Advertisement 1sifmovkNBA Finals | Brooklyn VsiwtwWingsuit rodeo📽Sindre E4333z( IG: @_aubreyfisher @imraino ) 6jhyrWould you ever consider trying this?😱1ww04Can your students do this? 🌚2xgjbRoller skating! Powered by Firework Recently in an interview of DAZN, Cristiano Ronaldo revealed the biggest difference between him and Lionel Messi. According to Cristiano Ronaldo, he won Champions League with different clubs. Ronaldo won the award of top scorer in the Champions League for six seasons in a row. On the other hand, he has five Champions League trophies under his belt. That’s why he got a special identity with this tournament.Advertisement In this interview, Ronaldo was very much frank about his rivalry with Lionel Messi. The star Portuguese player also mentioned that it had been the greatest rivalry of this football generation. The Portuguese star player also praised about the quality of Lionel Messi in this interview.Advertisement He mentioned that the greatness of Lionel Messi can not be measured by the number of Ballon D’Ors. Lionel Messi is also a player who gets improved day by day and there lies the similarity between these two footballers.Lionel Messi and Cristiano Ronaldo both have won 5 Ballon D’Ors each so far. The statement of Cristiano Ronaldo proves that the Portuguese star player has a great respect for Lionel Messi. The rivalry between these two footballers helped them growing as a more improved player day by day.Advertisement Juventus legend Cabrini feels Ronaldo edges Messi over one aspect of the game Advertisement
The second running of the rich Diamond Mile on Saturday, December 10, promises to be bigger and better than before.This was the view of Clovis Metcalfe, chairman of the Betting, Gaming and Lotteries Commission (BGLC) at the media launch at the ATL Automotive Limited Showroom, Oxford Road, New Kingston on Tuesday night.”For the second consecutive year, the BG&LC offers the richest purse in the English-speaking Caribbean, at the historic Caymanas Park,” said Metcalfe.”Horseracing enthusiasts and guests can expect another thrilling line up of thoroughbreds, which will be announced in the coming weeks. This year’s race card will feature a similar number of races as last year, including three special trophy races the Diamond Mile, the BGLC Stakes and the Supreme Ventures Sprint.”The purse package will also be similar to what was offered in 2015, which was an overall purse of just under $30 million, of which $20 million was provided by the BGLC.’With a similar purse distribution this season, winnings for the Diamond Mile race will be in the region of US$115,000 and the basic purse of all other races will be Ja$1 million or more based on the going exchange rate.”Last year we were very deliberate about ensuring that we offer a very attractive purse structure, but we never imagined that the pay-off would have been so significant. From a record breaking 225 entries, of which 190 participated, to a whopping $66.5 million in sales for local races and another $9.1 million for simulcast races on that day alone,” Metcalfe added.He said with the above results, the BGLC is even more committed to supporting the resurgence of horseracing in Jamaica.CLOSING THE DEALSpecial guest at the launch was finance minister Audley Shaw, who said the Diamond Mile should take on added significance this year with divestment about to become a reality.”We are at the point of closing the deal with Supreme Ventures … . This will ensure an expanded product, the development of facilities and more jobs created,” he asserted.Also speaking were CTL’s racing secretary Denzil Miller Jr, Matthew Cripps, group general manager ATL Automotive Limited and the chairman of Supreme Ventures Limited Paul Hoo.Hoo disclosed that since 2004 his company has pumped $120 million into racing sponsorship at Caymanas Park, including $5 million to the purse of this year’s Diamond Mile.Top contenders are last year’s winner SEEKING MY DREAM and BUZZ NIGHTMARE.
