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Cinematographer Mauro Fiore on the Digital Workflow of ‘Real Steel’

ICG Magazine goes in-depth with cinematographer Mauro Fiore and the production crew of Real Steel about filming their VFX-heavy robot feature. Even though Fiore was fresh off of Avatar, he had to be convinced to shoot digitally by the visual effects department as they needed to create the motion capture of fighting robots months before principal photography. The pre-visualization helped the production come in on budget and on time.

From the article:

Fiore says he tested several cameras, including the Genesis and ARRI D21, finding the latter’s sensitivity to light a bit low for his taste (“though” he says, “the optical viewfinder was enticing”). He settled on Sony’s F35, which featured genlock – an absolute necessity given the need to synchronize mocap with live-action. After experimenting with the newer 12-bit F35, Fiore elected to stay with the proven version, provided by Otto Nemenz, rating the image at an ASA equivalent of 400 and framing for a 2.4:1 aspect ratio. “We benefitted from the efforts of Ryan Sheridan at Nemenz, who had committed to a fiber [optic] cable system that let us record to Codex with perfect transmission,” Fiore says, “which was significant because of all the meta-data, such as Simulcam information.”

Read it in full here.