American Cinematographer - May 2010 - 38
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Armor Wars
pyro on the stage to get the atmosphere in there. Even if you have to paint something in later [with CG], it feels better if you have a real visual benchmark.” The Rag Place provided the bluescreen that surrounded the set; this was lit with Kino Flo Image 80s (fitted with Super Blue tubes) positioned along the top and bottom of the screen. To light the set, Libatique turned to a technique that had served him well for the climax of Iron Man: hanging Image 80s from the ceiling. Bauman explains, “Tana and [key rigging grip] Charley Gilleran designed and built a 40-by-60 box containing Image 80s mixed with daylight and tungsten tubes and run through Light Grid. We underexposed a bit to get some reflectivity. The source was low-intensity but very broad, and we could pick up highlights that the CG guys could then work from. We also used Image 80s as soft ambient backlight, and we put up truss with some VL3000s so we could highlight different areas.”
Favreau and Downey prepare to shoot “inside-the-helmet” footage. Framing the actor in a tight close-up, the camera tracked left and right while Versa Tubes simulated Iron Man’s heads-up display.
‘How much do we really need to do practically?’” says Libatique. “Janek and I agreed that there needed to be physical interactivity with the foreground action to sell the background visual-effects work. We decided to build as big as we could to get a sense of scale and those physical relationships.”
The production built the set, dubbed the Japanese Garden, inside Sony Studios’ Stage 30. Sirrs explains, “There’s a waterfall and a stream running through the middle of the set, and we wanted to capture as much of that with live plates as possible. We’ve also got missile hits, and we wanted to set off real
prime choice
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There’s no doubt that Angenieux Optimo 35mm film lenses deliver exceptional optical performance and value. They feature extremely fast apertures with outstanding contrast and color reproduction – and the most advanced zoom mechanics available. In fact, an expansive 15 to 290mm range is provided by just four Optimo
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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