American Cinematographer - June 2016 - 55
ensure the heroes' costumes featured the
color levels Marvel wanted and comicbook fans would expect. During
production, images were evaluated on
set on Sony PVMA250 OLED monitors. Under Opaloch's direction, Spicer
created CDLs that, along with detailed
notes, were sent to dailies colorist Scott
Fox at Shed in Atlanta.
Technicolor reports that 320
hours were spent on the final grade for
the 2D release, operating with an endto-end 16-bit half-float linear EXR
workflow. (Technicolor also provided
3D and Imax 3D versions.) ASC associate Steven Scott - Technicolor's vice
president of theatrical imaging and
supervising finishing artist - worked
with Autodesk Lustre 2016 Extension
2 on an HP Z840 workstation.
Faced with the speed of production and the three-camera shooting
method, Opaloch was confident that he
and Scott would be able to use the DI
process to bring the images to the level
he wanted. For example, if the cinematographer wasn't able to get the
desired contrast on a character -
perhaps because the dolly tracks from
multiple cameras prevented the proper
placement of negative fill - it could be
added or accentuated in the grade. "It's
like rotoscoping-in a fill side," Opaloch
says. "It's a fantastic way to work,
because I'm trying to make the Russos
and the studio happy while also trying
to get our [day's work] done. [I have] a
good sense of security knowing that as
long as the lighting direction and broad
strokes are there, I can finesse things
later."
The cinematographer's schedule
will not get any easier, with 180 days
lined up to shoot the Infinity War
movies beginning this coming
November. Slated for release in 2018
and 2019, the features will propel the
largest-ever assemblage of Marvel's
onscreen heroes beyond the Earth and
into an intergalactic adventure. "The
movies will be radical," promises
Anthony Russo. "It will be a real departure for all of us in terms of the ground
we've tread up to this point, and we're so
grateful that Trent is coming with us."
●
TECHNICAL SPECS
2.39:1, 1:90:1 (Imax)
Digital Capture
Arri Alexa XT Plus, Alexa 65;
Red Epic Dragon;
GoPro Hero4 Black
Panavision G Series, E Series,
C Series, T Series, AWZ2,
ATZ; Arri Prime 65
55
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
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American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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