American Cinematographer - June 2018 - 38

◗

Heroes United
Right: Black
Panther
(Chadwick
Boseman)
braces for war
alongside
Wakandan
warriors and
other heroes.
Below: The
camera angles
in for a
close-up of
Boseman.

6560x3100 ArriRaw files in Open Gate
mode to 2TB Codex SXR Capture
Drives. The filmmakers framed for 1.9:1
with a 2.39:1 common center extraction
for the non-Imax theatrical release.
Zach Hilton, the on-set data-management supervisor, would collect media
during reloads, using a Codex Vault XL
to enter custom metadata and download
the footage to 8TB SSD transfer drives,
which production sent to the lab two or
three times daily. Pinewood Digital
provided dailies services.
"The metadata is so important
because it tracks everything from lenses
to filters to defined visual-effects information for every shot," relates Spicer.
"There may be three different 50mm
38

June 2018

lenses used at the same time, and visual
effects needs to know which lens goes
with which camera so they can use the
correct distortion map." The metadata
was also crucial in order to maintain
continuity throughout an epic battle on
Thanos' home planet of Titan; the
sequence was begun in the first week of
production, in Pinewood Atlanta
Studios' 30,000-square-foot Stage 5,
and had to be picked up again months
later to accommodate actor availability.
For Opaloch, the biggest concern
with shooting for the Imax format was
the thought of having to abandon the
anamorphic lenses he prefers. After a
day of testing the Alexa 65 with spherical lenses, the cinematographer was
American Cinematographer

driving through Los Angeles' Topanga
Canyon when he decided to make what
he describes as a "Hail Mary" call to
ASC associate Jim Roudebush,
Panavision's vice president of marketing,
to inquire about the company's Auto
Panatar anamorphic lenses from the late
1950s and early 1960s.
"They have a 1.3x squeeze - not
a full 2x squeeze, but enough to give it
that Panavision anamorphic look I
adore," the cinematographer says.
"There weren't enough of the originals
to cover all the cameras we had across
different units, and as much as I love the
original glass, it was a bit wild and
woolly as far as flare and falloff for a
movie with this amount of visual effects.
So I asked if they could build modern
versions."
Roudebush had a quick chat with
fellow ASC associate Dan Sasaki,
Panavision's vice president of optical
engineering, and then, Opaloch continues, "They called back and told me, 'Yes,
we can do it.' I nearly punched the roof
of my rental car, I was so happy. So
much of my stress was taken care of. I
thought, 'Now all we have to do is prep
and shoot the movie.'" The resulting
Ultra Panatar lenses - built with
modern optics, mechanics and
ergonomics - are a variation on the
Ultra Panavision 70 lenses used on
Rogue One: A Star Wars Story by Greig
Fraser, ASC, ACS (AC Feb. '17), from



Table of Contents for the Digital Edition of American Cinematographer - June 2018

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
American Cinematographer - June 2018 - 9
American Cinematographer - June 2018 - 10
American Cinematographer - June 2018 - 11
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American Cinematographer - June 2018 - 14
American Cinematographer - June 2018 - 15
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American Cinematographer - June 2018 - 17
American Cinematographer - June 2018 - 18
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American Cinematographer - June 2018 - 20
American Cinematographer - June 2018 - 21
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American Cinematographer - June 2018 - 27
American Cinematographer - June 2018 - 28
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American Cinematographer - June 2018 - 30
American Cinematographer - June 2018 - 31
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American Cinematographer - June 2018 - 33
American Cinematographer - June 2018 - 34
American Cinematographer - June 2018 - 35
American Cinematographer - June 2018 - 36
American Cinematographer - June 2018 - 37
American Cinematographer - June 2018 - 38
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American Cinematographer - June 2018 - 49
American Cinematographer - June 2018 - 50
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American Cinematographer - June 2018 - 53
American Cinematographer - June 2018 - 54
American Cinematographer - June 2018 - 55
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American Cinematographer - June 2018 - 57
American Cinematographer - June 2018 - 58
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American Cinematographer - June 2018 - 60
American Cinematographer - June 2018 - 61
American Cinematographer - June 2018 - 62
American Cinematographer - June 2018 - 63
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American Cinematographer - June 2018 - 65
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American Cinematographer - June 2018 - 67
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American Cinematographer - June 2018 - 70
American Cinematographer - June 2018 - 71
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American Cinematographer - June 2018 - 97
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American Cinematographer - June 2018 - 100
American Cinematographer - June 2018 - 101
American Cinematographer - June 2018 - 102
American Cinematographer - June 2018 - 103
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American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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