MCU Phase Three: “Where did that bring you? Back to me.”<\/p>\n
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Captain America: Civil War<\/a><\/h3>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/04\/Civil_War_Camera.jpg?w=755\" "\\"The")
<\/a>Image via Marvel Studios.<\/p><\/div>\n
Directors:<\/strong> Anthony Russo, Joe Russo
\nDirector of Photography:<\/strong> Trent Opaloch
\nUS Release:<\/strong> May 2016
\nCamera Package:<\/strong><\/p>\n\n- ARRI Alexa 65 IMAX (airport and additional scenes)<\/li>\n
- ARRI Alexa XT Plus<\/li>\n
- GoPro Hero 4 Black<\/li>\n
- Red Epic Dragon<\/li>\n
- Lenses\n
\n- Panavision C-, E-, G-, T-Series, ATZ and AWZ2<\/li>\n
- Hasselblad Prime 65<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
In a piece on Talking with Mark Toffolo<\/a>, DP Trent Opaloch speaks about the large international scale of the film,<\/p>\nWe were also very fortunate to work with a great German crew in Berlin that made our transition over there very smooth.<\/p>\n
There were a ton of actors on this film and that was actually quite challenging \u2014 to shoot them all with their crazy schedules. The tough thing is that you can end up shooting someone’s close up in another country,\u00a0 weeks after you\u2019ve shot the other side of the conversation, so it\u2019s always a challenge dealing with changing weather conditions, etc. to maintain some cohesiveness to the scene.<\/p>\n
I\u2019m starting up prep on the new Infinity Wars<\/em> films that we\u2019re shooting back to back with the Russo\u2019s later this year, and the scale of those two films combined is a bit mind blowing, so it\u2019s good that these last two films have ramped up in terms of scale and complexity, because each one prepares you for the next.<\/p><\/blockquote>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/04\/Civil_War_Helicopter.jpg?w=755\" "\\"The")
<\/a>Image via Marvel Studios.<\/p><\/div>\n
As for the epic airport showdown shot at both the backlot at Pinewood Atlanta Studios and Germany’s Leipzig\/Halle Airport, Opaloch told The Hollywood Reporter<\/a>,<\/p>\nWe shut down one terminal and we had a little postage stamp of tarmac that we could shoot on … We had to go through security after breakfast and at lunchtime. All of the equipment had to be ferried in beforehand, and it was gone over with dogs and inspectors. So we had to make sure we had everything we needed because once you started shooting, you couldn\u2019t just reach into the truck and pull out something from the other side.<\/p><\/blockquote>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/04\/Civil_War_CrossBones_Camera.jpg?w=755\" "\\"The")
<\/a>Image via Marvel Studios.<\/p><\/div>\n
Opaloch went on to say about the ARRI Alexa 65,<\/p>\n
There was an idea late in pre-production to shoot Civil War<\/em>\u00a0entirely with the Alexa 65, but we were so close to our start date and it was such a large-scale undertaking, [so we decided] to use it for this key sequence, and use it as the testing ground for\u00a0Avengers: Infinity War\u00a0<\/em>Parts 1 and 2, which will be shot completely with those cameras.<\/p>\nAdditionally, key grip Michael Coo developed a bungee rig system; Mark Goellnicht, our \u2018A\u2019 camera operator, used a similar system on Mad Max: Fury Road …<\/em> Basically, it\u2019s a long bungee tube attached to a rope that will run up 30 or 40 feet \u2014 we suspend that line over the set. It allows the operators to get very dynamic and right in there with the action. It feels like handheld but they don\u2019t have the brunt of the weight of the camera.<\/p>\nWe are still catching up on lens options. I\u2019m having weekly conversations with the guy at ARRI … There\u2019s a mad push to get them ready for Infinity Wars<\/em>. As it stands, we are meant to have 12 Alexa 65 cameras for those films, since we are shooting them back to back, and we\u2019ll need all the accessories and lenses. [When we get the script] we\u2019ll break down logistically how we\u2019ll tackle this, with how many cameras and units. It’s such a behemoth of a project.<\/p><\/blockquote>\n
\nDoctor Strange<\/a><\/h3>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/04\/Doctor_Strange_Camera.jpg?w=755\" "\\"The")
