American Cinematographer - March 2018 - 33

Left: The crew
readies the
bluescreen set
for the throne
room of the
Jabari Tribe,
who oppose
T'Challa's rule.
Below:
Morrison
frames up the
camera.

When it came to deciding the
origination format, Coogler and
Morrison tested every option, including
film. Ultimately, for expediency in post,
the decision was made to capture
primarily in 3.4K ArriRaw with Arri's
Alexa XT camera, which Morrison
paired with Panavision Primo spherical
primes and zooms. For any lenses that
didn't cover the XT's Open Gate frame,
specifically the 14.5mm and 17.5mm
focal lengths, Morrison replaced the
standard Primos with their updated,
digitally adjusted Primo V equivalents.
The production also carried a 1.13x V
Expander, which increased the image
circle of those aforementioned wide
lenses - as well as the image circle of
the 19-90mm T2.8 PCZ and 24275mm T2.8 SLZ11 zooms - to a
33.5mm diagonal image.
The production framed for a
2.39:1 final release while also protecting
for a 1.9:1 Imax frame. "The last four or
five films I shot were anamorphic, and I
was interested in anamorphic for this,
but because Ryan had only shot spherical and there was such a huge learning
curve for everything else on the show, he

asked that we stick with a lens format
that he knew well, and I happily
obliged," Morrison explains.
"One of the reasons we went
with the XT's Open Gate sensor over
the Alexa 65 was that Ryan wanted
things to be in-focus in the background," she continues. "Not Citizen
Kane deep, but his perspective was that
our sense of scale came from being able
to see all the beautiful sets and
costumes."
Morrison and Coogler also
employed Arri's Alexa Mini to help
expand the intimate, character-oriented
visual language they had employed
on Fruitvale Station. For Coogler,
bringing that style to Black Panther's
epic canvas meant taking a personal,
subjective approach to staging each
scene; for Morrison, it meant drawing
upon her background as a documentary
cameraperson. "Documentaries are a
great training ground for shooting from
the gut and the heart," she notes. "We
really wanted there to be a humanity to
our film, so the approach was almost
single-camera, to get really tight
eyelines and move with the characters,
www.ascmag.com

to be very experiential with the camerawork, and to create something intimate
but with scope."
The story takes its characters to
a number of real-world locales, including New York, London and Busan.
While the production did travel to the
latter city in South Korea, the bulk of
the movie was actually photographed in
and around Atlanta, Ga., where the
March 2018

33



http://www.ascmag.com

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

Contents
American Cinematographer - March 2018 - Cover1
American Cinematographer - March 2018 - Cover2
American Cinematographer - March 2018 - 1
American Cinematographer - March 2018 - 2
American Cinematographer - March 2018 - Contents
American Cinematographer - March 2018 - 4
American Cinematographer - March 2018 - 5
American Cinematographer - March 2018 - 6
American Cinematographer - March 2018 - 7
American Cinematographer - March 2018 - 8
American Cinematographer - March 2018 - 9
American Cinematographer - March 2018 - 10
American Cinematographer - March 2018 - 11
American Cinematographer - March 2018 - 12
American Cinematographer - March 2018 - 13
American Cinematographer - March 2018 - 14
American Cinematographer - March 2018 - 15
American Cinematographer - March 2018 - 16
American Cinematographer - March 2018 - 17
American Cinematographer - March 2018 - 18
American Cinematographer - March 2018 - 19
American Cinematographer - March 2018 - 20
American Cinematographer - March 2018 - 21
American Cinematographer - March 2018 - 22
American Cinematographer - March 2018 - 23
American Cinematographer - March 2018 - 24
American Cinematographer - March 2018 - 25
American Cinematographer - March 2018 - 26
American Cinematographer - March 2018 - 27
American Cinematographer - March 2018 - 28
American Cinematographer - March 2018 - 29
American Cinematographer - March 2018 - 30
American Cinematographer - March 2018 - 31
American Cinematographer - March 2018 - 32
American Cinematographer - March 2018 - 33
American Cinematographer - March 2018 - 34
American Cinematographer - March 2018 - 35
American Cinematographer - March 2018 - 36
American Cinematographer - March 2018 - 37
American Cinematographer - March 2018 - 38
American Cinematographer - March 2018 - 39
American Cinematographer - March 2018 - 40
American Cinematographer - March 2018 - 41
American Cinematographer - March 2018 - 42
American Cinematographer - March 2018 - 43
American Cinematographer - March 2018 - 44
American Cinematographer - March 2018 - 45
American Cinematographer - March 2018 - 46
American Cinematographer - March 2018 - 47
American Cinematographer - March 2018 - 48
American Cinematographer - March 2018 - 49
American Cinematographer - March 2018 - 50
American Cinematographer - March 2018 - 51
American Cinematographer - March 2018 - 52
American Cinematographer - March 2018 - 53
American Cinematographer - March 2018 - 54
American Cinematographer - March 2018 - 55
American Cinematographer - March 2018 - 56
American Cinematographer - March 2018 - 57
American Cinematographer - March 2018 - 58
American Cinematographer - March 2018 - 59
American Cinematographer - March 2018 - 60
American Cinematographer - March 2018 - 61
American Cinematographer - March 2018 - 62
American Cinematographer - March 2018 - 63
American Cinematographer - March 2018 - 64
American Cinematographer - March 2018 - 65
American Cinematographer - March 2018 - 66
American Cinematographer - March 2018 - 67
American Cinematographer - March 2018 - 68
American Cinematographer - March 2018 - 69
American Cinematographer - March 2018 - 70
American Cinematographer - March 2018 - 71
American Cinematographer - March 2018 - 72
American Cinematographer - March 2018 - 73
American Cinematographer - March 2018 - 74
American Cinematographer - March 2018 - 75
American Cinematographer - March 2018 - 76
American Cinematographer - March 2018 - 77
American Cinematographer - March 2018 - 78
American Cinematographer - March 2018 - 79
American Cinematographer - March 2018 - 80
American Cinematographer - March 2018 - Cover3
American Cinematographer - March 2018 - Cover4
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