7. Anamorphic Format
The filming process for a major motion picture can be rather cumbersome, depending on the size and scale for which the director is willing to shoot. For The Amazing Spider-Man, Marc Webb made the executive decision to film using the RED Epic camera, a first of its kind and marking the first official usage of the design. The camera helped boost 3D effects to their fullest, giving it the full treatment for a 3D release. They allowed the visual effects department to create entire digitally constructed areas and apply them into the film, without the viewers noticing the transition between live action and digital, and also proved to be portable and small in size, making filming easier for the units to shoot at a fast pace instead of using bulky cameras that are fitted for stationary use. Thus, the decision to move from RED Epic to anamorphic format is quite the surprising exchange for the sequel. The idea of switching from digital to anamorphic is both wise and curious, for it allowed Marc Webb to film on a more proportioned scale that fits more detail into frame at a wider aspect ratio, at exactly 2.40:1. This also means that filming action scenes will be vastly improved upon, giving a more epic feel with a lot more going on. Point and case: the police chase that has been teased with production photos and videos. Seeing that in anamorphic format will be something truly awe-inspiring, especially in IMAX. And I can only imagine what it would be like to see Spider-Man swinging around New York. Let your mind fill in the gaps.