American Cinematographer - June 2017 - 46

◗

Cosmic Avengers
Top: Drax leaps
into the belly of
the Abolisk
during the
movie's
opening
sequence.
Middle: A
Stabileye rig
carries a Red
Weapon 8K VV
camera across a
cable. Bottom:
Pratt, Gunn,
Braham and
crew check the
action on a
monitor.

light source, in order to provide "the
correct interactive light on the actors,"
Braham explains. "This light source is
later replaced by the digital version."
In addition to its use in the physically constructed battery, the LiteRibbon
was a go-to piece of gear throughout the
production; fixture foreman Phillip
Abeyta and his department embedded
40,000 feet of it in the various sets.
The power-station floor also had
500 pulsating 4' Quasar Science LED
tubes beneath it. As with most of the
sets, the power station was surrounded
by bluescreen for digital backgrounds
- which, in this case, meant an
ominous, stormy sky out of which the
Abolisk materializes. "We had 70,000watt Lightning Strikes on all four
corners of the stage that would burst
every now and then [to create] interactive light," Cornwall says.
While large-scale ambience came
from above, Sourcemaker RGBH LED
blankets were most often employed
when illumination from below was
needed. "With 8-foot-by-8-foot, 4-footby-4-foot, and 2-foot-by-2-foot units,
we could maintain the quality of light
and match any color for both wide and
tight shots," Cornwall says. "Those units
were so quick and could match any color.
They have their own lightweight frame,
diffusion and snap-on grid, and [they]
are wireless, so we would literally toss
46

June 2017

American Cinematographer



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
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American Cinematographer - June 2017 - 13
American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
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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
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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
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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
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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