American Cinematographer - May 2010 - 36
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Armor Wars
Above: A visualeffects composite from one of Iron Man's many flying sequences. Right: Image 80s provide illumination while filming live-action elements for a flying sequence onstage.
the hangar doors, so there was already a relationship between light and dark, and even when we shot inside the hangars, we would find a space with as much depth as possible, and I’d use a lot of existing light. When they’re analyzing the Mark II, we put two VistaBeam 600s on [Matthews] Max menace arms as toplight, and we got the stop up to around T8.5 so we could bury the background a bit.” Taking his exposures with a reflective-light meter, Libatique typically
36 May 2010
maintained a shooting stop of T2.8. “I think it’s a nice compromise — I like as little depth of field as possible, but it’s still fair for the focus puller.” Bauman notes, “With Matty, there’s really not a lot that’s ever at key exposure. Usually Gwyneth and Robert were 1 or 1½ stops underexposed.” Libatique explains, “Key light doesn’t feel genuine to me. Even though I was doing a big movie with major stars, I wanted it to feel as if we’d just walked into a location and found that lighting. One way I do that is by
American Cinematographer
trying to keep the faces down.” The production shot 4-perf Super 35mm using a camera package from Panavision Hollywood. Panaflex Millennium XLs served as the A and B cameras, which almost always ran simultaneously. Libatique carried a set of Primo primes, “but we primarily used [Angenieux] Optimo 15-40mm and 28-76mm zooms. We used them as variable primes, and they gave us some flexibility with the actors’ improvisation.” In contrast to Stark’s digs, Vanko prepares for his war on Stark in a lowtech workspace. The set “was described to me as being not unlike Max Cohen’s apartment in Pi,” Libatique says with a laugh, referring to the indie he shot for Darren Aronofsky (AC April ’98). “It was that rare opportunity to go lo-fi in the movie, which is, in a lot of ways, my comfort zone. We used shop lights, clip lights, compact fluorescents and weird desk lamps with bare bulbs.” Libatique shot Kodak Vision 500T 5279 in Vanko’s workspace “because I liked how it accentuated the varying color temperatures.” (He used Vision2 50D 5201 and 200T 5217 and Vision3 500T 5219 elsewhere in the production.) Libatique has long employed color temperature as a means
American Cinematographer - May 2010
Table of Contents for the Digital Edition of American Cinematographer - May 2010
American Cinematographer - May 2010
Contents
Editor’s Note
President’s Desk
Short Takes: ASC Heritage Award Winners
Production Slate: The Man Next Door • Academy Sci-Tech Awards
Armor Wars
Wonders of the Sea
Lost and Found Families
Dark Secrets
Deep Visual Roots
Post Focus: Restoring A Star Is Born
Tricks of the Trade
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Fred Elmes
American Cinematographer - May 2010 - Intro
American Cinematographer - May 2010 - American Cinematographer - May 2010
American Cinematographer - May 2010 - Cover2
American Cinematographer - May 2010 - 1
American Cinematographer - May 2010 - 2
American Cinematographer - May 2010 - Contents
American Cinematographer - May 2010 - 4
American Cinematographer - May 2010 - 5
American Cinematographer - May 2010 - 6
American Cinematographer - May 2010 - 7
American Cinematographer - May 2010 - Editor’s Note
American Cinematographer - May 2010 - 9
American Cinematographer - May 2010 - President’s Desk
American Cinematographer - May 2010 - 11
American Cinematographer - May 2010 - Short Takes: ASC Heritage Award Winners
American Cinematographer - May 2010 - 13
American Cinematographer - May 2010 - 14
American Cinematographer - May 2010 - 15
American Cinematographer - May 2010 - 16
American Cinematographer - May 2010 - 17
American Cinematographer - May 2010 - Production Slate: The Man Next Door • Academy Sci-Tech Awards
American Cinematographer - May 2010 - 19
American Cinematographer - May 2010 - 20
American Cinematographer - May 2010 - 21
American Cinematographer - May 2010 - 22
American Cinematographer - May 2010 - 23
American Cinematographer - May 2010 - Armor Wars
American Cinematographer - May 2010 - 25
American Cinematographer - May 2010 - 26
American Cinematographer - May 2010 - 27
American Cinematographer - May 2010 - 28
American Cinematographer - May 2010 - 29
American Cinematographer - May 2010 - 30
American Cinematographer - May 2010 - 31
American Cinematographer - May 2010 - 32
American Cinematographer - May 2010 - 33
American Cinematographer - May 2010 - 34
American Cinematographer - May 2010 - 35
American Cinematographer - May 2010 - 36
American Cinematographer - May 2010 - 37
American Cinematographer - May 2010 - 38
American Cinematographer - May 2010 - 39
American Cinematographer - May 2010 - Wonders of the Sea
American Cinematographer - May 2010 - 41
American Cinematographer - May 2010 - 42
American Cinematographer - May 2010 - 43
American Cinematographer - May 2010 - 44
American Cinematographer - May 2010 - 45
American Cinematographer - May 2010 - 46
American Cinematographer - May 2010 - 47
American Cinematographer - May 2010 - 48
American Cinematographer - May 2010 - 49
American Cinematographer - May 2010 - Lost and Found Families
American Cinematographer - May 2010 - 51
American Cinematographer - May 2010 - 52
American Cinematographer - May 2010 - 53
American Cinematographer - May 2010 - 54
American Cinematographer - May 2010 - 55
American Cinematographer - May 2010 - Dark Secrets
American Cinematographer - May 2010 - 57
American Cinematographer - May 2010 - 58
American Cinematographer - May 2010 - 59
American Cinematographer - May 2010 - 60
American Cinematographer - May 2010 - 61
American Cinematographer - May 2010 - 62
American Cinematographer - May 2010 - 63
American Cinematographer - May 2010 - 64
American Cinematographer - May 2010 - 65
American Cinematographer - May 2010 - 66
American Cinematographer - May 2010 - 67
American Cinematographer - May 2010 - 68
American Cinematographer - May 2010 - 69
American Cinematographer - May 2010 - 70
American Cinematographer - May 2010 - 71
American Cinematographer - May 2010 - Post Focus: Restoring A Star Is Born
American Cinematographer - May 2010 - 73
American Cinematographer - May 2010 - Tricks of the Trade
American Cinematographer - May 2010 - 75
American Cinematographer - May 2010 - New Products & Services
American Cinematographer - May 2010 - 77
American Cinematographer - May 2010 - 78
American Cinematographer - May 2010 - 79
American Cinematographer - May 2010 - 80
American Cinematographer - May 2010 - 81
American Cinematographer - May 2010 - 82
American Cinematographer - May 2010 - 83
American Cinematographer - May 2010 - International Marketplace
American Cinematographer - May 2010 - Classified Ads
American Cinematographer - May 2010 - Ad Index
American Cinematographer - May 2010 - Clubhouse News
American Cinematographer - May 2010 - ASC Close-Up: Fred Elmes
American Cinematographer - May 2010 - Cover3
American Cinematographer - May 2010 - Cover4
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