The American Society of Cinematographers

Loyalty • Progress • Artistry
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The Avengers
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During the shoot, McGarvey and Whedon found “key moments that we knew would play well in 3-D, but we weren’t trying to make things leap out of the screen,” the cinematographer notes. “The great thing about shooting 2-D and converting in post is that there was no sense of being corralled by 3-D while we were shooting; it was just going to be an enhancement at the end of the day. 

“It’s with the greatest surprise and pleasure that I’m watching the extraordinary 3-D conversion that StereoD made under the supervision of Graham Clark,” McGarvey continues. “For the action sequences in particular, it really symphonizes the whole thing, and enhances the sense of the city in jeopardy and the power of these characters.  

“I embarked on The Avengers out of curiosity,” he notes. “I wanted to work with Joss, I wanted to learn more about visual effects, and I wanted to work on a movie of this scale. What surprised me is that once I got beyond all the trucks and mayhem that accompany a film of this nature, the inner sanctum of the set was as recognizable as any low-budget movie I’ve done. There are the same constraints, concerns and energy, the same instincts at play, and the same heart and brain and eye.” 

Back in Cleveland, as the sun approaches the horizon and the martini shot draws near, Whedon observes, “A movie this big is a strange hybrid. It’s utilitarian in the sense that it’s almost run-and-gun. You’ve got 12 cameras because it’s a big action scene, or you’ve got one day to shoot five pages of dialogue. Either way, Seamus makes it all really sing.”  



Digital Capture, 4-perf 35mm

Arri Alexa, 435; Canon EOS 5D Mark II, 7D

Panavision Primo, Frazier Lens System; Canon EF

Kodak Vision3 500T 5219

Digital Intermediate

Stereoscopic Conversion

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