<\/a>Image via Marvel Studios.<\/p><\/div>\n
Director:<\/strong> Scott Derrickson
\nDirector of Photography:<\/strong> Ben Davis
\nUS Release:<\/strong> November 2016
\nCamera Package:<\/strong><\/p>\n\n- ARRI Alexa 65<\/li>\n
- ARRI Alexa Mini<\/li>\n
- ARRI Alexa XT Plus<\/li>\n
- ARRIFLEX 235<\/li>\n
- Panavision Panaflex Millennium XL2<\/li>\n
- Phantom Flex4K<\/li>\n
- Lenses\n
\n- Panavision System 65 and Primo 70 Lenses<\/li>\n
- ARRI\u2019s certified 765<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
In a conversation with British Cinematographer<\/a>, Ben Davis spoke about the new (at the time) ARRI Alexa 65,<\/p>\nThere was a lot of new technology just coming onto the market at the time \u2013 the first of the large format digital cameras, with their new back-end workflow systems, plus a host of interactive LED lighting equipment \u00ad\u2013 and I was eager to see how I could get the best from them.<\/p>\n
The resolution of the Alexa 65, using my preferred lenses for wide shots and the IMAX deliverable, was beyond question and, to my pleasant surprise, the face became a landscape too. What\u2019s more, I found I would be able to balance the lighting and exposure to get gorgeous depth-of-field, do lovely focus pulls, and ultimately have a lot of control over my shots \u2013 whilst avoiding giving our first ACs a complete nightmare on-set.<\/p><\/blockquote>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/04\/Doctor_Strange_Hospital_Camera.jpg?w=755\" "\\"The")
<\/a>Image via Marvel Studios.<\/p><\/div>\n
As for the incredibly unique look of the film,<\/p>\n
It was of its own, about magic more than anything else, with visuals that we have not seen before in a movie. It had to be original, yet also be respectful to the original comics, which were \u2018out there\u2019 and pretty psychedelic in places.<\/p>\n
So I wanted to find a way to take the look, energy, and dynamism of the original artwork onto the big screen. Perhaps my most important conversations with my director Scott, revolved around the challenges of dealing with, and delivering, the alternate dimensions-in-parallel, which feature in the story, and translating these to the big screen. Along with shooting live action, this was also going to be a VFX-heavy production.<\/p><\/blockquote>\n
Davis often compared Doctor Strange<\/em><\/a> to Marvel’s version of Fantasia<\/em><\/a>, “because it\u2019s so sort of out there and different to everything else that they\u2019ve done.”<\/p>\nWant to create a Doctor Strange<\/em>-style shield in After Effects? Check out this classic PremiumBeat tutorial<\/a>.<\/p>\n
<\/a>Image via Marvel Studios.<\/p><\/div>\n
Directors:<\/strong> Anthony Russo, Joe Russo In a piece on Talking with Mark Toffolo<\/a>, DP Trent Opaloch speaks about the large international scale of the film,<\/p>\n We were also very fortunate to work with a great German crew in Berlin that made our transition over there very smooth.<\/p>\n There were a ton of actors on this film and that was actually quite challenging \u2014 to shoot them all with their crazy schedules. The tough thing is that you can end up shooting someone’s close up in another country,\u00a0 weeks after you\u2019ve shot the other side of the conversation, so it\u2019s always a challenge dealing with changing weather conditions, etc. to maintain some cohesiveness to the scene.<\/p>\n I\u2019m starting up prep on the new Infinity Wars<\/em> films that we\u2019re shooting back to back with the Russo\u2019s later this year, and the scale of those two films combined is a bit mind blowing, so it\u2019s good that these last two films have ramped up in terms of scale and complexity, because each one prepares you for the next.<\/p><\/blockquote>\n Image via Marvel Studios.<\/p><\/div>\n As for the epic airport showdown shot at both the backlot at Pinewood Atlanta Studios and Germany’s Leipzig\/Halle Airport, Opaloch told The Hollywood Reporter<\/a>,<\/p>\n We shut down one terminal and we had a little postage stamp of tarmac that we could shoot on … We had to go through security after breakfast and at lunchtime. All of the equipment had to be ferried in beforehand, and it was gone over with dogs and inspectors. So we had to make sure we had everything we needed because once you started shooting, you couldn\u2019t just reach into the truck and pull out something from the other side.