{"id":7742,"date":"2018-02-28T12:14:07","date_gmt":"2018-02-28T20:14:07","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=7742"},"modified":"2021-05-30T19:46:30","modified_gmt":"2021-05-31T02:46:30","slug":"1st-of-their-kind","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/1st-of-their-kind\/","title":{"rendered":"1st Of Their Kind"},"content":{"rendered":"

Rachel Morrison, ASC, claws into the cinematic debut of the history-making African-American superhero\u00a0Black Panther<\/em>.<\/strong><\/p>\n

\"blackPANTHER-1\"<\/p>\n

It’s only with some hyperbole that one can say the level of anticipation for writer\/director Ryan Coogler\u2019s new superhero feature, Black Panther<\/em>, is extremely high, and why not? The film includes a bevy of \u201cfirst ever.\u201d Starting with the source material \u00ad\u2013 Marvel Comic\u2019s The Black Panther<\/em>, created by Stan Lee and Jack Kirby in 1966, was the first-ever African-American superhero in mainstream American comics. The Black Panther<\/em> (the title preceded the founding of the Black Panther political party and, according to co-founder Lee, refers to an earlier pulp hero who utilized a feline protector) was also the first true graphic novel Marvel had ever done, with \u201cPanther\u2019s Rage\u201d running 13 consecutive issues. Finally, Coogler\u2019s take on the iconic man from Wakanda (released this month by Walt Disney Pictures) marks the first-ever feature in the famed Marvel Cinematic Universe (MCU) that was shot by a female cinematographer, Local 600\u2019s own Rachel Morrison, ASC.<\/strong><\/p>\n

\"Rachel
Rachel Morrison, ASC<\/figcaption><\/figure>\n

In preparation for shooting\u00a0Panther<\/em>,\u00a0Morrison (ICG January 2018,\u00a0Replay)\u00a0remarks that \u201cso often movies with great scope lack a sense of humanity and intimacy,\u201d adding that her goal photographically\u00a0was to meld these macro and micro worlds. Morrison\u2019s 31-year-old director (who also wrote the screenplay with Joe Robert Cole) says, \u201cIt was mostly luck\u201d that\u00a0Panther\u00a0ended up in his hands. The project spent 15 years in development and wound through several directors and stars, including Wesley Snipes, John Singleton and Ava DuVernay. The elite cast includes Chadwick Boseman (King T\u2019Challa\/Black Panther) who played the role in\u00a0Captain America: Civil War<\/em>\u00a0(2016), Michael B. Jordan, Lupita Nyong\u2019o, Forrest Whitaker, and Angela Bassett.<\/p>\n

Coogler, whose indie debut Fruitvale Station<\/em>\u00a0(also shot by Morrison) won dozens of film festival awards, describes Panther as a complex character fit for our times. The basic story \u2013\u00a0T\u2019Challa, after the death of his father, the King of Wakanda, returns home to the isolated, technologically advanced African nation to take his rightful place as king \u2013 encompasses ripped-from-the-headlines topics like racial politics and globalization, making Panther\u2019s world, as Coogler puts it, \u201cvery dense.\u201d<\/p>\n

Such density also made the story difficult to realize in the limited format of an action franchise. Coogler says that aside from the \u201cbig three\u201d \u2013 Batman, Superman, Spiderman \u2013 superhero movies need to first earn their stripes at the box office.<\/p>\n

\u201cYou don\u2019t get a\u00a0Black Panther\u00a0<\/em>without a\u00a0Guardians of the Galaxy<\/em>\u00a0or an\u00a0Ant-Man<\/em>, and certainly not without a\u00a0Blade<\/em>\u00a0or\u00a0Hancock<\/em>,\u201d he states, referencing other comic-to-screen efforts with African-American protagonists. \u201cA studio like Marvel,\u201d he continues, \u201cwith [president] Kevin [Feige] and [head of physical production] Victoria [Alonso], as well as [parent company] Disney, are aggressive in pushing cultural boundaries. So [Black Panther] had to fall in with the right minds\u201d to ever find its way to Coogler.<\/p>\n

