American Cinematographer - January 2016 - 68

◗

Savage Sea
Shooting in a
water tank,
Zuccarini gets an
underwater angle
for one of the
whale-chasing
action sequences.

shot, Zuccarini's underwater assistant, Peter Manno, was positioned
100' beneath the water's surface with
an Alexa, to which a buoyancy bladder was attached. Zuccarini would
then free-dive down from the surface
to take the unit to operate. At the call
of action, with the ship underway, he

68

would gradually inflate the bladder
with air, rising up with it at increasing speed to "crash" into the bottom
of the craft just as the whale would.
"Now, this is not the kind of
shot that you design while in a
studio," Zuccarini notes. "There, it
would almost automatically be an

effects shot. And you also could not
do this using scuba gear due to the
rapid ascent, which would kill you. It
had to be a free-dive shot. But once
you're out on the ocean, and everyone
can see the potential of what can be
done out there, the opportunities to
try amazing shots can happen."
The Canon EOS-1D C was
called into service for a scene in
which the Essex survivors wash up on
the shore of a rocky isle. "They're
going ashore in the archipelago, right
there in the surf zone," Zuccarini
recounts. "I was able to go into those
waves with [Hemsworth], handholding that EOS-1D C, duck diving to
avoid the big ones, but getting in
there close to the rocks and making it
feel real. It was hazardous, and I
could not have done it with a bigger
camera. Ron and Anthony were truly
willing to embrace getting that
camera in there, and Chris was supercomfortable in the water, which was



http://www.swit.cc

Table of Contents for the Digital Edition of American Cinematographer - January 2016

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
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American Cinematographer - January 2016 - 9
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American Cinematographer - January 2016 - 22
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American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
American Cinematographer - January 2016 - 65
American Cinematographer - January 2016 - 66
American Cinematographer - January 2016 - 67
American Cinematographer - January 2016 - 68
American Cinematographer - January 2016 - 69
American Cinematographer - January 2016 - 70
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American Cinematographer - January 2016 - 101
American Cinematographer - January 2016 - 102
American Cinematographer - January 2016 - 103
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American Cinematographer - January 2016 - 111
American Cinematographer - January 2016 - 112
American Cinematographer - January 2016 - 113
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American Cinematographer - January 2016 - 116
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