Sophia murder update…deceased on record as repeat convictFollowing the shooting in C Field Sophia, Greater Georgetown, on Friday evening, which resulted in the death of 24-year-old Jamal Munroe, the mother of the suspect, Deborah Caesar, has been arrested while her son, 19-year-old Mark Ferral, remains on the run.Deceased: Jamal MunroeThis is as details into the incident emerge, including that Caesar allegedly provided the weapon that was used in the murder, in encouraging her son to seek revenge on the now dead man.Guyana Times reported that around 22:45h on the evening in question, Ferral and Munroe clashed over the latter’s 32-year-old girlfriend while at the Black and White Bridge in C Field. During the confrontation, the woman had also accused the 19-year-old of stealing a mobile phone, which escalated the matter.The suspect retaliated by whipping out a handgun and discharging rounds in the direction of Monroe, hitting him several times. He then fled the scene and went into hiding while his victim was rushed to the Georgetown Public Hospital in a semi-unconscious state.Munroe sustained gunshot wounds to his legs, upper hand and lower back, and subsequently succumbed to his injuries while receiving treatment at the medical institution.However, this publication was later made to understand that there was an ongoing feud between the young men, stemming from a two-month disagreement over a gambling board which dragged Munroe’s “gang” and Ferral’s family into the altercation.It was just last week that the duo were said to be caught up in an incident which saw them chasing after each other while armed with cutlasses right in Sophia. Days later, Munroe was said to have stabbed Ferral which was reported to the Turkeyen Police Station, but to no avail. As such, when the two clashed once again on Friday evening, the outcome was fatal.Police are still on the hunt for Ferral, who has not been seen since the incident. However, his mother, 44-year-old Caesar, who is a security guard, was taken into custody after initial probes into the incident revealed that she allegedly took home her service revolver for her teenage son to put an end to the matter with Munroe, once and for all.As such, the woman remains in Police custody as investigations continue.The now dead man had numerous run-ins with law enforcement, as he had been implicated in a number of offences, including armed robberies.Back in 2016, Munroe was shot by ranks in Berbice, as they attempted to arrest him for his involvement in a number of crimes, but he managed to escape. He later showed up at the Georgetown Public Hospital in critical condition.Adding to that, his brother, sacked prison officer Troybon Munroe, met with his demise in a similar manner after he was shot dead by a bodyguard while attempting to mug a businesswoman on the Liliendaal Railway Embankment road, in the vicinity of the Giftland Mall, just three months ago.
While environmental groups continue to celebrate the widely anticipated death of the Northern Gateway Pipeline, many Western Canadian oil patch executives remain critical of the Trudeau government’s announcement last week to follow through on an election promise and ban crude oil tanker traffic on the BC North Coast.They argue the lack of export pipelines forces Canadian oil producers to accept a steep discount for oil they can only sell to American refineries, potentially making the US the big moratorium winner, if Northern Gateway does goes the way of the Edsel.However, while he’s also concerned Northern Gateway could be lost, Prince George-Peace River-Northern Rockies MP Bob Zimmer believes the negative impact could go beyond that, and depending on the moratorium scope he suspects the Americans could once again find themselves engaged in some rather interesting talks with a group of Trudeau Liberals:- Advertisement –
Abraham opened the scoring early on with his first senior goal for Chelsea before Todd Cantwell levelled from close range.Mount put Chelsea back in front but Norwich striker Teemu Pukki grabbed a second equaliser with his fifth goal of the campaign before half-time.Abraham clinched the points in the second half but Chelsea legend Lampard, whose third child was born last year, had no grand plans to celebrate his maiden victory.“If celebration means a couple of glasses of wine while watching the baby monitor this evening and watching Match of the Day, then that will be it. That’s the way life is these days!” he said.“For me, I am happy, very happy with the result. We want to win games, I want to stay in contention.“I didn’t want a slow start. We had a tough start and I have got to say I am happy with a lot of the performances.“But you can’t shout that too loudly if you aren’t winning games. So it changes it for me, today. So I am very happy.“It gives me more determination to work. I saw a lot of good things, things we can improve but a real good belief in the players, the way they played today. I am happy, but determined, I suppose.”Abraham scored twice to lead Chelsea to victory © AFP / Daniel LEAL-OLIVASThrashed 4-0 by Manchester United in their Premier League opener and then held at home by Leicester, Chelsea’s travelling support revelled in the fact their goals came from two players who have come up through the ranks at Stamford Bridge.Abraham has spent plenty of time out on loan and excelled at Aston Villa in the Championship last season before returning to Chelsea and becoming Lampard’s first-choice striker.Mount spent last year with Lampard at Derby and the manager was pleased to see both his youngsters on the scoresheet.“I think it’s the age-old story, fans like to see players that really feel the club,” he added.“They are not necessarily local boys, not in the modern way of football because players are from all over the world.“But I think they enjoy seeing something because if you come through the academy here you should feel the club, if you work daily and come through at a young age your absolute desire is to do that.”0Shares0000(Visited 20 times, 1 visits today) 0Shares0000Chelsea manager Frank Lampard secured his first win at Norwich © AFP / Daniel LEAL-OLIVASNORWICH, United Kingdom, Aug 24 – Frank Lampard planned to celebrate his first win as Chelsea manager by playing the doting dad after his young side earned a 3-2 victory at Norwich on Saturday.Tammy Abraham’s brace and Mason Mount’s second goal of the season gave Chelsea their maiden win of the Lampard era at the fourth attempt.
