American Cinematographer - August 2012 - 52

◗Web-Slinging in Stereo
Right: Balloon
lights illuminate
the Williamsburg
Bridge set, which
was constructed at
Falls Lake on the
Universal backlot
in Los Angeles. The
crew also
employed a
Spidercam system
to capture some of
the action in the
sequence, during
which the Lizard
flings cars that
Spider-Man has to
catch with his
webs. Below: An
8K (left) and 4K
(right) tungsten
balloon, as well as
4K nooks on the
truss, help light a
Manhattan rooftop
set for a stunt
sequence.
swing with him. It’s a palette of really
great 3-D moves, edited in such a way as
to avoid quick cuts, so you can really see
and sense what the character is seeing
and sensing.” Schwartzman adds, “It is
quite something in Imax!
“Spider-Man can run, jump and
climb the ceiling,” continues the cinematographer.
“He moves in X-Y-Z
space, and 3-D gave us a heightened
sense of that [movement]. Marc and I
52
August 2012
developed a photographic approach
and a stereo plan to make the most of it.
When Peter is at home or at school, we
use some 3-D depth, but we don’t push
it. About halfway through the movie,
when he dons the suit and grows to
become Spider-Man, we go to a wider
lens and change the I/O — instead of
32mm, we’re on a 24mm, and instead
of a .3 I/O, we are at a .6.”
For location work in New York,
American Cinematographer
Webb insisted on as much realism as he
could get, seeking what Schwartzman
calls “imperfections in the environment
and in human movement. Marc didn’t
want to use a CG Spider-Man at first
— he wanted to swing Andrew everywhere
on cranes! We were in
Manhattan up the block from the
Flatiron Building on a 150-foot
construction crane, with Spider-Man
swinging and landing on a taxicab for
real. We rigged a traveling truss on a
crane in Harlem with a stunt driver,
making Spider-Man swing down the
street and chasing him in a camera car
with a Russian arm. We tried to do as
much in-camera as possible, and if they
couldn’t use what we captured, [visual
effects] replaced it with a CG character.
In those cases, what we shot informed
animators on how Andrew would
move.”
Overall,
Schwartzman was
thrilled with how quickly he was able to
work while evaluating the 3-D imagery
on location. “The rig sent data to the
engineering station to be captured, and
from there, it went to [728 video-playback
engineer] Dave Deever, who
recorded both eyes and sent a 3-D
signal to a 50-inch Sony monitor that

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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