Along with Morrison, the director brought on production designer Hannah Beachler and composer Ludwig Goransson, who both worked on\u00a0Coogler\u2019s previous features, Fruitvale Station\u00a0and\u00a0Creed, and Jordan, who starred in both. \u201c[Marvel] was familiar with their work,\u201d Coogler adds, \u201cso it wasn\u2019t a hard campaign [to get them hired]. These are all really talented people, and I would think the studio would be [happy] to hire a Rachel Morrison on any movie, aside from the work she\u2019s done with me.\u201d
\nMorrison feels it\u2019s a testament\u00a0to Coogler, Marvel and\u00a0Alonso,\u00a0who\u2019s been an advocate for diversity in hiring. \u201cWhen I met her,\u201d Morrison recounts, \u201cshe said, \u2018You don\u2019t know how long I\u2019ve been waiting for you,\u2019 which is really a great way to meet a studio executive. And then she said something like, \u2018Now don\u2019t fuck it up!\u2019\u201d<\/p>\n

\"blackPANTHER-3\"
\nBlack Panther\u2019s<\/em>\u00a0story includes deep dives into jungles, high-speed trains\u00a0through precious mines, bombastic fight scenes and the venerable battle to save the world. But at its heart, it\u2019s still a story about family: hence the combination of epic and intimacy. In fact, Coogler says that \u201cbeing an African superhero from a place where culture comes first [had to be] the central conflict of the film. Those elements are just as, if not more, important than the scope. It\u2019s challenging, but it\u2019s also what sets us apart from more typical superhero movies.\u201d
\nWith that in mind, Coogler and Morrison studied a range of sources \u2013 Ron Fricke\u2019s non-narrative documentary\u00a0Baraka, Coppola\u2019s\u00a0The Godfather, even David Attenborough\u2019s\u00a0Planet Earth. \u201cOur starting point was Ryan wanting to make a drama that existed in a larger world, a story that would resonate and have humanity at its core,\u201d she shares.<\/p>\n

Morrison cites the movie\u2019s Warrior Falls and the Astral Plain dream sequences as prime examples. \u201cWe wanted the scenes to feel epic in a Planet Earth kind of way,\u201d she continues. \u201cBut ultimately it had to be the story of one man \u2013 T\u2019Challa \u2013 facing his fears, rising to the challenge, and coping with the death of his father \u2013\u00a0all very personal and intimate emotions. We didn\u2019t want the spectacle to overshadow the humanity.\u201d<\/p>\n

Both director and DP prefer using a \u201csubjective camera\u201d to emphasize the character\u2019s perspective, an approach that runs counter to the multiple-camera world of action films.<\/p>\n

\u201cMore cameras mean more angles to sell the best punch or car flip,\u201d Morrison continues. \u201cBut that can also mean sacrificing eyelines that convey emotional connectivity. Also, the multiple angles can often lead to a frantic style of editing that loses the experiential nature of a single point of view.\u201d<\/p>\n

The cinematographer says it was critical that the audience always knew whose story was being told. \u201cAnd, honestly, if there were more hours in the day,\u201d she smiles, \u201cRyan and I would probably have shot the bulk of this movie single camera \u2013\u00a0just so we could always maintain a close eyeline when we wanted to, and both lead and follow T\u2019Challa [or the dominant character in any given scene] through his world.\u201d<\/p>\n

Fruitvale Station<\/em>\u00a0was shot on Super 16mm, and both Coogler and Morrison wanted to shoot film for Black Panther<\/em>; Morrison created the most intricate camera test she\u2019d ever done \u2013 eight cameras in total, four on top and four on bottom mashed together on dollies in order to get the closest possible parallax.<\/p>\n

\u201cI tested IMAX, 5-perf 65mm, 35mm spherical, 35mm anamorphic, ARRI 65, ALEXA XT spherical, ALEXA XT anamorphic and the RED Weapon,\u201d she recounts. \u201c[Marvel\u2019s] explanation for [ultimately shooting digitally] wasn\u2019t about the extra cost or the processing [for film]. It was the fact that when you change a VFX shot on film, you need to locate the original negative to re-scan, and it would slow down their post pipeline, which is often down to the wire.\u201d (Morrison ended up using open-gate ALEXA XTs at 3.4K with Panavision Primo primes and some Primo zooms.)<\/p>\n