Easter Eggs are already on the shelves, even though we’re 69 days away from Easter Sunday.Donegal consumers have taken to social media to lambast supermarket chiefs for stocking Easter Eggs, even though we’re still 69 days away from the popular holiday.It’s TEN weeks until we celebrate Easter but that hasn’t stopped retailers from rolling out their Easter Holiday marketing campaigns.Lent hasn’t even started yet, and already the temptation to purchase those delicious eggs are upon us. We’ve only just got back into the gym and are attempting to get the excesses of Christmas out of our system and now we have to walk past and ignore the urge to buy a chocolate egg.However, the fact they’ve already hit the shelves has angered many parents in Donegal and a number have taken to their own personal social media accounts to vent their fury.One reader e-mailed us earlier this evening to relay her disgust that there already on the shelves.The woman who wishes to remain anonymous said, “Was in TESCO in Letterkenny earlier this afternoon when one of my children said “Mum can I get a Kit-Kat Easter Egg. “I actually laughed and said don’t be silly it’s only January, you can’t get Easter Eggs now, Lent hasn’t even started.“He then threw the egg in my trolley and I actually couldn’t believe it when I saw it.“I then stepped back and seen an entire shelve full with all types of Easter Eggs.“It’s just madness, why do retailers have to stock them so early?“I understand why do they do it at Christmas, but Easter really? Ten weeks until then and we’ve already got them on the shelves. It’s utter madness. Others have expressed their surprise and disappointment that there already available to buy and feel it puts unnecessary pressure on parents who are still paying off Christmas.CONSUMERS OUTRAGED AS SUPERMARKET CHIEFS STOCK EASTER EGGS ALREADY! was last modified: January 25th, 2015 by Mark ForkerShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window)Tags:AngerBusinessConsumersEaster eggsletterkennynewsPARENTSRetailerssupermarketstesco
It was heartbreak for Wales on Wednesday, as they were knocked out of Euro 2016 by Portugal.Cristiano Ronaldo scored and assisted in four second-half minutes as Chris Coleman’s men were denied a place in the final. After live coverage on talkSPORT, the Sports Bar’s phone-in with Andy Goldstein and Jason Cundy had a passionate caller. A proud Welsh fan reflects on the tournament, where his nation exceeded expectations in France – listen above! Click here to download the weekly podcast for Andy Goldstein’s Sports Bar Best Bits from iTunes.READ MORE: Euro 2016 – How Wales players fared in the semi-final defeat to Portugal – including Gareth Bale, Hal Robson Kanu and co.
DONEGAL’S Seamus Coleman played a super sub role for Everton as the Merseysiders had a shock win over Manchester United at Goodison tonight.The Killybegs man may have spent the first 80 minutes of the epic encounter on the bench.But when boss David Moyes sent him on for Osman, he had just one instruction – to keep the ball for the home side. And that’s what Coleman did; he was full of running and energy as he helped protect a 1-0 lead courtesy of Marouane Fellaini in the 57th minute – he rose highest to power home a header from a corner, taken by former United player and Derryman Darren Gibson.As the visitors pressed for an equaliser, Anderson gave the ball away for Manchester United, and Coleman was able to bring the ball away and do a fine job for his side.He carried the ball 60 yards up the pitch and then won a free-kick into the bargain. The crowd cheered as if he had scored. SEAMUS COLEMAN’S SUPERSUB ROLE AS EVERTON BEAT MAN UNITED was last modified: August 20th, 2012 by BrendaShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:SEAMUS COLEMAN’S SUPERSUB ROLE AS EVERON BEAT MAN UNITED
DDTV: Paddy McGrath is confident ahead of Donegal Ulster SFC final with Monaghan on Sunday but is wary of the challenge presented by Malachy O’Rourke’s side.McGrath feels that if Donegal can perform to the best of their ability then he has no doubt they can win on Sunday in Clones.However, the teak tough corner-back knows the threat posed by Monaghan and knows they need a huge performance if they’re going to be able to retain their Ulster SFC title. McGrath was speaking to Charlie Collins for Donegal TV as part of their preview on the Ulster SFC final.Collins also spoke to Darrach O’Connor who has been a peripheral figure this season due to injury problems.O’Connor started the All-Ireland final last year and enjoyed a superb debut season.However, injuries have meant he will start Sunday’s game on the bench but says he is focused and ready if he gets the call to go in to action. To watch both interviews simply click play on the video above.DDTV – COUNTDOWN TO CLONES: MCGRATH -“IF WE PLAY TO THE BEST OF OUR ABILITY, THEN WE’LL WIN” was last modified: July 13th, 2015 by Mark ForkerShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:donegal tvGAAnewsPaddy McGrathSportUlster SFC
