The American Society of Cinematographers

Loyalty • Progress • Artistry
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      Back at Michigan Central Station, Superman lands on a pile of radiators at the bottom of the atrium (“which seems kind of odd, but it’s based on something we actually saw on a tech scout,” says Fong). Space restrictions and structural weaknesses at the location were circumvented by using five groups of four lightweight 4'x4' LED Blanket lights hung from a pipe grid over the set, which provided light from above with snap-on “egg crates” to control light spill.

      The battle comes to its conclusion in an adjacent lobby with enormous windows “and a ceiling so high it’s amazing we were able to pound in all the light we did,” says Fong. “The windows were [approximately] 10 times the height of an average window, so that much more light was required.” The cinematographer used a battery of LRX lights on Condor cranes to carry out the task.

      The color-grade process for Dawn of Justice began with a Nikon DSLR that Fong used to shoot lighting-evaluation stills on set. At the end of each day, he performed a basic color grade on select stills and forwarded the results to dailies colorist Dave Lee at Deluxe’s Company 3 in Los Angeles. The 35mm and Imax camera negatives were developed at FotoKem, the former scanned at 2K resolution by Deluxe’s EFilm and the latter at 8K by FotoKem, who then sent raw DPX files to Company 3 for dailies. Dailies were graded in Blackmagic Design’s DaVinci Resolve, and Deluxe provided dailies-viewing on location with its EC3 Star Waggons trailer and eVue calibrated viewing system. The final grade was performed at 4K in Resolve by colorist and ASC associate Stefan Sonnenfeld at Company 3.

      Fong is thrilled to have helped bring some of the world’s most iconic superheroes to the screen. “It’s what drew me to the project,” he says. “That, and of course collaborating with Zack once again. Working with him is an exciting process. Being able to develop looks and strategies, and making visuals a priority — and having a director fight alongside you for things like single-camera coverage and shooting on film — is a cinematographer’s dream.”


2.39:1, 1.43:1

Anamorphic 35mm, 5-perf 65mm, 15-perf Imax, Digital Capture

Panavision Millennium XL2, System 65, Arriflex 435, Arri Alexa XT; Imax MSM 9802, MKIII; GoPro; Canon EOS 5D

Panavision C Series, E Series; Zeiss; Hasselblad

Kodak Vision3 500T 5219

Digital Intermediate


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