American Cinematographer - August 2018 - 32
◗
Miniature Might
from the shot. We had to keep sound
carpets away from the bottom of the
frame to keep the Imax frame clean. A
number of times we had to compromise."
The cinematographer suggested
shooting with spherical lenses rather
than anamorphic. "The depth of field
with the Alexa 65 is so shallow and the
image is so beautiful that, for this film, I
preferred no optical artifacts," Spinotti
explains. "I wanted to play with the
dimensionality you get from the sensor."
Arri Rental was on hand with
Spinotti for tests at Walt Disney Studios
in Burbank and ultimately supplied him
with a new set of XPL-mount DNA
lenses ranging from 28mm to 150mm.
Spinotti recalls that during his prep with
Arri Rental, "I had a 17-inch monitor,
and someone was standing in front of
the camera in close-up. I felt the
[70mm] DNA lens had something
interesting in its rendering of the
perspective of the face - and every
other DNA lens had interesting qualities."
"Dante wanted an image that
wasn't necessarily associated with a
superhero show," recalls Arri Rental
technical marketing executive Matt
Kolze. "He immediately gravitated
towards the 50mm and 60mm T2 DNA
lenses. He said it was 'like uncorking a
fine bottle of wine.' The lenses in that
series can all be customized based on the
creative input of the cinematographer.
The 28mm, for example, is based on
what Dante asked for."
For the Alexa SXT, Spinotti
employed Arri/Zeiss Ultra Prime lenses
ranging from 16mm to 65mm. Arri
Rental also supplied lenses including an
Angenieux EZ-1 45-135mm (T3)
zoom that covered most of the Alexa
65's sensor; customized Zeiss 40110mm and 100-280mm zooms (both
T4); and a Vantage Film Hawk 150450mm (T2.8) high-speed telephoto
zoom. The custom zooms, Kolze notes,
"were built just for Dante. They match
the DNA in terms of color contrast and
character, and they cover more of the
image area than the Angenieux."
the camera remotely - via the Movi
Pro system - while watching a monitor, and directed Ferguson as necessary.
"This was all about energy, so it was
important for us to rip down the street
and cut the corner over buildings,"
Pastuhov explains. "The tricky part was
finding the right path so as to not overfly any crew or extras and still get the
optimum shot."
Pastuhov regularly advises filmmakers on which tool would work best
for a given shot. For instance, he recalls
a pullback shot of Michelle Pfeiffer and
Michael Douglas on a Hawaiian beach
that director Peyton Reed initially envisioned as being executed solely with a
drone. "I told him that it would start
better as a crane shot, because he wanted
it so tight that there would be rotor
wash [with a drone]," Pastuhov explains.
"After a brief conversation with the Acamera operator, we agreed it was better
off to start on a crane, and then we'd
pick it up with the drone."
A drone was the practical choice
for a main-unit sequence at San
Francisco's Fisherman's Wharf in which
Scott Lang (Paul Rudd) rises out of the
bay at Giant-Man size, looking down at
amazed passengers aboard a ferry. The
drone's upward movement mimics his
POV. "Booming up is pretty simple,"
Pastuhov says. "That shot was more
about maintaining the right position
with the crowd, and leaving space for
the CG giant to be put in the shot."
*|*
Drone Spotlight
*|*
T
he two main characters in Ant-Man
and the Wasp can fly - the former
on the back of a winged ant - which
made the production a natural for
drones.
Drones are often used to capture
angles from above the point a crane
could reach and below where a plane or
helicopter could fly, but their smaller
size provides more options. As an example, cinematographer Dante Spinotti,
ASC, AIC offers, "When we approach
some locations, such as the lair of
Ghost, we need point-of-view shots of
the characters flying."
In another instance, the movie's
car chase, a drone trailed a speeding van
at rooftop level for three blocks. "There
was no way we could have done that
with a helicopter," says drone director of
photography Phil Pastuhov. "It was too
low and invasive, and the city would
never have agreed to it."
Drone pilot Michael Ferguson
operated a Freefly Systems Alta 8 multirotor drone fitted with a Movi Pro
movement system, on which an Arri
Alexa Mini camera was mounted with
an Angenieux Optimo Style 16-40mm
(T2.8) zoom lens. Pastuhov operated
32
August 2018
American Cinematographer
- Mark Dillon
Table of Contents for the Digital Edition of American Cinematographer - August 2018
Contents
American Cinematographer - August 2018 - Cover1
American Cinematographer - August 2018 - Cover2
American Cinematographer - August 2018 - 1
American Cinematographer - August 2018 - 2
American Cinematographer - August 2018 - Contents
American Cinematographer - August 2018 - 4
American Cinematographer - August 2018 - 5
American Cinematographer - August 2018 - 6
American Cinematographer - August 2018 - 7
American Cinematographer - August 2018 - 8
American Cinematographer - August 2018 - 9
American Cinematographer - August 2018 - 10
American Cinematographer - August 2018 - 11
American Cinematographer - August 2018 - 12
American Cinematographer - August 2018 - 13
American Cinematographer - August 2018 - 14
American Cinematographer - August 2018 - 15
American Cinematographer - August 2018 - 16
American Cinematographer - August 2018 - 17
American Cinematographer - August 2018 - 18
American Cinematographer - August 2018 - 19
American Cinematographer - August 2018 - 20
American Cinematographer - August 2018 - 21
American Cinematographer - August 2018 - 22
American Cinematographer - August 2018 - 23
American Cinematographer - August 2018 - 24
American Cinematographer - August 2018 - 24a
American Cinematographer - August 2018 - 24b
American Cinematographer - August 2018 - 25
American Cinematographer - August 2018 - 26
American Cinematographer - August 2018 - 27
American Cinematographer - August 2018 - 28
American Cinematographer - August 2018 - 29
American Cinematographer - August 2018 - 30
American Cinematographer - August 2018 - 31
American Cinematographer - August 2018 - 32
American Cinematographer - August 2018 - 33
American Cinematographer - August 2018 - 34
American Cinematographer - August 2018 - 35
American Cinematographer - August 2018 - 36
American Cinematographer - August 2018 - 37
American Cinematographer - August 2018 - 38
American Cinematographer - August 2018 - 39
American Cinematographer - August 2018 - 40
American Cinematographer - August 2018 - 41
American Cinematographer - August 2018 - 42
American Cinematographer - August 2018 - 43
American Cinematographer - August 2018 - 44
American Cinematographer - August 2018 - 45
American Cinematographer - August 2018 - 46
American Cinematographer - August 2018 - 47
American Cinematographer - August 2018 - 48
American Cinematographer - August 2018 - 49
American Cinematographer - August 2018 - 50
American Cinematographer - August 2018 - 51
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American Cinematographer - August 2018 - 53
American Cinematographer - August 2018 - 54
American Cinematographer - August 2018 - 55
American Cinematographer - August 2018 - 56
American Cinematographer - August 2018 - 57
American Cinematographer - August 2018 - 58
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American Cinematographer - August 2018 - 60
American Cinematographer - August 2018 - 61
American Cinematographer - August 2018 - 62
American Cinematographer - August 2018 - 63
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American Cinematographer - August 2018 - 65
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American Cinematographer - August 2018 - 70
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American Cinematographer - August 2018 - 79
American Cinematographer - August 2018 - 80
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