DP Henry Braham spoke with Digital Trends about the decision to shoot on RED,There was interest in shooting the movie on 65mm because of the richness of the image and the intensity of the image, and the fact that so much of it would work well on an IMAX screen. With that amount of detail and color and richness to the image, you really see the quality of it. With the existing technology for 65mm, there are some beautiful cameras out there but they’re very big, so one of the things that worried me about that was the physicality of the camera.I was looking for something that could handle the large format but still be very intimate and physically small. That’s why I went to see Jarred Land at the Red Camera Company. I was talking to him about it and he kind of reached out and put a black box on the table and said, “Well, how about looking at this?” This was their new high-resolution 8K camera, which is a VistaVision camera and it was in a prototype form, but the idea of it seemed perfect for Guardians Vol. 2.It provided this very high-resolution image to start with, but in a camera body that was pretty much the size of [the famed hand-held camera] a Hasselblad. What it enabled me to do was to mount the camera on a new form of stabilization head that could be handheld and was designed by a guy who used to work on torpedo guidance systems.Image via Marvel Studios.The small body also allowed for quick setups and a documentary style approach. Braham went on to say,What it does is enable the camera to flow and explore scenes as the actors explored scenes with James, and the camera could just be there with them. And quite often, we wouldn’t even rehearse scenes. We’d just go straight into filming them, because we knew they’d develop. I think that shows in the movie. In the movie, there’s a lot of spontaneity in the performances. That’s a credit to James and the cast working together, and to the ability to get the camera in there with them, with a small footprint, and capture those moments.Image via Marvel Studios/RED.As for the most challenging sequences to shoot, Braham told Vulture about the film’s opening baby Groot dance number,At one point, we were going to film it all as one shot on one camera. And that would have been entirely feasible, particularly because of this gyro-stabilized camera that we developed for the movie. You then break it down into the elements that are 100 percent live-action, the elements that we need to fit in with animation. I forget, but there’s a lot of live-action footage within that. And it may be me saying, “The animation starts here, but then it gets taken over by the camera at this point, and then we hand it back over to the animators at this point.” But in almost every part of that scene, there’ll be live-action footage. That’s why you build a set for everybody to be on, which is a very big set, actually.Image via Marvel Studios.As for the space chase sequences,When we’re photographing the actors inside the spaceship — their movement and what’s going on — the interactive light that’s lighting them needs to reflect what’s happening on the outside. We need to have decided what’s happening on the outside before we film on the inside, so that the interaction of all the lights makes the shot believable. For instance, I would use a lot of very large-scale video-projection screens, a little bit like what you would use in a rock concert or a big football game. But I would have very large blankets of them with animated light going across them, which provides a very believable light source for all the interactive light that might be going on around the spaceship, at that time. If the spaceship is rolling, then the light needs to roll too, on the actors.You can actually catch a glimpse of this rig in action in this behind-the-scenes presentation from RED.As for the most difficult scene, that comes down to the film’s finale and funeral.Often, the toughest things are the things that, if they’re done well, you don’t notice at all. We shot the scene in the set, and we’d all moved back into a completely different studio. We made a big move. And Chris and James came in the next morning and said, “You know what, we’ve had a better idea how to do this.” James