◗ Heroes Divided Top: War Machine and Iron Man fly into action. Middle: The battle takes its toll on the evacuated Leipzig/Halle Airport. Bottom: Black Widow stands between Captain America and his escape. double on a wire as he was coming in to land on the ground. CG-Vision would fly around and then transition to guyon-wire for landing." 50 June 2016 Natural daylight served as Opaloch's primary source on the back lot and was controlled in all but extreme wide shots by a 60'x60' truss frame American Cinematographer skinned with Quarter Grid and suspended from a construction crane set up by key grip Michael Coo and his team. For tighter coverage, the crew added Light Grid on a 20'x20' flyswatter for further diffusion. Opaloch then created backlight with remotecontrolled LRX 18K HMI Pars from above, which were mounted on Condors based behind the greenscreen. On several occasions, gusting winds and flash thunderstorms sent cast and crew scurrying to Stage 2, where they would shoot interior-for-exterior footage including close-ups of Scarlet Witch and Vision, and Mackie flying on wires in front of greenscreen. "It's always challenging to mimic that realworld environmental wrap on the subject [when shooting indoors]," Opaloch says. "We would try to keep those shots as small as possible so they could be lit on set. My goal in those situations is always to reproduce what your eyes would see in reality." To approximate the ambient sky, the crew built two 40'x40' soft boxes fitted with Kino Flo Image 85s and diffused with Light Grid and Full Grid - sometimes simultaneously for double diffusion - and they placed 20Ks with Half Blue as high as possible behind the greenscreen to emulate the LRX "sun" backlight.