American Cinematographer - June 2012 - 46
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All Together Now
phy. EFilm also provided the production with a profile look that matched the monitors in the trailer with the HP DreamColor monitors used on set and at digital-imaging technician Daniel Hernandez’s station. “I used Technoprops’ four-channel color system, called Ccolor, which was developed by Alex Arango,” notes Hernandez, who sourced most of his gear from Videohawks. “It allowed me to color-correct four cameras in real time using one laptop, instantly copy looks from camera to camera, and adjust the image on each camera.” The filmmakers recorded in ArriRaw to Codex digital recorders that Hernandez linked with his station’s IP address so that each time the cameras rolled, the recorders would pull the corresponding camera’s CDL metadata from Ccolor. “I also created a CDL log with the scene, take, roll number and time-code stamp that could be ingested into EFilm’s color system, and I recorded reference video to a CompactFlash card that I handed off to EFilm at the end of every day,” adds Hernandez. After lunch, the crew continues shooting the sequence involving the burning Acura. The alien in the scene is portrayed on set by a performer wearing a gray bodysuit dotted with motion-capture markers. “All of the production-based motion capture was done live in-camera primarily because it involved digital characters interacting with live-action characters,” notes Sirrs. “Character performances for entirely digital shots were captured with dedicated motion-capture sessions during post, and several sessions were done with Mark Ruffalo so that the idiosyncrasies of his performance could be incorporated into the [all-CG] Hulk.” The footage shot in downtown Cleveland is all part of the battle that dominates The Avengers’ third act, when the heroes must stand united against the onslaught of Loki’s alien hordes. East 9th Street provided the backdrop for one of the sequence’s most explosive pieces, in which the aliens strafe the
Top and middle: Cleveland, Ohio’s East 9th Street was dressed as Manhattan’s 49th Street for portion’s of the film’s climactic battle. Practical explosions tore through the location, and visual effects then added strafing alien craft and laser blasts, and replaced the background. Bottom: B-camera/Steadicam operator George Billinger captures the action as Captain America navigates the chaos.
very flattering light. I didn’t want the complete circle, so I masked off part of it with black wrap, and you just see two little triangles in his eyes.” Back in Cleveland, Whedon and
46 June 2012
McGarvey retreat to EFilm’s mobiledailies trailer during their lunch break. Equipped with a grading suite and 12' projection screen, the trailer was on hand throughout principal photograAmerican Cinematographer
American Cinematographer - June 2012
Table of Contents for the Digital Edition of American Cinematographer - June 2012
American Cinematographer - June 2012
Editor’s Note
Short Takes: The Tsunami and the Cherry Blossom
Production Slate: Moonrise Kingdom • Hemingway & Gellhorn
All Together Now
Beauty in Battle
Blood Relatives
Blast from the Past
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Sam Nicholson
American Cinematographer - June 2012 - American Cinematographer - June 2012
American Cinematographer - June 2012 - Cover2
American Cinematographer - June 2012 - 1
American Cinematographer - June 2012 - 2
American Cinematographer - June 2012 - 3
American Cinematographer - June 2012 - 4
American Cinematographer - June 2012 - 5
American Cinematographer - June 2012 - 6
American Cinematographer - June 2012 - 7
American Cinematographer - June 2012 - Editor’s Note
American Cinematographer - June 2012 - 9
American Cinematographer - June 2012 - Short Takes: The Tsunami and the Cherry Blossom
American Cinematographer - June 2012 - 11
American Cinematographer - June 2012 - 12
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American Cinematographer - June 2012 - 14
American Cinematographer - June 2012 - 15
American Cinematographer - June 2012 - 16
American Cinematographer - June 2012 - 17
American Cinematographer - June 2012 - Production Slate: Moonrise Kingdom • Hemingway & Gellhorn
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American Cinematographer - June 2012 - 21
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American Cinematographer - June 2012 - 33
American Cinematographer - June 2012 - All Together Now
American Cinematographer - June 2012 - 35
American Cinematographer - June 2012 - 36
American Cinematographer - June 2012 - 37
American Cinematographer - June 2012 - 38
American Cinematographer - June 2012 - 38a
American Cinematographer - June 2012 - 38b
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American Cinematographer - June 2012 - 50
American Cinematographer - June 2012 - 51
American Cinematographer - June 2012 - Beauty in Battle
American Cinematographer - June 2012 - 53
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American Cinematographer - June 2012 - 55
American Cinematographer - June 2012 - 56
American Cinematographer - June 2012 - 57
American Cinematographer - June 2012 - 58
American Cinematographer - June 2012 - 59
American Cinematographer - June 2012 - 60
American Cinematographer - June 2012 - 61
American Cinematographer - June 2012 - Blood Relatives
American Cinematographer - June 2012 - 63
American Cinematographer - June 2012 - 64
American Cinematographer - June 2012 - 64a
American Cinematographer - June 2012 - 64b
American Cinematographer - June 2012 - 64c
American Cinematographer - June 2012 - 64d
American Cinematographer - June 2012 - 64e
American Cinematographer - June 2012 - 64f
American Cinematographer - June 2012 - 64g
American Cinematographer - June 2012 - 64h
American Cinematographer - June 2012 - 64i
American Cinematographer - June 2012 - 64j
American Cinematographer - June 2012 - 64k
American Cinematographer - June 2012 - 64l
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American Cinematographer - June 2012 - 73
American Cinematographer - June 2012 - Blast from the Past
American Cinematographer - June 2012 - 75
American Cinematographer - June 2012 - 76
American Cinematographer - June 2012 - 77
American Cinematographer - June 2012 - 78
American Cinematographer - June 2012 - 79
American Cinematographer - June 2012 - 80
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American Cinematographer - June 2012 - 82
American Cinematographer - June 2012 - 83
American Cinematographer - June 2012 - New Products & Services
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American Cinematographer - June 2012 - 98
American Cinematographer - June 2012 - 99
American Cinematographer - June 2012 - International Marketplace
American Cinematographer - June 2012 - Classified Ads
American Cinematographer - June 2012 - Ad Index
American Cinematographer - June 2012 - 103
American Cinematographer - June 2012 - ASC Membership Roster
American Cinematographer - June 2012 - 105
American Cinematographer - June 2012 - Clubhouse News
American Cinematographer - June 2012 - 107
American Cinematographer - June 2012 - ASC Close-Up: Sam Nicholson
American Cinematographer - June 2012 - Cover3
American Cinematographer - June 2012 - Cover4
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