“I had the naive expectation that once you get to that level nobody says ‘no., that there’s this endless supply of time and money. I learned pretty quickly that couldn’t be further from the truth. We were actually stretched pretty thin. A lot of the money went into the design elements. Next thing you know there’s not quite enough money to light the set. But it’s the difference between begging for one extra SkyPanel [on a small budget movie] and begging for an extra 50.”
Considering the movie’s box office success, Marvel will probably toss in a few more SkyPanels for the sequel.
Morrison: Black Panther was actually quite quick by Marvel standards. It was something like 72 days, where most of their films are well over 100 days. The biggest adjustment was that we shot 10-hour days (instead of the standard 12-hour days). It was tricky for me as a DP, but amazing as a mom. I went from barely seeing my son at all throughout Mudbound to actually getting home in time to tuck him into bed at night on Black Panther because of the 10-hour day, which I’m now a huge proponent of. Marvel’s reasoning is that they have such extensive costume and make-up work that by the time you get everybody disrobed and made-down for lunch and then make them back up after lunch, you’ve lost two hours anyway and you lose momentum. So their ideology was to just work straight through. That’s challenging at times because you don’t have your lunch break to reassess or make a new plan, but it was really incredible as a human being.
Morrison: Panavision wasn’t ready for us [to test the Millennium DXL]. It was just before they felt like they would have enough production support. So the day of our test they said “Sorry, we just can’t pull it off.” But we tested just about everything else. We tested IMAX, spherical 35mm, anamorphic 35mm, spherical Alexa, anamorphic Alexa, Red 8K and the Alexa 65. I think Ryan and I, as much as we dreamt of shooting on film, probably knew on some level that it just wasn’t a reality for this type of movie.
Filmmaker: Just because of the VFX component?
Morrison: Well, really what it came down to was the scheduling of it. You’re so down to the wire with the deliverables, partly because Marvel backs into their release dates. When you originate on film, if you change a VFX shot out, which happens all the time, you have to go back to the original negative and rescan that shot at a higher resolution than any of your dailies would’ve been at. There’s just not time on the back-end for that. In retrospect, I understand that now having been through the post process. We were changing things down to the night before the movie was delivered. Maybe even hours before the movie was delivered.
Filmmaker: So why not the Alexa 65?
Morrison: That was really a Ryan choice. I actually think that camera gives you a beautiful and lush image, but Ryan didn’t want that shallow depth of field look. He wanted you to be able to see the patterns in the costumes, to see the detail in the production design. He wanted those details to feel tangible and not have everything sort of fall off into the implied world. It was a similar reason for not shooting anamorphic. I love anamorphic and have used it on a lot of films. Ryan hadn’t shot anamorphic before and he just felt like with so many other firsts on Black Panther, he wanted to go with spherical lenses because he really understands those optics and how certain lenses make you feel. I felt like I should defer to him on that rather than try to pressure him into something he wasn’t comfortable with. And plenty of beautiful movies have been shot spherical on the Alexa.