American Cinematographer - June 2017 - 38

◗

Cosmic Avengers
Right: Deep
within his
father's planet,
Star-Lord
prepares to jump
into action.
Below: A camera
moves into
position for the
scene.

the neon-lit Iron Lotus brothel on a
snowy planet frequented by the
Ravagers. Seasoned 1st AC Zoran
Veselic recalls, "We're up high, and
through the second-floor window we
see Yondu going across the room. We
pan to him exiting the building on the
outside steps and making his way downstairs, and we lead him to a group having
a conversation and then into other actors
that take us away from them. That's the
equipment you need to make a shot like
that."
Veselic acknowledges that focus
was particularly challenging, given the
8K imaging and Imax presentation -
not to mention a free-flowing camera
38

June 2017

with no marks. His essential tools
included the Cine Tape ultrasonic
measuring system, a handheld
SmallHD High Bright 7" monitor, and
a Sony 17" monitor. "I was always
against using a monitor," he says. "If
you're staring at a two-dimensional
image, you're chasing focus. But on
Passengers [AC Jan. '17] I started using it
extensively. I set up the monitor so I can
look over it and see the actors' actual
body language. But when it gets into a
tight, critical focus area and no Cine
Tape will help you, the monitor is
useful."
The filmmakers shot Redcode
Raw to Red Mini-Mags with the
American Cinematographer

camera set to 5:1 compression. Braham,
a hands-on director of photography,
works without a digital-imaging technician.
For extreme slow motion - such
as a sequence in which Ravagers are
blasted skyward after Rocket activates a
weapon, and one in which Yondu and
newfound allies Rocket and Baby Groot
walk cockily across a gantry while
Ravagers fall to the ground beside them
- the crew shot at 1,000 fps on Vision
Research's Phantom Flex4K in the
CineRaw format.
Braham credits post shop
Shed for its work on the Phantom
footage. "One of the challenges of the
Phantom is that the image it produces is
often difficult to grade later on and
match into the format you're shooting,"
Braham says. "But the Shed guys did a
lot of work on the processing and to
make sure the look-up tables were right,
which made a big difference in terms of
the quality we got out of the Phantom."
Shed's Matt Watson supervised
dailies and designed the color pipeline,
while John Vladic ran day-to-day grading. Per Marvel's directive, the production employed the Academy Color
Encoding System (ACES) to keep color
accurate throughout the two camera
systems and the numerous vendors -
including Framestore, Weta, Method
Studios, Trixter, Scanline, Animal



Table of Contents for the Digital Edition of American Cinematographer - June 2017

Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
American Cinematographer - June 2017 - 12
American Cinematographer - June 2017 - 13
American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
American Cinematographer - June 2017 - 16
American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
American Cinematographer - June 2017 - 23
American Cinematographer - June 2017 - 24
American Cinematographer - June 2017 - 25
American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
American Cinematographer - June 2017 - 38
American Cinematographer - June 2017 - 39
American Cinematographer - June 2017 - 40
American Cinematographer - June 2017 - 41
American Cinematographer - June 2017 - 42
American Cinematographer - June 2017 - 43
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American Cinematographer - June 2017 - 45
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American Cinematographer - June 2017 - 47
American Cinematographer - June 2017 - 48
American Cinematographer - June 2017 - 49
American Cinematographer - June 2017 - 50
American Cinematographer - June 2017 - 51
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American Cinematographer - June 2017 - 53
American Cinematographer - June 2017 - 54
American Cinematographer - June 2017 - 55
American Cinematographer - June 2017 - 56
American Cinematographer - June 2017 - 57
American Cinematographer - June 2017 - 58
American Cinematographer - June 2017 - 59
American Cinematographer - June 2017 - 60
American Cinematographer - June 2017 - 61
American Cinematographer - June 2017 - 62
American Cinematographer - June 2017 - 63
American Cinematographer - June 2017 - 64
American Cinematographer - June 2017 - 65
American Cinematographer - June 2017 - 66
American Cinematographer - June 2017 - 67
American Cinematographer - June 2017 - 68
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American Cinematographer - June 2017 - 70
American Cinematographer - June 2017 - 71
American Cinematographer - June 2017 - 72
American Cinematographer - June 2017 - 73
American Cinematographer - June 2017 - 74
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American Cinematographer - June 2017 - 79
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American Cinematographer - June 2017 - 83
American Cinematographer - June 2017 - 84
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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