American Cinematographer - March 2018 - 32
◗
Warrior King
Top: The Wakandan High Council chamber. Above: Morrison measures the light.
told a very real story about the 2009
shooting death of Oscar Grant by a
BART police officer in Oakland, Calif.
"It never occurred to me then that we
would one day make a superhero film,"
the cinematographer muses. "Now that
I know Ryan better, it makes perfect
sense. Graphic novels, comic books and
superhero films were always in his
DNA, even if they weren't in mine.
What we have in common is a desire to
challenge ourselves."
32
March 2018
Having steered clear of superhero and effects-heavy projects prior to
Black Panther, Morrison was faced with
a mountain of technical prep before
starting her work on the production. As
she relates, her first bit of homework
involved catching up on all of Marvel's
movies, after which she sought the
advice of cinematographers who had
photographed features on that scale -
such as Ben Davis, BSC, who was
behind the camera for Guardians of the
American Cinematographer
Galaxy (AC Sept. '14), Avengers: Age of
Ultron (AC June '15) and Doctor Strange,
as well as Trent Opaloch, who shot
Captain America: The Winter Soldier,
Captain America: Civil War (AC June
'16) and the upcoming Avengers: Infinity
War.
"One of the things I figured out
quickly is that no two large-scale movies
are the same, and no two visual-effectsheavy films are the same," Morrison
relates. "Within the visual-effects world,
Marvel does things very differently than
DC or Lucasfilm."
She also worked closely with
Victoria Alonso, Marvel's executive vice
president of physical production, and
with visual-effects supervisor Geoffrey
Baumann, who oversaw a team of 16
visual-effects vendors tasked with creating everything from full CG environments to performing simple retimes,
frame drops, and morphs. Baumann
provided Morrison with before-andafter composites from various Marvel
films to help her understand what was
accomplished on set versus in post.
"Even in the Marvel sandbox there are a
couple of different ways you can
approach a scene," Morrison reveals.
"Between Geoff, Ryan, production
designer Hannah Beachler and me,
there was a collective approach to the
decision-making process."
Table of Contents for the Digital Edition of American Cinematographer - March 2018
Contents
American Cinematographer - March 2018 - Cover1
American Cinematographer - March 2018 - Cover2
American Cinematographer - March 2018 - 1
American Cinematographer - March 2018 - 2
American Cinematographer - March 2018 - Contents
American Cinematographer - March 2018 - 4
American Cinematographer - March 2018 - 5
American Cinematographer - March 2018 - 6
American Cinematographer - March 2018 - 7
American Cinematographer - March 2018 - 8
American Cinematographer - March 2018 - 9
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American Cinematographer - March 2018 - 18
American Cinematographer - March 2018 - 19
American Cinematographer - March 2018 - 20
American Cinematographer - March 2018 - 21
American Cinematographer - March 2018 - 22
American Cinematographer - March 2018 - 23
American Cinematographer - March 2018 - 24
American Cinematographer - March 2018 - 25
American Cinematographer - March 2018 - 26
American Cinematographer - March 2018 - 27
American Cinematographer - March 2018 - 28
American Cinematographer - March 2018 - 29
American Cinematographer - March 2018 - 30
American Cinematographer - March 2018 - 31
American Cinematographer - March 2018 - 32
American Cinematographer - March 2018 - 33
American Cinematographer - March 2018 - 34
American Cinematographer - March 2018 - 35
American Cinematographer - March 2018 - 36
American Cinematographer - March 2018 - 37
American Cinematographer - March 2018 - 38
American Cinematographer - March 2018 - 39
American Cinematographer - March 2018 - 40
American Cinematographer - March 2018 - 41
American Cinematographer - March 2018 - 42
American Cinematographer - March 2018 - 43
American Cinematographer - March 2018 - 44
American Cinematographer - March 2018 - 45
American Cinematographer - March 2018 - 46
American Cinematographer - March 2018 - 47
American Cinematographer - March 2018 - 48
American Cinematographer - March 2018 - 49
American Cinematographer - March 2018 - 50
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American Cinematographer - March 2018 - 78
American Cinematographer - March 2018 - 79
American Cinematographer - March 2018 - 80
American Cinematographer - March 2018 - Cover3
American Cinematographer - March 2018 - Cover4
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