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Creating one of the biggest (eventually highest-grossing) films of all time on any level is a daunting challenge, but imagine being the person responsible for the look of it all—for turning those millions of dollars worth of stars and sets and VFX into actual images captured inside a camera. That was the task afforded cinematographer Trent Opaloch on Avengers: Endgame, but while he knew he was in for a daunting ride in shooting Infinity War and Endgame back-to-back, he was also well aware that he had one of the best support systems in the world.
Opaloch’s collaboration with directors Joe and Anthony Russo began on Captain America: The Winter Soldier, and oddly enough Opaloch was almost more excited to meet the directors of Arrested Development than he was to shoot a Marvel superhero movie. Their work together on that film brought a grounded, gritty aesthetic to the MCU, and when Opaloch was called to once again collaborate with “the brothers,” as he calls them, on Captain America: Civil War, he couldn’t pass up the chance to work with Iron Man himself. So by the time Opaloch received the offer to shoot Infinity War and Endgame, he had already solidified a great working relationship with the Russos, become familiar with the process of making a Marvel movie, and unbeknownst to him, had been working his way up, step-wise, to the herculean challenge of crafting a conclusion to the Marvel Cinematic Universe story.
Chance - Opaloch - Phone - Work - Endgame
I recently got the chance to speak with Opaloch by phone about his work on Endgame, and he discussed his working relationship with the Russo Brothers and how they set about crafting Infinity War and Endgame as two distinct films. He also went into detail about shooting the epic Endgame finale, and the unique challenges that a movie like this presented...
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