\"blackPANTHER-5\"<\/p>\n

In comparing her indie film r\u00e9sum\u00e9\u00a0\u2013\u00a0The Sound of My Voice<\/em>,\u00a0Cake<\/em>\u00a0and Dope<\/em>\u00a0among them \u2013\u00a0to\u00a0Black Panther<\/em>,\u00a0Morrison says that \u201cthey all had unique challenges, but generally I was putting out the same fires. I\u2019d have the same size lighting package and was dealing with roughly the same size crew. I knew how that machine operated. Going up to [Black Panther<\/em>] without a middle ground was intimidating.\u201d<\/p>\n

Some \u201cfirsts\u201d for Morrison on Panther included using the wide and free-ranging stabilized gimbal, Oculus (which she could never afford on past indie shoots), on a 50-foot Technocrane. \u201cWe tried not to use it in a showy way that felt more stylized than subjective,\u201d Morrison shares. \u201cBut there were rare occasions, such as Killmonger taking over the throne, where we chose to start upside-down and then spin 360 in shot, something I would probably never have tried on anything other than a superhero film!\u201d<\/p>\n

The DP also never had a dedicated fixtures department on a feature, and working with Production Designer Beachler and Gaffer Dan Cornwall (who teamed with cinematographer Ben Davis, BSC, on Marvel\u2019s 2017 hit, Guardians of the Galaxy, Vol. 2<\/em>), she maximized the step-up in scale for various scenes throughout the movie.<\/p>\n

\u201cWhen I first met Dan, I joked that I was lucky to have had a couple ARRI SkyPanels on all of Mudbound<\/em>,\u201d Morrison recounts. \u201cOn Panther<\/em>, Dan probably used 100 SkyPanels for a single set.\u201d In fact, Cornwall worked every day in prep with lighting console programmer Elton James to draw lighting plots in 3D to provide Morrison with virtual tours of the set.<\/p>\n

\u201cOur rigging gaffer, Tom Fendley, and his team did an amazing job of following these plans and preparing sets in advance for our walk-throughs,\u201d Cornwall explains. \u201cOur fixtures foreman Phil Abeyta and our data and control team \u2013 \u2018The Nerd Herd\u2019 \u2013 gave us amazing control over the set, which allowed us to be fast and efficient.\u201d<\/p>\n

Examples include scenes with the Royal Talon Fighter, for which Beachler\u2019s set design included extensive lighting built into the floor, ceilings and walls. \u201cThese days much of this is done with LED lite ribbon and other LED technology,\u201d Morrison describes. \u201cSo, before Phil [Abeyta] and his team began prepping the built-ins, I would discuss with Ryan the basic lighting scheme and make a plan for what could be straight daylight or daylight\/tungsten versus full RGB.\u201d<\/p>\n

For the casino set, which included a massive single-take shot, Morrison worked closely with Beachler to build as much of the lighting into the set as possible. \u201cIn that example,\u201d Morrison continues, \u201cwe worked more with incandescent fixtures and practical filaments that were all wired into a light console manned by Elton James, who\u2019s a genius on the board. To have so much control that we could make as-needed [lighting] changes on the day was something I\u2019ve never had on any of my other films.\u201d<\/p>\n

\"blackPANTHER-7\"<\/p>\n

Having recently come off the Sundance hit, Mudbound, which also had a large African-American cast, Morrison says there are no shortcuts to correctly exposing varying skin tones, dark, light, or anything in-between. \u201cThere\u2019s a massive range to every complexion and the best thing one can do as a DP is to do a lighting study of each of your main characters during HMU test,\u201d she offers, \u201cand try your best to understand what each set of challenges are and also what quality and direction of light tends to \u2018shine.\u2019\u201d<\/p>\n

Bringing forth a visual sheen was actually one of Morrison\u2019s greatest challenges when it came to lighting Panther\u2019s suit \u2013 at night. The suit worn for the character\u2019s debut in Captain America: Civil War<\/em> was a matte black \u2013 fine for that film\u2019s many daytime scenes. But as the DP explains, \u201cknowing how much night work there would be in the script, I spoke extensively with [Costume Designer] Ruth Carter about what we could do to add some sheen to this new suit. We did extensive testing and landed in a body suit that was almost a metallic silver that would pick up light beneath the weave of the suit, as well as a less matte finish and more silver details to pick up the light at night.\u201d<\/p>\n

