American Cinematographer - August 2012 - 54

◗Web-Slinging in Stereo
shoot anamorphic. So I didn’t have to
make any major concessions to the
camera.
“The only real trick was keeping
stray light off the mirror [in the 3-D
rig], because a flare or a veiling glare
would be in different places in the frame
between the two eyes, and that’s a problem,”
he continues. “The grips worked
hard to keep backlight off the mirror,
and because of the inherent depth in
3-D, I used less backlight than I would
in 2-D, where I tend to use rimlight to
model the subject and create layers of
depth.”
Webb and Schwartzman agree
Top: Spider-Man sends strands of webbing through Manhattan’s water works — a set the
crew dubbed “The Onion” — and waits to feel the vibrations made by the approaching
Lizard. Bottom: Schwartzman shapes the light as A-camera 1st AC Richard Mosier keeps
the action in focus.
we could watch using passive 3-D
glasses,” he recalls.
“We watched
rehearsals in 3-D and made sure we
liked the I/O, and then [during the
takes], I was at the camera and Marc
was at video village, watching a 2-D
image on a standard 19-inch flatscreen
monitor. So, we had the ability to [check
the image] in 3-D and still run video
village like a 2-D show.”
Webb was also comfortable with
the methodology. “There was a nimbleness
to the way it was organized and a
flexibility that I really appreciated. We
54
August 2012
were operating on [Technocranes]
much of the time, which allowed us to
move pretty fast.”
On the lighting front, Schwartz-
man approached things “from an
emotional place, not a technical one,” as
he would do on any other picture.
“When I tested the Epic’s sensitivity, I
found it to be ISO 800 in full daylight
and ISO 640 in tungsten light. But with
3-D, the beamsplitter cuts out one stop
of light, so that goes down to 400
[daylight] and 320 [tungsten], which is
pretty much what I’m used to when I
American Cinematographer
that their ability to adhere to a standard
shooting schedule helped them carve
out a lengthy post period, which had to
accommodate visual effects, stereography,
conform and DI processes. “We
finished photography on time, and that
allowed us time to be very thorough in
post,” says the director. “Rob Engle’s
team [including on-set stereographers
Eric Deren and Jason Goodman] was
good about finding the artful balance
between discretion and excitement. You
don’t want the 3-D to be so oppressive
or violent that it takes you out of the
movie.”
Spider-Man features approxi-
mately 1,600 visual-effects shots. Chen
credits the Epic cameras for providing
high-resolution plates, but notes that
this impacted the rendering process for
CG material to combine with those

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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