Q Avengers Re-Assemble Top: Working on the Mapo Bridge in Seoul, South Korea, the crew readies an action scene featuring Captain America. Bottom: Evans catches his breath between takes while filming another action scene. the window to light the edge of the glass, and stanchions to make sure there was some definition, as though it was high up and there was some light coming from underneath." The space also had a balcony on which the crew created a large soft source with 2K Blondes on a 12'x12' bounce with a 12'x12' egg crate in front 56 June 2015 to minimize spreading. Further motivation inside the room came from two illuminated bars, one with hot spots from 50 custom bulbs behind a Perspex screen and the other lit by fluorescents. There were also various lamps around the table where the characters sat. "I kept those on to try to create a sense of intimacy," Davis says. Source Fours on American Cinematographer an overhead truss bounced soft light off the table for an eye light and definition on the actors' faces. When possible, Davis would bring in 1K or 2K Rifa lamps for actor close-ups. "It's a flattering lamp that works particularly well with the Alexa," he says. "The challenge [in shooting] with multiple cameras is to keep the light interesting and directional on all the characters without smothering it in an overall source." Intensive preparation went not only into rigging the movie lights - which were complicated by the set's many reflective surfaces - but to setting the practicals as well. "We had guys wiring the practicals for five weeks," Smith recalls. "The art department turned up with 200 standard fluorescents and we rewired them so we would have DMX-dimmer control of every tube. We could supplement them or use them as a standalone lighting source. It saved so much time. You're not putting on .6 or .9 ND filters and gelling a different color; you can do all that on the dimmer." Ultron's appearance was shot at