\"blackPANTHER-8\"
\nFans of the original comic book will no doubt single out one spectacular location in Black Panther<\/em> \u2013 the vibranium mine \u2013where Coogler and Morrison were able to draw from a full complement of resources \u2013 interactive lighting, VFX and live-action camerawork unlike anything they\u2019d done before. (In the story, a meteorite\u00a0made of a vibration-absorbing mineral has crashed in Wakanda, and is unearthed. Assuming outsiders would exploit his planet for the valuable resource, T\u2019Challa,\u00a0like his father and other Panther kings before,\u00a0conceals his country from the outside world.)<\/p>\n

The mine, which holds the precious meteoric ore with energy-manipulating abilities,\u00a0was almost entirely a CG environment.\u00a0That meant an interactive element was required to light a fast-moving train (within the mine) that would be animated in post. All the light sources needed to chase and create shadows as if the train were passing by \u2013achieved by calculating how many feet-per-second the train would travel and inputting that result into the chase James created from the lighting board. Shadows of an oncoming headlight were also needed, so Rigging Key Kent Baker and his team fashioned a battery-operated high-speed train headlight on a trolley mounted to a truss.<\/p>\n

\u201cBoth the chase and trolley could be set up to 60 miles per hour,\u201d Cornwall recounts. \u201cOnce we shot the headlight effect, the truss could be motored up and out of the set so we could continue with our scenes that did not include this effect.\u201d<\/p>\n

\"blackPANTHER-6\"
\nVFX Supervisor Geoffrey Baumann was integral to the scene. Like Morrison, this was Baumann\u2019s first time helming a department for a franchise, having previously worked with Marvel as second unit or plate supervisor and before that on the facility side with Digital Domain. Baumann and Morrison needed a lighting environment\u00a0for the two actors in full CG suits that represented what the final CG world would look like with regard to the train and track.<\/p>\n

\u201cThe emphasis for me was that we could augment and replace the environment, but we still needed lights in the correct place,\u201d Baumann explains. \u201cWe used practical fixtures in the floor and big lights that came up to the sides of the tracks that we called \u2018stabilizers.\u2019 Once we replaced those [in VFX], we would still have the correct light hitting our actors\u2019 faces, and coming from the correct direction at the temperature and intensity that Rachel wanted. The build was critical because we needed all that intricate lighting on their faces and standing pieces, but also on the\u00a0train headlight\u00a0flying through.\u201d<\/p>\n

The vibranium mine was a VFX-heavy set, but Black Panther<\/em> on the whole was much more grounded in reality than many other films in the Marvel Universe. \u201cMovies like Guardians of the Galaxy<\/em> are set in space, so they have many sets that are full CG [360 blue screen],\u201d Morrison describes. \u201cYou couple that with CG characters like Groot or Rocket and you end up with a lot of previs and Simulcam [which allows camera operators to see roughly where the virtual characters would be].<\/p>\n

\u201cRyan and I did just roughly two weeks of VCAM [virtual camerawork] before the shoot,\u201d she continues, \u201cwhere we could use wireless controllers to explore our sets and record videos and stills of what they would hypothetically look like finished. That way I could say to the operators later, \u2018If you point at the blue screen in that direction, it\u2019s a backlit waterfall, and if you point there, you can see the massive drop-off,\u2019 et cetera.\u201d<\/p>\n

Panther also had a large amount of set builds, like the Hall of Kings, where the only CG elements were set extensions, and as with scenes with the Tribal Council, expanding the world outside the windows. For Morrison, it was more like shooting a traditional film, \u201cbecause you had a real sense of space and a general base from which to light,\u201d she reflects.<\/p>\n

In the end, Morrison found\u00a0Panther\u2019s CG component \u201cmuch more intuitive,\u201d than initially expected. She notes that not all VFX-heavy films approach their CG the same way, \u201cbut it does seem to come down to solid communication and a good dose of common sense,\u201d she observes.\u00a0\u201cAs long as we were all on the same page, from Hannah\u2019s designs through Ryan\u2019s direction and my cinematography, to Baumann\u2019s work in post, then everything melds together seamlessly in a photorealistic way.\u201d<\/p>\n

The Local 600 shooter says she\u2019s always been up for a new challenge and feels \u201creally fortunate\u201d she was given the opportunity to delve into very unfamiliar territory. \u201cI do think we managed to create something that feels epic on some level but really is about mankind and all of our flaws, dreams, desires, pain and love,\u201d she concludes.\u00a0\u201cMy hope is that we also manage to make people think on a global level \u2013 how do we treat one another and what can we do to take better care of our neighbors, near and far? If Black Panther<\/em> succeeds in being a superhero film with a global message, that\u2019s really a first!\u201d<\/p>\n

