American Cinematographer - June 2016 - 51
Stark stops fighting after Rhodes is injured in the battle.
For the film's handheld action
sequences, the crew used a bungee
camera-support system that Coo built
out of 30' to 40' of surgical tubing
suspended from a Condor. The tubing
would be tethered to the top handle of
the XT Plus or Alexa 65, lightening the
load for the operators. "I've never been
a big fan of some of the other support
systems, because they usually place the
camera's center of balance at the top of
the camera instead of on your shoulder," Opaloch says. "With this system,
once you achieve the camera height,
you're not fighting it at all. You can hold
the camera above your head and you
won't be fighting to pull it down. It has
this really cool zero-g effect."
When not handheld, cameras
would most often reside on dollies or
Technocranes. Steadicam, handled by
A-camera operator Mark Goellnicht,
was used for only a handful of shots. "I
am not a fan of the Steadicam look,"
Opaloch explains. "It feels like TV
hospital-drama to me. We pulled it out
only when we otherwise would see
dolly track or if a crane arm couldn't fit
in the space."
Per the Russos' preference, the
crew usually ran three cameras, with
Goellnicht on A, Maurice McGuire on
B, and Kent Harvey - who also served
as splinter-unit director of photography
- on C. "Sometimes that third camera
gets the most interesting shot," Joe
Russo notes. "We know we're covered
on our A and B [cameras], so we force
the C into interesting positions and
wind up with a dynamic frame. And
three cameras will give you a lot more
coverage a lot quicker. Working
through seven actors in costume on a
hot summer day in Atlanta with one
camera is not preferable."
However, Opaloch points out,
"Once you roll in a third camera, you
have to compromise your lighting. It
normally means moving your diffusion
or neg frames out of [the camera's] way.
But every now and then on Winter
Soldier there was a C-camera shot I
didn't think would work, but we'd get a
great moment and I'd be glad we did it.
I try to be flexible and learn from the
process."
One three-camera setup that
proved particularly tricky features U.S.
Secretary of State Thaddeus Ross
(William Hurt) reading the riot act to
the Avengers at the super-group's headquarters. Ross, engaged in a long
monologue in a glass-walled meeting
room, walks about before coming to
rest in front of a large monitor; the
Avengers seated around the board table
watch somberly as the monitor shows
scenes of carnage related to their activities.
The scene was shot on location
inside Porsche Cars North America's
headquarters beside the Hartsfield-
http://www.chroma-q.com
http://www.aclighting.com
Table of Contents for the Digital Edition of American Cinematographer - June 2016
Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
American Cinematographer - June 2016 - 15
American Cinematographer - June 2016 - 16
American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
American Cinematographer - June 2016 - 22
American Cinematographer - June 2016 - 23
American Cinematographer - June 2016 - 24
American Cinematographer - June 2016 - 25
American Cinematographer - June 2016 - 26
American Cinematographer - June 2016 - 27
American Cinematographer - June 2016 - 28
American Cinematographer - June 2016 - 29
American Cinematographer - June 2016 - 30
American Cinematographer - June 2016 - 31
American Cinematographer - June 2016 - 32
American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
American Cinematographer - June 2016 - 35
American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
American Cinematographer - June 2016 - 39
American Cinematographer - June 2016 - 40
American Cinematographer - June 2016 - 41
American Cinematographer - June 2016 - 42
American Cinematographer - June 2016 - 43
American Cinematographer - June 2016 - 44
American Cinematographer - June 2016 - 45
American Cinematographer - June 2016 - 46
American Cinematographer - June 2016 - 47
American Cinematographer - June 2016 - 48
American Cinematographer - June 2016 - 49
American Cinematographer - June 2016 - 50
American Cinematographer - June 2016 - 51
American Cinematographer - June 2016 - 52
American Cinematographer - June 2016 - 53
American Cinematographer - June 2016 - 54
American Cinematographer - June 2016 - 55
American Cinematographer - June 2016 - 56
American Cinematographer - June 2016 - 57
American Cinematographer - June 2016 - 58
American Cinematographer - June 2016 - 59
American Cinematographer - June 2016 - 60
American Cinematographer - June 2016 - 61
American Cinematographer - June 2016 - 62
American Cinematographer - June 2016 - 63
American Cinematographer - June 2016 - 64
American Cinematographer - June 2016 - 65
American Cinematographer - June 2016 - 66
American Cinematographer - June 2016 - 67
American Cinematographer - June 2016 - 68
American Cinematographer - June 2016 - 69
American Cinematographer - June 2016 - 70
American Cinematographer - June 2016 - 71
American Cinematographer - June 2016 - 72
American Cinematographer - June 2016 - 73
American Cinematographer - June 2016 - 74
American Cinematographer - June 2016 - 75
American Cinematographer - June 2016 - 76
American Cinematographer - June 2016 - 77
American Cinematographer - June 2016 - 78
American Cinematographer - June 2016 - 79
American Cinematographer - June 2016 - 80
American Cinematographer - June 2016 - 81
American Cinematographer - June 2016 - 82
American Cinematographer - June 2016 - 83
American Cinematographer - June 2016 - 84
American Cinematographer - June 2016 - 85
American Cinematographer - June 2016 - 86
American Cinematographer - June 2016 - 87
American Cinematographer - June 2016 - 88
American Cinematographer - June 2016 - 89
American Cinematographer - June 2016 - 90
American Cinematographer - June 2016 - 91
American Cinematographer - June 2016 - 92
American Cinematographer - June 2016 - 93
American Cinematographer - June 2016 - 94
American Cinematographer - June 2016 - 95
American Cinematographer - June 2016 - 96
American Cinematographer - June 2016 - 97
American Cinematographer - June 2016 - 98
American Cinematographer - June 2016 - 99
American Cinematographer - June 2016 - 100
American Cinematographer - June 2016 - 101
American Cinematographer - June 2016 - 102
American Cinematographer - June 2016 - 103
American Cinematographer - June 2016 - 104
American Cinematographer - June 2016 - 105
American Cinematographer - June 2016 - 106
American Cinematographer - June 2016 - 107
American Cinematographer - June 2016 - 108
American Cinematographer - June 2016 - 109
American Cinematographer - June 2016 - 110
American Cinematographer - June 2016 - 111
American Cinematographer - June 2016 - 112
American Cinematographer - June 2016 - 113
American Cinematographer - June 2016 - 114
American Cinematographer - June 2016 - 115
American Cinematographer - June 2016 - 116
American Cinematographer - June 2016 - 117
American Cinematographer - June 2016 - 118
American Cinematographer - June 2016 - 119
American Cinematographer - June 2016 - 120
American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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