and Chris wanted to play that scene with a different tone to it. That’s the beauty of filmmaking, that you can have a better idea overnight or you can learn something. What we had to do was take him as a single element and match him into that scene absolutely perfectly.Thankfully, you would never know when you looked at the movie, but actually it’s incredibly difficult to do. Because you obviously need to match up the lighting exactly, you need to match the way the camera moves, you need to match the timing of the camera moves to the speech. It’s very intricate, and at the same time you need to give Chris, the actor, space to act. And it’s a very difficult scene to act. On one hand, it’s very intricate and technical, and on the other hand, the last thing you want is the actors to know that’s the case. Because you don’t want to distract from what they’re doing. So that’s a good example of something that you wouldn’t think is anything other than just a normal shot, but actually it’s very, very complicated to do.Spider-Man: HomecomingImage via Sony Pictures Entertainment.Director: Jon WattsDirector of Photography: Salvatore TotinoUS Release: July 2017Camera Package:ARRI Alexa MiniARRI Alexa XT PlusLensesCooke S4/iAngenieux Optimo Guardians of the Galaxy Vol. 2Image via Marvel Studios/RED.Director: James GunnDirector of Photography: Henry BrahamUS Release: May 2017Camera Package:RED WEAPON DRAGON VistaVision 8KPhantom Flex 4KLensesPanavision Primo 70Leica Summicron-C Lenses In a conversation with British Cinematographer, Ben Davis spoke about the new (at the time) ARRI Alexa 65,There was a lot of new technology just coming onto the market at the time – the first of the large format digital cameras, with their new back-end workflow systems, plus a host of interactive LED lighting equipment – and I was eager to see how I could get the best from them.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’s 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 – whilst avoiding giving our first ACs a complete nightmare on-set.Image via Marvel Studios.As for the incredibly unique look of the film,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 ‘out there’ and pretty psychedelic in places.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.Davis often compared Doctor Strange to Marvel’s version of Fantasia, “because it’s so sort of out there and different to everything else that they’ve done.”Want to create a Doctor Strange-style shield in After Effects? Check out this classic PremiumBeat tutorial. Top 5 MCU Cameras for Additional Photography:Phantom Flex (8 Films)RED Epic/Weapon (7 Films)ARRI Alexa Mini (5 Films)Canon 5D (5 Films)Photosonics 4ER (2 Films) Image via Chuck Zlotnick/Disney/Marvel.Talking with ICG Magazine, DP Ben Davis talked about lensing the film,Much of the work is very intimate, and the choice of lens was key because the camera is either following her, or leading her, into these new environments. When Brie’s character arrives on Earth, it can’t be that you’re already there and watch her arrive. You have to go along with her, in order to feel the emotional arc she travels.Image via Chuck Zlotnick/Disney/Marvel.As for the many cameras used,The large-format ARRI Alexa 65 was the primary capture device, though some scenes utilized Panavision DXL2s, which cut well with RED WEAPON VV Monstro units, used in tight spaces.[For go-cart flashbacks with the Blackmagic Micros] it used to be that the quality drop was significant with small units, but these GoPro-sized systems are very high quality … You can put really good lenses on them and set shutter and iris appropriately.Avengers: EndgameImage via Disney/Marvel.Directors: Anthony Russo, Joe RussoDirector of Photography: Trent OpalochUS Release: April 2019Camera Package:ARRI Alexa 65 IMAXLensesPanavision Sphero 65APO Panatar Producer Kevin Feige has confirmed that Far From Home will conclude Phase Three, and not be the first film in Phase Four. Again, not much to report here. The production supposedly used the Alexa, but no details on which model.MCU Most Used CamerasImage via Marvel Studios.So, now that we’ve covered the first three phases of the Marvel Cinematic Universe, which cameras were used the most on these 24 films? I’m going to break this into two categories — principal photography and additional photography.Keep in mind, these are the cameras we were able to confirm, and there are likely more used for VFX and additional sequences. But knowing what we do know as confirmed, let’s see what we learned.It should be no surprise that ARRI cameras are the go-to for principal photography. Guardians