American Cinematographer - June 2018 - 48

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Heroes United

Top: Thanos looks down on his challengers. Middle: Downey, wearing
motion-capture markers, watches the action alongside Joe Russo.
Bottom: Holland and Downey perform against greenscreen for a scene aboard the Q-Ship.

48

June 2018

American Cinematographer

On the set, which was built in
Pinewood's Stage 6, the blue glow was
created with 12'x12' video panels, each
of which comprised 20 6'x7.25"
Chroma-Q Color Force 72 LED
battens rigged in a frame that was
diffused with Light Grid and suspended
on a lift. "It has the strong output of a
jumbotron," Murrell explains. "You can
program video content into the Color
Forces to give them movement; you can
pick video content that emulates
[imagery such as] a starburst, sun, fire or
a star field." These panels were put into
play on a number of sets.
The rest of the Ark set was lit by
28 SkyPanel S60s configured as space
lights for ambience, a dozen High End
Systems SolaWash 2000 LEDs on
trusses, and six Color Force 12s.
Bluescreens - illuminated by Kino Flo
Image 85s - were put in place to
accommodate the compositing of exterior views. (In other instances, the
production would use blue- or greenscreen depending on the particular scene
and the characters involved.)
The epic showdown on the lowgravity Titan is marked by a twilight
look, with fire-red and amber hues.
"There's a lot of destruction, and debris
that gets broken up," Opaloch says.
"We're simulating shadows from large
structures floating overhead and blocking the sun." This was done via 274
SkyPanel S60s rigged overhead to
provide overall ambience for the Titan
landscape. "Through the media server,
Scott Barnes programmed in patterns of
light fluctuations," Murrell explains.
Opaloch adds, "There are dust
clouds, almost like storm clouds that get
thicker throughout the sequence. The
light fluctuates and flickers. Our reference was the fires you see in Malibu,
with a low sun struggling to punch
through the thick atmosphere." The
crew generated smoke on the rubblestrewn set and liked how it
photographed, but they used it sparingly, as it would make greenscreen
separation more difficult for the visualeffects department, headed by supervisor Dan DeLeeuw. Much of the smoke,



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
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American Cinematographer - June 2018 - Cover3
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