American Cinematographer - August 2012 - 51
the workflow never took his attention
away from realizing Webb’s creative
intent, which encompassed the picture’s
overall palette and a strategy for using
dimensionality to tell the story. In terms
of the overall aesthetic, the director
requested something akin to “French
Connection meets Spider-Man,” says
Schwartzman. “He wanted to see a dirty
New York, gritty and real. Peter Parker
[Andrew Garfield] is an angry young
man with these powers out in the real
streets of New York, which has all the
traffic, pollution and graffiti that you
might expect.”
Regarding his vision for the
dimensionality, Webb developed what
he calls “the three Vs of 3-D”: volume,
velocity and vertigo. “I feel all of those
elements are present or possible with
this character,” he says.
The mobility of their stereo rigs
enabled the filmmakers to more
precisely contextualize and accentuate
Spider-Man’s movements through
particular environments. “We created
visual elements and story points to
specifically take advantage of the
dimensionality of the environment,”
Webb notes. They maintained this
aesthetic for all-CG shots as well. For
instance, the movie ends with a CGIintensive
sequence that shows SpiderMan
swinging through an alley. Viewers
can “sense the space, feel like they are
moving forward or being propelled
themselves,” says Webb.
“In that sequence, and in certain
other key sequences, we were able to
open up the aspect ratio [for Imax
presentation], going from 2.35:1 to a
1.9:1 Imax digital ratio, and immerse
the viewer in the action,” says Engle.
“Most of the taller-aspect-ratio footage
was created as all-CG shots, but there
are many non-visual-effects and platebased
visual-effects shots in the
sequences. In most cases, the extra
height of the Red Epic [sensor] was
used while keeping extra width for
convergence adjustments. In some cases,
we had to recompose just for Imax. The
camera follows Spider-Man, and sometimes
we watch him, and sometimes we
www.theasc.com
Above: Police
Capt. Stacy
(Denis Leary)
attempts to
bring the
masked
vigilante to
justice. Left: A
Nightsun Xenon
on a motorized
head fitted to
an overhead
truss simulates a
police
helicopter’s
searchlight for
Stacy’s
confrontation
with
Spider-Man.
August 2012
51
http://www.theasc.com
American Cinematographer - August 2012
Table of Contents for the Digital Edition of American Cinematographer - August 2012
American Cinematographer - August 2012
Contents
Editor’s Note
Short Takes: New York Story
Production Slate: 360 • Midnight in Paris/To Rome with Love
Batman to the Max
Web-Slinging in Stereo
Memory Upgrade
Vampire Veto
Post Focus: Man, Chicks Are Just Different
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: David Boyd
American Cinematographer - August 2012 - American Cinematographer - August 2012
American Cinematographer - August 2012 - Cover2
American Cinematographer - August 2012 - 1
American Cinematographer - August 2012 - 2
American Cinematographer - August 2012 - Contents
American Cinematographer - August 2012 - 4
American Cinematographer - August 2012 - 5
American Cinematographer - August 2012 - 6
American Cinematographer - August 2012 - 7
American Cinematographer - August 2012 - Editor’s Note
American Cinematographer - August 2012 - 9
American Cinematographer - August 2012 - 10
American Cinematographer - August 2012 - 11
American Cinematographer - August 2012 - Short Takes: New York Story
American Cinematographer - August 2012 - 13
American Cinematographer - August 2012 - 14
American Cinematographer - August 2012 - 15
American Cinematographer - August 2012 - 16
American Cinematographer - August 2012 - 17
American Cinematographer - August 2012 - Production Slate: 360 • Midnight in Paris/To Rome with Love
American Cinematographer - August 2012 - 19
American Cinematographer - August 2012 - 20
American Cinematographer - August 2012 - 21
American Cinematographer - August 2012 - 22
American Cinematographer - August 2012 - 23
American Cinematographer - August 2012 - 24
American Cinematographer - August 2012 - 25
American Cinematographer - August 2012 - 26
American Cinematographer - August 2012 - 27
American Cinematographer - August 2012 - 28
American Cinematographer - August 2012 - 29
American Cinematographer - August 2012 - Batman to the Max
American Cinematographer - August 2012 - 31
American Cinematographer - August 2012 - 32
American Cinematographer - August 2012 - 33
American Cinematographer - August 2012 - 34
American Cinematographer - August 2012 - 35
American Cinematographer - August 2012 - 36
American Cinematographer - August 2012 - 37
American Cinematographer - August 2012 - 38
American Cinematographer - August 2012 - 39
American Cinematographer - August 2012 - 40
American Cinematographer - August 2012 - 41
American Cinematographer - August 2012 - 42
American Cinematographer - August 2012 - 43
American Cinematographer - August 2012 - 44
American Cinematographer - August 2012 - 45
American Cinematographer - August 2012 - Web-Slinging in Stereo
American Cinematographer - August 2012 - 47
American Cinematographer - August 2012 - 48
American Cinematographer - August 2012 - 49
American Cinematographer - August 2012 - 50
American Cinematographer - August 2012 - 51
American Cinematographer - August 2012 - 52
American Cinematographer - August 2012 - 53
American Cinematographer - August 2012 - 54
American Cinematographer - August 2012 - 55
American Cinematographer - August 2012 - 56
American Cinematographer - August 2012 - 57
American Cinematographer - August 2012 - Memory Upgrade
American Cinematographer - August 2012 - 59
American Cinematographer - August 2012 - 60
American Cinematographer - August 2012 - 61
American Cinematographer - August 2012 - 62
American Cinematographer - August 2012 - 63
American Cinematographer - August 2012 - 64
American Cinematographer - August 2012 - 65
American Cinematographer - August 2012 - 66
American Cinematographer - August 2012 - 67
American Cinematographer - August 2012 - Vampire Veto
American Cinematographer - August 2012 - 69
American Cinematographer - August 2012 - 70
American Cinematographer - August 2012 - 71
American Cinematographer - August 2012 - 72
American Cinematographer - August 2012 - 73
American Cinematographer - August 2012 - 74
American Cinematographer - August 2012 - 75
American Cinematographer - August 2012 - Post Focus: Man, Chicks Are Just Different
American Cinematographer - August 2012 - 77
American Cinematographer - August 2012 - 78
American Cinematographer - August 2012 - 79
American Cinematographer - August 2012 - New Products & Services
American Cinematographer - August 2012 - 81
American Cinematographer - August 2012 - 82
American Cinematographer - August 2012 - 83
American Cinematographer - August 2012 - 84
American Cinematographer - August 2012 - 85
American Cinematographer - August 2012 - International Marketplace
American Cinematographer - August 2012 - Classified Ads
American Cinematographer - August 2012 - Ad Index
American Cinematographer - August 2012 - 89
American Cinematographer - August 2012 - Clubhouse News
American Cinematographer - August 2012 - 91
American Cinematographer - August 2012 - ASC Close-Up: David Boyd
American Cinematographer - August 2012 - Cover3
American Cinematographer - August 2012 - Cover4
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