American Cinematographer - March 2018 - 38
◗
Warrior King
Right: Boseman
runs through the
streets of Busan
during a
nighttime chase
sequence that
was executed by
the 2nd unit, led
by director Darrin
Prescott and
cinematographer
Igor Meglic, ZFS.
Below: Part of
the action was
captured using
this vehiclemounted multicamera Red array.
ing mano-a-mano fights at the massive
Warrior Falls, where T'Challa must
defend his right to the throne, Rawlins
and rigging key grip Kent Baker blocked
the sun with two 60'x60' Ultrabounces
hanging from 450- and 350-ton
construction cranes, with 16 30'x30'
bluescreens surrounding the set; when
winds rose above 15 mph, 20'x20'
38
March 2018
flyswatters on condors were used instead
of the Ultrabounces. Morrison tracked
the sun and shot for backlight, augmenting with four LRX Single PARs and
two 15-light Bebees. Cornwall notes, "I
chose the Bebee Night Light because it
can work both as a strong sun source or,
with an added diffusion frame, it can be
a large soft source."
American Cinematographer
The filmmakers also made use
of two massive bluescreens: a 1,300'x40'
stack of shipping containers nicknamed
"Big Blue" and a 700'x40' stack dubbed
"Little Blue." Morrison offers, "Because
we're on Earth and not floating through
space, you can usually justify bluescreen
spill as daylight, especially in day exteriors and interiors with big windows.
Besides, when you spend all day looking
at a greenscreen, you start to go a little
crazy. It's an unhealthy color, and it
reminds the actors that they're in a digital world. Geoff and I worked together
to make the case for an all-bluescreen
show."
"We met with visual effects in
prep and asked if we could stay with
bluescreen [and eschew greenscreen], as
we feel blue reflections are more in line
with natural light sources," Cornwall
adds. "I tend to keep the bluescreen
lighting off until we're ready to shoot;
this helps to better imagine the background, especially in night scenes."
Throughout
production,
Morrison maintained a flexible
approach with the use of lighting
automation, which was programmed by
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
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