American Cinematographer - August 2015 - 47

Top: This
concept art
illustrates the
action for a
bathroom scene.
Bottom: Lang
prepares to get
down and dirty
with the surface
of the tub.

applied LUT across the array of on-set
monitors, Montoya and Spicer deployed
Fujifilm's IS-mini digital color-adjustment device for both image preview and
monitor calibration. Michael Bulbenko,
Fujifilm North America's marketing and
sales development manager, explains, "In
the cinema workflow, you're sending Log
directly into the IS-mini, then you tell the
software which camera you're using - the
IS-mini has all the cameras available as
presets. Next, you build up the initial
conversion LUT as a 26-sided 3D cube in
the color-correction window. Finally, you
apply monitor calibration on the back end
- a process designed to be painless and
simple, and that has been proven to be
extremely accurate. It's as color-managed
and consistent a picture as is currently
possible across different monitors and
cameras. You can also export the onset
LUT or a CDL to share with the dailies
and DI grading teams."
To capture the unique perspective
of a half-inch-tall character, cinematographer Rebecca Baehler led a macro unit
that shadowed Carpenter's main unit
throughout production. Baehler used
Alexa XT and Vision Research Phantom
Flex4K high-speed cameras to capture
macro-environment plates for Ant-Man's
miniature action scenes.

"Russell and Peyton wanted to
photograph the macro portions with
real sets and live action, so they called
my agent looking for a macro, motioncontrol and tabletop-photography
specialist," says Baehler. "We used the
Alexa and the Phantom with Milo and
Bolt motion-control rigs and the Frazier
Lens System. The Frazier is a
periscope/mirror tube that can get very
close to surfaces and rotate 360 degrees.
We shot with lenses ranging from
17mm to 50mm. At 17mm you can get
www.theasc.com

super-close macro and still keep the
background in focus; at 50mm you can
get shallow focus practically on just the
head of a pin. We also used a 100mm
macro - as well as the Primo Macro
Zoom 14.5-50mm [T2.2], but the bulk
of the work was with the Frazier Lens
System."
"[The production used] custombuilt pieces specifically made for macro
unit," says visual-effects supervisor Jake
Morrison. "They were 1-to-1 scale of
the real sets, but had significantly more
August 2015

47



http://www.theasc.com

American Cinematographer - August 2015

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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