American Cinematographer - August 2018 - 38

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Miniature Might

Pym's pod ventures into the Quantum Realm in search of the scientist's long-lost wife,
Janet van Dyne.

shots Meglic had captured from moving
cars with a 17-camera Red Epic Dragon
array. They also employed an Arri T12
as a moving sun source, rigged on a
crane arm and focused directly on the
car. Additionally, 20Ks were aimed at
12x12 Ultrabounces, and Arri

38

SkyPanels provided ambient 'skylight.'
Rawlins' crew further added to the sense
of movement by shifting solids and
double nets in front of the 20Ks. "If we
needed a more direct light for our
actors," Spinotti adds, "we would shine
our lights through Half Grid."

For live grading on set,
Colombera used Technicolor's DP
Lights v2.0 system powered by
Colorfront On-Set Live software.
"Every day I created CDLs for each
camera and setup, matching color when
different lenses were used or if smoke
slightly shifted the color," the DIT says.
Spinotti adds, "The looks we set
up in the tent were pretty precise in
terms of color, atmosphere, brightness
and contrast." The cinematographer
worked with Colombera to set the look
for each shot on set, evaluating the
camera feed on calibrated Sony PVMA250 25" OLED displays that matched
the display used by Shed L.A. dailies
colorist Rich Montez.
ASC associate and Technicolor
supervising finishing artist Steven J.
Scott spent four weeks on the 2D
master grade, with Reed popping in
occasionally and Spinotti scheduled to
come in for final reviews. "Due to previous engagements, I could only partici-



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Table of Contents for the Digital Edition of American Cinematographer - August 2018

Contents
American Cinematographer - August 2018 - Cover1
American Cinematographer - August 2018 - Cover2
American Cinematographer - August 2018 - 1
American Cinematographer - August 2018 - 2
American Cinematographer - August 2018 - Contents
American Cinematographer - August 2018 - 4
American Cinematographer - August 2018 - 5
American Cinematographer - August 2018 - 6
American Cinematographer - August 2018 - 7
American Cinematographer - August 2018 - 8
American Cinematographer - August 2018 - 9
American Cinematographer - August 2018 - 10
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American Cinematographer - August 2018 - 12
American Cinematographer - August 2018 - 13
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American Cinematographer - August 2018 - 16
American Cinematographer - August 2018 - 17
American Cinematographer - August 2018 - 18
American Cinematographer - August 2018 - 19
American Cinematographer - August 2018 - 20
American Cinematographer - August 2018 - 21
American Cinematographer - August 2018 - 22
American Cinematographer - August 2018 - 23
American Cinematographer - August 2018 - 24
American Cinematographer - August 2018 - 24a
American Cinematographer - August 2018 - 24b
American Cinematographer - August 2018 - 25
American Cinematographer - August 2018 - 26
American Cinematographer - August 2018 - 27
American Cinematographer - August 2018 - 28
American Cinematographer - August 2018 - 29
American Cinematographer - August 2018 - 30
American Cinematographer - August 2018 - 31
American Cinematographer - August 2018 - 32
American Cinematographer - August 2018 - 33
American Cinematographer - August 2018 - 34
American Cinematographer - August 2018 - 35
American Cinematographer - August 2018 - 36
American Cinematographer - August 2018 - 37
American Cinematographer - August 2018 - 38
American Cinematographer - August 2018 - 39
American Cinematographer - August 2018 - 40
American Cinematographer - August 2018 - 41
American Cinematographer - August 2018 - 42
American Cinematographer - August 2018 - 43
American Cinematographer - August 2018 - 44
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American Cinematographer - August 2018 - 46
American Cinematographer - August 2018 - 47
American Cinematographer - August 2018 - 48
American Cinematographer - August 2018 - 49
American Cinematographer - August 2018 - 50
American Cinematographer - August 2018 - 51
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American Cinematographer - August 2018 - 58
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American Cinematographer - August 2018 - 79
American Cinematographer - August 2018 - 80
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