<\/p><\/blockquote>\n Image via Marvel Studios.<\/p><\/div>\n Opaloch went on to say about the ARRI Alexa 65,<\/p>\n There was an idea late in pre-production to shoot Civil War<\/em>\u00a0entirely with the Alexa 65, but we were so close to our start date and it was such a large-scale undertaking, [so we decided] to use it for this key sequence, and use it as the testing ground for\u00a0Avengers: Infinity War\u00a0<\/em>Parts 1 and 2, which will be shot completely with those cameras.<\/p>\n Additionally, key grip Michael Coo developed a bungee rig system; Mark Goellnicht, our \u2018A\u2019 camera operator, used a similar system on Mad Max: Fury Road …<\/em> Basically, it\u2019s a long bungee tube attached to a rope that will run up 30 or 40 feet \u2014 we suspend that line over the set. It allows the operators to get very dynamic and right in there with the action. It feels like handheld but they don\u2019t have the brunt of the weight of the camera.<\/p>\n We are still catching up on lens options. I\u2019m having weekly conversations with the guy at ARRI … There\u2019s a mad push to get them ready for Infinity Wars<\/em>. As it stands, we are meant to have 12 Alexa 65 cameras for those films, since we are shooting them back to back, and we\u2019ll need all the accessories and lenses. [When we get the script] we\u2019ll break down logistically how we\u2019ll tackle this, with how many cameras and units. It’s such a behemoth of a project.<\/p><\/blockquote>\n Image via Marvel Studios.<\/p><\/div>\n Director:<\/strong> Scott Derrickson In a conversation with British Cinematographer<\/a>, Ben Davis spoke about the new (at the time) ARRI Alexa 65,<\/p>\n There was a lot of new technology just coming onto the market at the time \u2013 the first of the large format digital cameras, with their new back-end workflow systems, plus a host of interactive LED lighting equipment \u00ad\u2013 and I was eager to see how I could get the best from them.<\/p>\n The resolution of the Alexa 65, using my preferred lenses for wide shots and the IMAX deliverable, was beyond question and, to my pleasant surprise, the face became a landscape too. What\u2019s more, I found I would be able to balance the lighting and exposure to get gorgeous depth-of-field, do lovely focus pulls, and ultimately have a lot of control over my shots \u2013 whilst avoiding giving our first ACs a complete nightmare on-set.<\/p><\/blockquote>\n Image via Marvel Studios.<\/p><\/div>\n As for the incredibly unique look of the film,<\/p>\n It was of its own, about magic more than anything else, with visuals that we have not seen before in a movie. It had to be original, yet also be respectful to the original comics, which were \u2018out there\u2019 and pretty psychedelic in places.<\/p>\n So I wanted to find a way to take the look, energy, and dynamism of the original artwork onto the big screen. Perhaps my most important conversations with my director Scott, revolved around the challenges of dealing with, and delivering, the alternate dimensions-in-parallel, which feature in the story, and translating these to the big screen. Along with shooting live action, this was also going to be a VFX-heavy production.<\/p><\/blockquote>\n Davis often compared Doctor Strange<\/em><\/a> to Marvel’s version of Fantasia<\/em><\/a>, “because it\u2019s so sort of out there and different to everything else that they\u2019ve done.”<\/p>\n Want to create a Doctor Strange<\/em>-style shield in After Effects? Check out this classic PremiumBeat tutorial<\/a>.<\/p>\n
\nDirector of Photography:<\/strong> Trent Opaloch
\nUS Release:<\/strong> May 2016
\nCamera Package:<\/strong><\/p>\n\n
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\nDoctor Strange<\/a><\/h3>\n
<\/a>
\nDirector of Photography:<\/strong> Ben Davis
\nUS Release:<\/strong> November 2016
\nCamera Package:<\/strong><\/p>\n\n
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