 <\/p>\n

by Valentina Valentini<\/em>
\nUnit Stills by Matt Kennedy<\/em><\/p>\n

 <\/p>\n

CREW LIST<\/h3>\n

MAIN UNIT<\/p>\n

Director of Photography
\nRachel Morrison, ASC<\/p>\n

A-Camera Operator\/Steadicam
\nP. Scott Sakamoto, SOC<\/p>\n

A-Camera 1st AC
\nZoran Veselic<\/p>\n

A-Camera 2nd AC
\nCraig Bauer<\/p>\n

B-Camera Operator
\nTom Lappin<\/p>\n

B-Camera 1st AC
\nAlessandro Di Meo
\nAndrew Hoehn<\/p>\n

B-Camera 2nd AC
\nDwight C. Campbell<\/p>\n

C-Camera Operator
\nRoss Sebek<\/p>\n

C-Camera 1st AC
\nAdam Castro<\/p>\n

C-Camera 2nd AC
\nMike Fisher
\nZachary C. Junquera<\/p>\n

Additional 2nd AC
\nSaul McSween
\nPaul E. Woods<\/p>\n

DIT
\nNicholas Kay<\/p>\n

Loader
\nZach Holloran<\/p>\n

Technocrane Operator
\nMichael H. Howell<\/p>\n

Technocrane Tech
\nHenry Schroeder<\/p>\n

Oculus Operator
\nKenny J. Rivenbark<\/p>\n

Still Photographer
\nMatt Kennedy<\/p>\n

Publicist
\nCarol McConnaughey<\/p>\n

Additional
\nPhotography<\/p>\n

Dir. of Photography
\nRachel Morrison, ASC<\/p>\n

A-Camera Operator
\nJason Ellson, SOC<\/p>\n

A-Camera 1st AC
\nMateo Bourdieu<\/p>\n

A-Camera 2nd AC
\nJamie Pair<\/p>\n

B-Camera Operator
\nSarah Levy, SOC<\/p>\n

B-Camera 1st AC
\nNino Neuboeck<\/p>\n

B-Camera 2nd AC
\nMatt Jackson<\/p>\n

C-Camera Operator
\nGreg Magidow<\/p>\n

C-Camera 1st AC
\nManning Tillman<\/p>\n

C-Camera 2nd AC
\nJustin Cooley<\/p>\n

DIT
\nJoe Elrom<\/p>\n

DIT Utility
\nAlex Buhlig<\/p>\n

Loader
\nLauren Cummings<\/p>\n","protected":false},"excerpt":{"rendered":"

Rachel Morrison, ASC, claws into the cinematic debut of the history-making African-American superhero\u00a0Black Panther. It’s only with some hyperbole that one can say the level of anticipation for writer\/director Ryan Coogler\u2019s new superhero feature, Black Panther, is extremely high, and why not? The film includes a bevy of \u201cfirst ever.\u201d Starting with the source material \u00ad\u2013 Marvel Comic\u2019s The Black Panther, created by Stan Lee and Jack Kirby in 1966, was the first-ever African-American superhero in mainstream American comics. The […]<\/p>\n","protected":false},"author":1,"featured_media":7744,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[485,489,488,37,490,429,486,487],"class_list":["post-7742","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-black-panther","tag-black-panther-cinematography","tag-black-panther-dp","tag-icg-magazine","tag-loca-600","tag-local-600-crew","tag-rachel-morrison","tag-ryan-coogler"],"acf":[],"yoast_head":"\n1st Of Their Kind - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/1st-of-their-kind\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"1st Of Their Kind - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Rachel Morrison, ASC, claws into the cinematic debut of the history-making African-American superhero\u00a0Black Panther. It’s only with some hyperbole that one can say the level of anticipation for writer\/director Ryan Coogler\u2019s new superhero feature, Black Panther, is extremely high, and why not? The film includes a bevy of \u201cfirst ever.\u201d Starting with the source material \u00ad\u2013 Marvel Comic\u2019s The Black Panther, created by Stan Lee and Jack Kirby in 1966, was the first-ever African-American superhero in mainstream American comics. 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