American Cinematographer - June 2016 - 49

played up to the 200s, but we backed off
on Civil War because of the number of
characters in frame. This movie has a
slightly more epic look, and holding the
frames a little wider complemented that
scale."
In front of the lenses, the cinematographer used IRND filters and
selective ND grads and polarizers, but
never any diffusion. Opaloch generally
shoots at T3.5; any wider-open, he says,
and the anamorphic image starts to fall
apart, but any higher and he would
sacrifice the desired shallow depth of
field. "It's a hell of a challenge for Taylor,
but I have a lot of confidence in his
focus-pulling capabilities," the cinematographer says. "If it's a daytime exterior, we might shoot at T4-T5.6 to help
things out a bit."
The Alexa 65 footage was shot
with Arri Prime 65 lenses, which incorporate Fujinon-manufactured optics
from Hasselblad HC lenses in housings
co-developed with IB/E Optics. The
splash-panel sequence, the filmmakers
reveal, was a trial run for the Infinity
War movies, which the Russos plan to
shoot entirely on the Alexa 65 for a
complete Imax viewing experience.
"The Alexa 65 is off-the-charts beautiful," Joe Russo effuses. "The amount of
information it can [gather] on its chip is
massive, which is very helpful for a
huge, visual-effects-driven sequence."
Anthony Russo adds, "We like to
shoot a lot [of footage]. We needed a
camera that was a little more versatile
than what [Imax] had available up to
that point. The 65 is a great step
forward in terms of being able to move
the camera in ways we like."
The splash-panel sequence
entailed the production's most complicated logistics, in part because not all of
the actors who appear in the scene traveled to Germany, where the battle was
staged on the tarmac of the
Leipzig/Halle Airport in Schkeuditz.
The actors who didn't make the trip
overseas instead shot their action on the
Pinewood Atlanta back lot in front of
500' of horseshoe-shaped greenscreen.
Often, if certain fully costumed

characters' performances could be read
in a medium shot or close-up, the actors
would be present in a partial suit that
would then be filled out with visual
effects. Vendors included Industrial
Light & Magic, which handled SpiderMan and was the main shop for Black
Panther; and Legacy Effects, which
animated Iron Man, Winter Soldier's
prosthetic arm, and Falcon's backpack
and wings. For the moment when the

dueling superhero teams charge one
another, the characters seen running on
the ground were filmed on location or in
front of the greenscreen, while those in
flight - Iron Man, Vision, War
Machine, Scarlet Witch and Falcon -
were entirely CG. Noting the weaving
together of CG and live action for this
sequence, Opaloch offers the example of
Vision's transition from air to land. "We
would do 'takeovers' of the Vision stunt



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Table of Contents for the Digital Edition of American Cinematographer - June 2016

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
American Cinematographer - June 2016 - 15
American Cinematographer - June 2016 - 16
American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
American Cinematographer - June 2016 - 22
American Cinematographer - June 2016 - 23
American Cinematographer - June 2016 - 24
American Cinematographer - June 2016 - 25
American Cinematographer - June 2016 - 26
American Cinematographer - June 2016 - 27
American Cinematographer - June 2016 - 28
American Cinematographer - June 2016 - 29
American Cinematographer - June 2016 - 30
American Cinematographer - June 2016 - 31
American Cinematographer - June 2016 - 32
American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
American Cinematographer - June 2016 - 35
American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
American Cinematographer - June 2016 - 39
American Cinematographer - June 2016 - 40
American Cinematographer - June 2016 - 41
American Cinematographer - June 2016 - 42
American Cinematographer - June 2016 - 43
American Cinematographer - June 2016 - 44
American Cinematographer - June 2016 - 45
American Cinematographer - June 2016 - 46
American Cinematographer - June 2016 - 47
American Cinematographer - June 2016 - 48
American Cinematographer - June 2016 - 49
American Cinematographer - June 2016 - 50
American Cinematographer - June 2016 - 51
American Cinematographer - June 2016 - 52
American Cinematographer - June 2016 - 53
American Cinematographer - June 2016 - 54
American Cinematographer - June 2016 - 55
American Cinematographer - June 2016 - 56
American Cinematographer - June 2016 - 57
American Cinematographer - June 2016 - 58
American Cinematographer - June 2016 - 59
American Cinematographer - June 2016 - 60
American Cinematographer - June 2016 - 61
American Cinematographer - June 2016 - 62
American Cinematographer - June 2016 - 63
American Cinematographer - June 2016 - 64
American Cinematographer - June 2016 - 65
American Cinematographer - June 2016 - 66
American Cinematographer - June 2016 - 67
American Cinematographer - June 2016 - 68
American Cinematographer - June 2016 - 69
American Cinematographer - June 2016 - 70
American Cinematographer - June 2016 - 71
American Cinematographer - June 2016 - 72
American Cinematographer - June 2016 - 73
American Cinematographer - June 2016 - 74
American Cinematographer - June 2016 - 75
American Cinematographer - June 2016 - 76
American Cinematographer - June 2016 - 77
American Cinematographer - June 2016 - 78
American Cinematographer - June 2016 - 79
American Cinematographer - June 2016 - 80
American Cinematographer - June 2016 - 81
American Cinematographer - June 2016 - 82
American Cinematographer - June 2016 - 83
American Cinematographer - June 2016 - 84
American Cinematographer - June 2016 - 85
American Cinematographer - June 2016 - 86
American Cinematographer - June 2016 - 87
American Cinematographer - June 2016 - 88
American Cinematographer - June 2016 - 89
American Cinematographer - June 2016 - 90
American Cinematographer - June 2016 - 91
American Cinematographer - June 2016 - 92
American Cinematographer - June 2016 - 93
American Cinematographer - June 2016 - 94
American Cinematographer - June 2016 - 95
American Cinematographer - June 2016 - 96
American Cinematographer - June 2016 - 97
American Cinematographer - June 2016 - 98
American Cinematographer - June 2016 - 99
American Cinematographer - June 2016 - 100
American Cinematographer - June 2016 - 101
American Cinematographer - June 2016 - 102
American Cinematographer - June 2016 - 103
American Cinematographer - June 2016 - 104
American Cinematographer - June 2016 - 105
American Cinematographer - June 2016 - 106
American Cinematographer - June 2016 - 107
American Cinematographer - June 2016 - 108
American Cinematographer - June 2016 - 109
American Cinematographer - June 2016 - 110
American Cinematographer - June 2016 - 111
American Cinematographer - June 2016 - 112
American Cinematographer - June 2016 - 113
American Cinematographer - June 2016 - 114
American Cinematographer - June 2016 - 115
American Cinematographer - June 2016 - 116
American Cinematographer - June 2016 - 117
American Cinematographer - June 2016 - 118
American Cinematographer - June 2016 - 119
American Cinematographer - June 2016 - 120
American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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