American Cinematographer - March 2018 - 39

Elton Hartney James on a High End
Systems Full Boar 4 console. "With a
smaller film, if the actors and the director block something different from what
you planned, you have to clear the set to
change the lighting," the cinematographer notes. "When time is money,
console operation is the most efficient
way to go."
Fortunately, she and Cornwall
were granted ample time to prerig their
sets and locations with rigging gaffer
Tom Fendley. For some, such as the
United Nations - in fact an Atlanta
municipal building - they swapped out
bulbs and added fixtures; for others -
such as Atlanta's High Museum of Art,
which double for the British Museum
- they placed everything from the
floor. In either case, nearly everything
was run through the console.
"On location, fixture foreman
Phil Abeyta and the off-set dimming
crew - the 'nerd herd' - would
exchange house bulbs with color-correct
dimmable LED bulbs from Quasar
Science," Cornwall explains. "The
rigging team would track down which
breakers controlled which fixtures, and
they would then disconnect the wiring
and feed our dimming cable to each
circuit. Through wireless DMX and
silent RatPac dimmers, we were able to
control the level of the house lights.

Top: In his full Black Panther garb, T'Challa continues his pursuit.
Bottom: T'Challa and Killmonger battle in Wakanda.

"The need to control as much
from the console as possible is obviously
about speed," the gaffer continues, "but
also, with films of this size that support
a full-time second unit, recording light
levels and color temperatures is important to maintaining continuity between
units. All the lighting setups were
recorded by slate number and stored on
show files, which were shared with the
second unit along with plots and notes.
This was also important for reshoots."
"If I could have this level of
control every day, that would be the
dream," Morrison opines. "You truly get
the ability to paint with light."
www.ascmag.com

In addition to intimate, character-oriented moments, Black Panther
roars with action. One of the film's key
action sequences is a nail-biting nighttime car chase between Klaue and Black
Panther through the streets of Busan.
Morrison conceptualized the sequence
with Coogler, blending the intense
subjectivity of The French Connection,
the technical precision of Drive, and the
rollercoaster thrills of Bullitt, then delegated its execution to 2nd-unit director
Darrin Prescott and cinematographer
Igor Meglic, ZFS, who captured the
action over a nine-day shoot with Alexa
XTs and Minis, Red Weapon Dragons,
March 2018

39



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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