American Cinematographer - June 2015 - 61

walk around the Hulk and Hulkbuster
he saw through the lens, point the
camera at any angle and the characters
would stay in place," explains Gerardo
Ramirez, previs supervisor at The Third
Floor. "When cameras rolled, we hit
play on our machine and the characters
performed the previs action, and the
operator could move the camera to
follow them. Many shots using this
approach feel more organic because the
camera clearly is reacting to something."
For Quicksilver, the filmmakers
were challenged to represent the character's speed differently than Twentieth
Century Fox's X-Men: Days of Future
Past (AC July '14) - an entirely separate
franchise that happens to share the
same character. While preparing for a
running sequence in the woods, the
special-effects team's Paul and Ian
Corbould devised a remote-controlled,
high-speed tracking system whereby a
camera travels along a high-tension
cable tied between two poles, trees or
forklifts. The resulting background
plates could be sped up or used in slow
motion and would be composited with
a shot of Taylor-Johnson running on a
treadmill in front of greenscreen. To
achieve that off-speed capability, the
crew would shoot at 120 fps with the
Arri Alexa XT (recording in 16:9
ArriRaw) or at up to 1,000 fps with the
Phantom Flex4K (recording in Cine
raw). The latter approach was specifically applied for a sequence in which the
speedster, who has switched allegiances
from Ultron to the Avengers, battles
multiples of the android. Primos were
used with both cameras.
"At these frame rates we would
record more information from his
performance and use the extra frames to
build a wispy trail behind him as he
runs," Townsend explains. "Sometimes
we would integrate a CG character into
the background to try to provide a
'Pietro vision,' where you're either seeing
through his eyes or we're slowing things
down to capture what he's doing."
Gone are the days when visual
effects required locked-off shots. Much
of the action-packed first and third acts



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American Cinematographer - June 2015

Table of Contents for the Digital Edition of American Cinematographer - June 2015

Contents
American Cinematographer - June 2015 - Cover1
American Cinematographer - June 2015 - Cover2
American Cinematographer - June 2015 - 1
American Cinematographer - June 2015 - 2
American Cinematographer - June 2015 - Contents
American Cinematographer - June 2015 - 4
American Cinematographer - June 2015 - 5
American Cinematographer - June 2015 - 6
American Cinematographer - June 2015 - 7
American Cinematographer - June 2015 - 8
American Cinematographer - June 2015 - 9
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American Cinematographer - June 2015 - 11
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American Cinematographer - June 2015 - 14
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American Cinematographer - June 2015 - 20
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American Cinematographer - June 2015 - 27
American Cinematographer - June 2015 - 28
American Cinematographer - June 2015 - 29
American Cinematographer - June 2015 - 30
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American Cinematographer - June 2015 - 37
American Cinematographer - June 2015 - 38
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American Cinematographer - June 2015 - 40
American Cinematographer - June 2015 - 41
American Cinematographer - June 2015 - 42
American Cinematographer - June 2015 - 43
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American Cinematographer - June 2015 - 45
American Cinematographer - June 2015 - 46
American Cinematographer - June 2015 - 47
American Cinematographer - June 2015 - 48
American Cinematographer - June 2015 - 49
American Cinematographer - June 2015 - 50
American Cinematographer - June 2015 - 51
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American Cinematographer - June 2015 - 60
American Cinematographer - June 2015 - 61
American Cinematographer - June 2015 - 62
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American Cinematographer - June 2015 - 80
American Cinematographer - June 2015 - 80a
American Cinematographer - June 2015 - 80b
American Cinematographer - June 2015 - 80c
American Cinematographer - June 2015 - 80d
American Cinematographer - June 2015 - 80e
American Cinematographer - June 2015 - 80f
American Cinematographer - June 2015 - 80g
American Cinematographer - June 2015 - 80h
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American Cinematographer - June 2015 - Cover3
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