of the Galaxy Vol 2. is the only MCU film not shot on an ARRI camera.Most Popular MCU Cameras by Manufacturer:ARRI (23 Films)Panavision (8 Films)Phantom (8 Films)RED (7 Films)Canon (7 Films)Photosonics (2 Films)Blackmagic (2 Films)GoPro (2 Films)Image via ARRI.Top 5 MCU Cameras for Principal Photography:ARRI Alexa 65 (7 Films)ARRI Alexa XT (7 Films)Panavision Panaflex Millenium XL (6 Films)ARRI Arriflex 435 (5 Films)ARRI Arriflex 235 (4 Films) Same setup from Avengers: Infinity War as these two films were shot simultaneously. No other details to share at this time.Spider-Man: Far From HomeImage via Sony Pictures Entertainment.Director: Jon WattsDirector of Photography: Matthew J. LloydUS Release: July 2019Camera Package:ARRI AlexaLensesHawk V-Lite Anamorphic Image via Chuck Zlotnick/Disney/Marvel.Avengers: Infinity War claims to be the first Hollywood feature to be shot entirely in IMAX. In a release from IMAX,The move, by directors Joe Russo and Anthony Russo, marks the first time a Hollywood feature film will be shot only using IMAX cameras and its exclusive aspect ratio. The IMAX/ARRI 2D digital camera, which stops short of a full IMAX 3D camera rig, is a customized large format version of ARRI’s 6K Alexa 65 camera.Image via Chuck Zlotnick/Disney/Marvel.In another release, this one from ARRI, it’s further explained,Up until now, the ALEXA IMAX camera has tended to be used for selected sequences that would benefit from exceptional image quality, but Avengers: Infinity War represents the first film to be shot with it entirely. Directors Joe and Anthony Russo, with cinematographer Trent Opaloch, utilized up to 12 ALEXA IMAX cameras, during peak shooting periods, to capture the superhero ensemble — an unprecedented assembly of Marvel characters. The 65mm format will provide audiences with a fittingly cinematic spectacle, for a film that marks the 10-year anniversary of the Marvel Cinematic Universe.Image via Chuck Zlotnick/Disney/Marvel.As for the practical reasons in making this decision, co-director Joe Russo tells CinemaBlend,We have a lot of characters who are tall, unnaturally tall. So it really helps with the frame, because that IMAX aspect ratio works for those types of characters, and the landscapes are stunning. There are some really exotic landscapes in the film, and to be able to put those on an IMAX screen, it’s an incredible tool to have as a filmmaker, to be able to exploit that scale of aspect ratio.Until this saga concludes, the Infinity War crew has been working away on the closure to this epic, so there is still much secrecy to the behind the scenes. Perhaps we’ll know even more in the coming months.Ant-Man and the WaspImage via Ben Rothstein/Disney/Marvel.Director: Peyton ReedDirector of Photography: Dante SpinottiUS Release: July 2018Camera Package:ARRI Alexa 65ARRI Alexa MiniARRI Alexa SXTPanavision Millennium DXLRed Epic Dragon (visual effects)LensesARRI Prime DNA Looking for more articles on the film and video industry? Check these out.Breakout Director Kat Candler on the Best Festivals for First-Time FilmmakersNAB 2019: Our Favorite Releases from This Year’s ShowAdobe Releases New Content Aware Fill Tool for After EffectsThe Cameras Behind Netflix Originals: Films and SeriesThe Cameras and Lenses Behind HBO’s Original Series Image via Sony Pictures Entertainment/Chuck Zlotnick/CTMG, Inc.Spider-Man: Homecoming takes dozens of cues from the John Hughes films of the 1980s. As such, director Jon Watts really wanted to get the homage just right, especially when it came to shooting on set and VFX sequences. He tells IndieWire,I got in there with a virtual camera in Maya and designed the sequences like they felt part of the film … and then I made them, even though they were made by thousands of collaborators.Image via Chuck Zlotnick/Sony Pictures Entertainment.Want to make your own Spider-Man: Homecoming VFX? Check out this Spider-Man-inspired tutorial with free HUD elements. This concludes the Marvel Cinematic Universe. For previous Phases and camera insight, check out our first two articles:The Cameras and Lenses Behind the Marvel Cinematic Universe: Phase OneThe Cameras and Lenses Behind the Marvel Cinematic Universe: Phase Two Black PantherImage via Matt Kennedy/Disney/Marvel.Director: Ryan CooglerDirector of Photography: Rachel MorrisonUS Release: February 2018Camera Package:ARRI Alexa XT PlusARRI Alexa MiniPanavision Primo and Primo V LensesImage via Matt Kennedy/Disney/Marvel.In a conversation with the ASC, cinematographer Rachel Morrison talks about her research into the MCU, which involved talking to previously mentioned DPs — Bed