American Cinematographer - August 2015 - 49

Top: Lang
communicates
with an ant.
Bottom: Lang
resurfaces from
the ant's
subterranean
abode.

warmed up with Rosco CTS gels. To
simulate ambience coming from
outdoors, Levine aimed Maxi-Brutes and
additional Par cans through the set's
windows.
Pym's mansion includes a large
control room where Hank reviews various activities on a phalanx of computer
screens and TV monitors. "Michael's
character's glasses were a reflection challenge," notes Levine. "We went with the
monitors as a source to provide a natural
reflection and augmented with small,
homemade LED light cards made with
LiteGear parts. There was an overhead
fluorescent box to anchor the room with
a bright spot in the middle; it switched on
with a bit of a realistic delay when a character turned on the lights. We filled in the
rest with Kino Flo VistaBeams, often
handheld to follow over-the-shoulder
shots."
Another key location was the Pym
Tech lab, where Cross has militarized
Pym's technology into the deadly
Yellowjacket costume. Carpenter wanted
the set to emanate a tangible energy. "I
loved [production designer] Shepherd
Frankel's concept that the lighting was
integrated into the architecture of the
laboratory," notes Carpenter. "We used
high-intensity, narrow-spectrum blue
tubes in Kino Flos to create a super-blue,
radiant light, and all of that was built into

the glass walls and surfaces of the lab."
In another section of the lab,
Levine rigged Chroma-Q's Color Force
RGBA LED battens to pulse behind
honeycomb-shaped fixtures built into
the walls and ceilings. "We had 280
dimmable 4-foot LiteGear xFlos overhead," explains Levine. "On the back
walls, we used ladder lights, which are 4foot MacTech tubes suspended in air.
We did 14 rows of them at 4 feet each
and 20 tubes high. Those were also
dimmable and very punchy."
Due in part to the highly
compressed production schedule,
Carpenter relied on the Pix digital
dailies system to review each day's
footage on a secure iPad. "You know
www.theasc.com

you're not getting near the same level of
detail you would [with projection]," the
cinematographer laments. "But, surprisingly, it looks great and works very well
for review."
Morrison kept track of shots that
were split across several vendors, with
the bulk of the work going to Industrial
Light & Magic, Double Negative,
Method Studios and Luma Pictures.
"There are approximately 1,600 visualeffects shots in the movie - which is
actually modest by modern blockbuster
standards," says Morrison. "But each
shot is a lot more complex than the
norm. It's not like [a shot of ] Thor, for
example, where he flies into a shot to
deliver a line, and for the first 20 frames
August 2015

49



http://www.theasc.com

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

Contents
American Cinematographer - August 2015 - Cover1
American Cinematographer - August 2015 - Cover2
American Cinematographer - August 2015 - 1
American Cinematographer - August 2015 - 2
American Cinematographer - August 2015 - Contents
American Cinematographer - August 2015 - 4
American Cinematographer - August 2015 - 5
American Cinematographer - August 2015 - 6
American Cinematographer - August 2015 - 7
American Cinematographer - August 2015 - 8
American Cinematographer - August 2015 - 9
American Cinematographer - August 2015 - 10
American Cinematographer - August 2015 - 11
American Cinematographer - August 2015 - 12
American Cinematographer - August 2015 - 13
American Cinematographer - August 2015 - 14
American Cinematographer - August 2015 - 15
American Cinematographer - August 2015 - 16
American Cinematographer - August 2015 - 17
American Cinematographer - August 2015 - 18
American Cinematographer - August 2015 - 19
American Cinematographer - August 2015 - 20
American Cinematographer - August 2015 - 21
American Cinematographer - August 2015 - 22
American Cinematographer - August 2015 - 23
American Cinematographer - August 2015 - 24
American Cinematographer - August 2015 - 25
American Cinematographer - August 2015 - 26
American Cinematographer - August 2015 - 27
American Cinematographer - August 2015 - 28
American Cinematographer - August 2015 - 29
American Cinematographer - August 2015 - 30
American Cinematographer - August 2015 - 31
American Cinematographer - August 2015 - 32
American Cinematographer - August 2015 - 33
American Cinematographer - August 2015 - 34
American Cinematographer - August 2015 - 35
American Cinematographer - August 2015 - 36
American Cinematographer - August 2015 - 37
American Cinematographer - August 2015 - 38
American Cinematographer - August 2015 - 39
American Cinematographer - August 2015 - 40
American Cinematographer - August 2015 - 41
American Cinematographer - August 2015 - 42
American Cinematographer - August 2015 - 43
American Cinematographer - August 2015 - 44
American Cinematographer - August 2015 - 45
American Cinematographer - August 2015 - 46
American Cinematographer - August 2015 - 47
American Cinematographer - August 2015 - 48
American Cinematographer - August 2015 - 49
American Cinematographer - August 2015 - 50
American Cinematographer - August 2015 - 51
American Cinematographer - August 2015 - 52
American Cinematographer - August 2015 - 53
American Cinematographer - August 2015 - 54
American Cinematographer - August 2015 - 55
American Cinematographer - August 2015 - 56
American Cinematographer - August 2015 - 57
American Cinematographer - August 2015 - 58
American Cinematographer - August 2015 - 59
American Cinematographer - August 2015 - 60
American Cinematographer - August 2015 - 61
American Cinematographer - August 2015 - 62
American Cinematographer - August 2015 - 63
American Cinematographer - August 2015 - 64
American Cinematographer - August 2015 - 65
American Cinematographer - August 2015 - 66
American Cinematographer - August 2015 - 67
American Cinematographer - August 2015 - 68
American Cinematographer - August 2015 - 69
American Cinematographer - August 2015 - 70
American Cinematographer - August 2015 - 71
American Cinematographer - August 2015 - 72
American Cinematographer - August 2015 - 73
American Cinematographer - August 2015 - 74
American Cinematographer - August 2015 - 75
American Cinematographer - August 2015 - 76
American Cinematographer - August 2015 - 77
American Cinematographer - August 2015 - 78
American Cinematographer - August 2015 - 79
American Cinematographer - August 2015 - 80
American Cinematographer - August 2015 - 81
American Cinematographer - August 2015 - 82
American Cinematographer - August 2015 - 83
American Cinematographer - August 2015 - 84
American Cinematographer - August 2015 - 85
American Cinematographer - August 2015 - 86
American Cinematographer - August 2015 - 87
American Cinematographer - August 2015 - 88
American Cinematographer - August 2015 - Cover3
American Cinematographer - August 2015 - Cover4
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