American Cinematographer - June 2017 - 40

◗

Cosmic Avengers

Braham and crew capture several action sequences with Saldana.

40

June 2017

American Cinematographer

Logic, Lola, Luma and Cantina - that
would touch the images.
"We had to create, test and implement a color pipeline suitable for dailies,
visual effects and DI," Watson explains.
"We were challenged by the fact that the
Red Weapon 8K VV was still in beta
phase and had little support in conventional color-grading and dailies software.
And [Phantom manufacturer] Vision
Research had not published an official
ACES Input Device Transform for
mapping the camera's colorimetry into
the ACES color space."
Townsend's team challenged Shed
to devise a method of creating neutralized visual-effects plates, "so we turned
traditional dailies into a digital-negative
mastering process," Watson continues.
"By making both technical adjustments
directly to the raw files and creative
adjustments using CDL values, we were
able to remaster the negative [so it would
be] ready for visual-effects pulls, while
also providing Henry with the creative
look he sought. We chose Codex
Production Suite for this process, as
Marvel already uses Codex XL hardware
and Codex Backbone software for their
visual-effects pull system. They created
an incredibly elegant solution to adjust
both raw parameters and CDL adjustments simultaneously, and to ensure that
this work was visible during visual-effects
plate extractions. Codex also integrated
the Phantom Flex4K into their ACES
pipeline, which unified the look between
the two cameras." The visual-effects/DI
workflow was 2K ACES 16-bit EXR.
Dailies were evaluated in a projection
room set up by Marvel.
Approximately 13 weeks of
continuous preproduction involved
significant storyboarding and previs with
The Third Floor - a crucial step, given
the number of animated characters.
Rocket was once again animated via
visual effects, with actor Sean Gunn -
the director's brother, who also plays
Yondu's right-hand man, Kraglin -
performing Rocket's actions on set, later
to be digitally replaced. A scale model of
Baby Groot was employed as a visualeffects and lighting reference and to give



Table of Contents for the Digital Edition of American Cinematographer - June 2017

Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
American Cinematographer - June 2017 - 12
American Cinematographer - June 2017 - 13
American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
American Cinematographer - June 2017 - 16
American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
American Cinematographer - June 2017 - 23
American Cinematographer - June 2017 - 24
American Cinematographer - June 2017 - 25
American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
American Cinematographer - June 2017 - 38
American Cinematographer - June 2017 - 39
American Cinematographer - June 2017 - 40
American Cinematographer - June 2017 - 41
American Cinematographer - June 2017 - 42
American Cinematographer - June 2017 - 43
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American Cinematographer - June 2017 - 45
American Cinematographer - June 2017 - 46
American Cinematographer - June 2017 - 47
American Cinematographer - June 2017 - 48
American Cinematographer - June 2017 - 49
American Cinematographer - June 2017 - 50
American Cinematographer - June 2017 - 51
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American Cinematographer - June 2017 - 56
American Cinematographer - June 2017 - 57
American Cinematographer - June 2017 - 58
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American Cinematographer - June 2017 - 60
American Cinematographer - June 2017 - 61
American Cinematographer - June 2017 - 62
American Cinematographer - June 2017 - 63
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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