7 and will have taken up little space.
In addition to fluorescent light, Stanley Kubrick has a penchant for bringing in simulated outdoor light. The windows at the top against the ceiling are an example of this. Just like the army barracks in Full Metal jacket.<\/p>\n\n\n\n
![\"\"](\"https:\/\/www.shiningsets.nl\/wp-content\/uploads\/2021\/07\/forest-service_005.jpg\")
<\/a><\/a><\/figure>\n\n\n\nDispatch console<\/h2>\n\n\n\n
The dispatch console is quite a job to build. The console is from General Electric, but I have not been able to find this type on the internet. This must have been the camera setup. Probably without a dolly track, but on rubber wheels, like in the kitchen scene when Wendy locks Jack in the Storeroom.<\/p>\n\n\n\n While this is an Arri camera, it’s not the one Stanley used.
Fortunately, there are some medium shots with enough detail.
The seats and map stand are the next job.
<\/p>\n\n\n\n<\/a><\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\nCamera<\/h2>\n\n\n\n
This is a digital Arri Alexa LF.
Stanley Kubrick used two cameras for the Shining production. The Arriflex 35 BL and the Arriflex 35-IIC. Both cameras with 35 mm Eastman 100T 5247 film negative.
(source: nofilmschool.com\/kubrick-favorite-cameras)
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