American Cinematographer - June 2018 - 40
◗
Heroes United
Top: Falcon (Anthony Mackie) soars above the battlefield in Wakanda. Middle: Haley frames a
fight sequence involving Steve Rogers (Chris Evans). Bottom: The crew secures the camera in a
HydroFlex splash bag.
40
June 2018
American Cinematographer
whom Opaloch gleaned valuable intel.
Because of the late request, the
full lens selection wasn't ready for the
start of production. "We didn't have a
35mm or a 65mm, but we didn't mind
because the stuff we were shooting
looked great and made the delay in
getting the rest of the 'tweener' focal
lengths more than worth it," Opaloch
says. At the request of Swen Gillberg,
one of the production's visual-effects
supervisors, the crew also employed
Panavision Sphero 65 spherical lenses
for plate shots.
The large format didn't stop the
filmmakers from designing intimate
shots. "We do a lot of close shots for
emotion and to make you feel
connected with a character," Russo
explains. The show's go-to lens was a
50mm, and for close-ups they would
jump between a 75mm and 100mm. A
40mm was usually the widest lens, as
the brothers felt anything wider would
start to warp the frame's linear integrity.
On their previous collaborations,
Opaloch and the Russos efficiently
gathered coverage with three-camera
setups, but for Infinity War they often
ran a single camera and designed
ensemble framing. When feasible, a
second camera with a different focal
length would be added for dramatic
scenes, and action scenes could see three
to six cameras pressed into service.
Geoffrey Haley was A-camera and
Steadicam operator - although
Steadicam was used only sparingly -
and Opaloch notes, "Geoff was able to
guide the storytelling through camera
movement in such a way that we would
get so much bang for our buck with one
camera." Kent Harvey operated B
camera, with Ross Coscia on C; Harvey
also served as a splinter-unit cinematographer.
Opaloch adds that lighting for a
single camera presented its own challenges, as shots could cover 270 to 360
degrees, requiring the crew to follow
actors with handheld Jem Balls, and to
turn small LED panels on and off. "We
had many more dynamic lighting cues,"
he says. "We would flip our keys in shot
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
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American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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