Davis and Trent Opaloch. Morrison said,One of the things I figured out quickly is that no two large-scale movies are the same, and no two visual-effects-heavy films are the same … Within the visual-effects world, Marvel does things very differently than DC or Lucasfilm.As for choosing the ARRI Alexa XT over the Alexa 65,One of the reasons we went with the XT’s Open Gate sensor over the Alexa 65 was that Ryan wanted things to be in-focus in the background … Not Citizen Kane deep, but his perspective was that our sense of scale came from being able to see all the beautiful sets and costumes.Image via Black Panther 1st AD Lisa SatrianoAs for those amazing sets, PremiumBeat previously chatted with Oscar-winning Black Panther production designer Hannah Beachler. In that conversation, we learned about the underground casino.Korea was awesome. I love South Korea so much. It was another culture-rich tradition, so a lot of that trip was learning about their history.We were in the fish market, and that’s where we started with the idea of the casino. Off of that was a place called Gangster Alley, which is where all the ships were.It was sort of the harbor, and it helped give us an international feel, to bring in a very traditional side of what South Korea is. And then, we also have the very beautiful side of South Korea, with what we all know with the vertical signs and lit-up signs.Image via Black Panther Art Director Alex McCarroll.If you are enjoying these set photos, also be sure to check out our interview with Marvel Set Photographer Matt Kennedy here.Avengers: Infinity WarImage via Chuck Zlotnick/Disney/Marvel.Directors: Anthony Russo, Joe RussoDirector of Photography: Trent OpalochUS Release: April 2018Camera Package:ARRI Alexa 65 IMAXLensesPanavision Sphero 65APO Panatar In a piece on Talking with Mark Toffolo, DP Trent Opaloch speaks about the large international scale of the film,We were also very fortunate to work with a great German crew in Berlin that made our transition over there very smooth.There were a ton of actors on this film and that was actually quite challenging — 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, weeks after you’ve shot the other side of the conversation, so it’s always a challenge dealing with changing weather conditions, etc. to maintain some cohesiveness to the scene.I’m starting up prep on the new Infinity Wars films that we’re shooting back to back with the Russo’s later this year, and the scale of those two films combined is a bit mind blowing, so it’s good that these last two films have ramped up in terms of scale and complexity, because each one prepares you for the next.Image via Marvel Studios.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,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’t just reach into the truck and pull out something from the other side.Image via Marvel Studios.Opaloch went on to say about the ARRI Alexa 65,There was an idea late in pre-production to shoot Civil War entirely 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 Avengers: Infinity War Parts 1 and 2, which will be shot completely with those cameras.Additionally, key grip Michael Coo developed a bungee rig system; Mark Goellnicht, our ‘A’ camera operator, used a similar system on Mad Max: Fury Road … Basically, it’s a long bungee tube attached to a rope that will run up 30 or 40 feet — 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’t have the brunt of the weight of the camera.We are still catching up on lens options. I’m having weekly conversations with the guy at ARRI … There’s a mad push to get them ready for Infinity Wars. 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’ll need all the accessories and lenses. [When we get the script] we’ll break down logistically how we’ll tackle this, with how many cameras and units. It’s such a behemoth of a project.Doctor StrangeImage via Marvel Studios.Director: Scott DerricksonDirector of Photography: Ben DavisUS Release: November 2016Camera Package:ARRI Alexa 65ARRI Alexa MiniARRI Alexa XT PlusARRIFLEX 235Panavision Panaflex Millennium XL2Phantom Flex4KLensesPanavision System 65 and Primo 70 LensesARRI’s certified 765 Dynamic lighting. Explosive energy. Here are the most popular cameras used throughout the entire Phase Three Marvel Cinematic Universe.It’s all been building to this. The culmination of over a decade of Marvel films. I was curious to know which camera was used most throughout the entirety of the Marvel Cinematic Universe (MCU), so I dove into each of the films to find out.We’ve covered the MCU cameras used in Phase One and Phase Two. Now let’s canvass the cameras and gear used to shoot the many massive blockbuster films in Phase Three (2016-2019): from Captain America: Civil War to Spider-Man: Far From Home.MCU Phase Three: “Where did that bring you? Back to me.”Captain America: Civil WarImage via Marvel Studios.Directors: Anthony Russo, Joe RussoDirector of Photography: Trent OpalochUS Release: May 2016Camera Package:ARRI Alexa 65 IMAX (airport and additional scenes)ARRI Alexa XT PlusGoPro Hero 4 BlackRed Epic DragonLensesPanavision C-, E-, G-, T-Series, ATZ and AWZ2Hasselblad Prime 65 Image via Ben Rothstein/Disney/Marvel.Peter Rosenfeld shared in his piece on the Society of Camera Operators,About a year or so before principal photography began, Peyton called me to get my thoughts on large format photography with the Alexa 65 system. At that time, I was shooting Bright with DP Roman Vasyanov. We were using the Alexa 65 system and Ultra Panavision 70 Anamorphic lenses. Roman crafted incredible images on that picture.Image via Ben Rothstein/Disney/Marvel.Putting aside the many aesthetic reasons, I told him that there are a great many benefits that come with the increased sensor size. There was the luxury of reserving an area outside of the theatrical release, for visual effects. A big consideration for a movie like this. There would also be a need to extract an IMAX (1.9:1) format from the sensor area. Lastly, the greater resolution would allow flexibility for reframing in post.Image via Disney/Marvel.“Can we shoot an action movie with this format?” Reed asked me. “Sure,” I responded. However, as an operator, I know that Peyton is fond of complex Steadicam master shots, and his frames are often very specific. This would not be Bright, where a looser more frenetic camera style was part of the aesthetic. I proposed using an Alexa SXT for the Steadicam work and he agreed. When Dante Spinotti, ASC, was signed on, he instantly became enamored of the Alexa 65 and the beautiful images he could craft with it. The die was cast.Image via Disney/Marvel.For Ant-Man and the Wasp, Dante and Peyton decided on the Alexa 65 in Open Gate mode, shooting at a resolution of 6.5K (6560 x 3100), and scaling at 87%.The Alexa SXT was also set to Open Gate mode with a resolution of 3.4K (3424 x 2202), and scaling at 95%.Captain MarvelImage via Chuck Zlotnick/Disney/Marvel.Directors: Anna Boden, Ryan FleckDirector of Photography: Ben DavisUS Release: March 2019Camera Package:ARRI Alexa 65Panavision Millennium DXLRED Weapon 8K VV MonstroBlackmagic Micro Cinema CameraLensesPanavision Sphero 65Custom rehoused Canon K35s Thor: Ragnarok is easily one of the most colorful Marvel films to date.Image via Disney/Marvel.DP Javier Aguirresarobe brought a ton of colorful light to the Thor films, as seen here is the lighting diagrams for the Grandmaster’s chambers.Image via Javier Aguirresarobe/ASC/Disney/Marvel.And here is a glimpse of that set in action.Image via ASC/Disney/Marvel.Head over to American Cinematographer for more diagrams and photos.Image via Jasin Boland/Disney/Marvel.Thor: Ragnarok even used a Dynamic Light system from SatelliteLab, combined with a robotic camera arm from Motorized Precision, to shoot select sequences with Valkyrie and Hela. In an interview with SyFy, Carlo Van de Roer talks about shooting with Dynamic Light,I wanted to move light sources so fast that the rest of the world would appear standing still, giving us the ability to move light sources within a world suspended in time.The speed and acceleration of the light sources are controlled with software so that the motion in the scene and the motion of the light sources can be adjusted as independent variablesImage via Disney/Marvel.VFX Supervisor Jake Morrison went on to say,The software that they’ve written effectively synchronizes each flash to a single frame of action, with a high-speed Phantom camera … We shot with a Phantom Flex4K at about 1000 frames a second, and what happens is you get this moment where time slows down to an incredible soup. You get into really thick, slo-mo action, but then, almost impossibly, the light actually does a full 360 degree loop around the actors, in that moment.For more on Thor, check out these pieces:How the Team Behind Thor: Ragnarok Crafted an Epic Action FilmMarvel’s Movie Poster Renaissance + Free Movie Poster TemplateCreate a Glow Warp Title Transition Inspired by Marvel’s Thor: Ragnarok Thor: RagnarokImage via Disney/Marvel.Director: Taika WaititiDirector of Photography: Javier AguirresarobeUS Release: November 2017Camera Package:ARRI Alexa 65Phantom Flex4KLensesHasselblad Prime 65 LensesZeiss 765 Lenses