American Cinematographer - November 2013 - 73
For the interior lifeboat scenes, filmmakers mounted the 5-ton fiberglass craft on a
gimbal at London's Longcross Studios.
speedboat to keep up, punching in with
a zoom. For additional close-ups and
sea-level POV shots of the skiffs crashing through the waves, a Hydrocrane
with a remote Libra head was attached
to another small boat. "We'd try to hang
the crane down to water level to get
shots of the skiffs coming toward us, or
the wake of the Alabama," says Ackroyd.
"That was incredibly difficult because
the crane arm is a moving object and the
sea itself is moving. It wasn't like we
could put the camera in one position
and make it stay there!"
Ackroyd salutes 1st AD Chris
Carreras for coordinating complex
sequences that included the Somali
attack and the rescue scenes. "When
you've got an aircraft carrier, a freighter,
a lifeboat and two helicopters, plus a
camera helicopter and cameras in
dinghies and on ships, all simultaneously shooting and trying to get this
magic five or 10 minutes of light, it's
quite a feat," says Ackroyd. "I just can't
praise the AD team enough. Chris and
his guys really pulled all that together.
Our job was to always be ready to shoot,
and I think we were."
Readiness was also facilitated
by Ackroyd's 360-degree lighting
approach. Overall, he describes his
lighting as "very subtle. That doesn't
mean it was easy, but it was subtle and
based on realism." He often drew inspiration from firsthand experience. For
instance, the battleship command
rooms were lit all red or blue to mirror
what he saw on the USS Independence
during the first Gulf War, when he was
shooting a documentary about Top
Gun flyers.
When Muse descends into the
engine room to search for the crew,
Ackroyd needed to replicate the ship's
dimmed emergency lighting, and
because the ceiling space was congested
with piping, he needed units he could
hide easily. He tapped one of his
favorite tools, a Tubo, a 2' or 4' Kino Flo
tube removed from its housing and
placed in a halved pipe whose interior is
painted white. Attached anywhere by
gaffer tape, it can add a touch of fill or
put a little light on the shadow side of a
face. "It feels like it's the bounce light
from a distant window or porthole,"
Ackroyd observes. "It just comes back
and wraps around."
When the emergency lights go
off, the engine room is supposed to be
completely black, with Muse's flashlight
73
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American Cinematographer - November 2013
Table of Contents for the Digital Edition of American Cinematographer - November 2013
Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
American Cinematographer - November 2013 - 12
American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
American Cinematographer - November 2013 - 26
American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
American Cinematographer - November 2013 - 31
American Cinematographer - November 2013 - 32
American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
American Cinematographer - November 2013 - 35
American Cinematographer - November 2013 - 36
American Cinematographer - November 2013 - 37
American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
American Cinematographer - November 2013 - 41
American Cinematographer - November 2013 - 42
American Cinematographer - November 2013 - 43
American Cinematographer - November 2013 - 44
American Cinematographer - November 2013 - 45
American Cinematographer - November 2013 - 46
American Cinematographer - November 2013 - 47
American Cinematographer - November 2013 - 48
American Cinematographer - November 2013 - 49
American Cinematographer - November 2013 - 50
American Cinematographer - November 2013 - 51
American Cinematographer - November 2013 - 52
American Cinematographer - November 2013 - 53
American Cinematographer - November 2013 - 54
American Cinematographer - November 2013 - 55
American Cinematographer - November 2013 - 56
American Cinematographer - November 2013 - 57
American Cinematographer - November 2013 - 58
American Cinematographer - November 2013 - 59
American Cinematographer - November 2013 - 60
American Cinematographer - November 2013 - 61
American Cinematographer - November 2013 - 62
American Cinematographer - November 2013 - 63
American Cinematographer - November 2013 - 64
American Cinematographer - November 2013 - 65
American Cinematographer - November 2013 - 66
American Cinematographer - November 2013 - 67
American Cinematographer - November 2013 - 68
American Cinematographer - November 2013 - 69
American Cinematographer - November 2013 - 70
American Cinematographer - November 2013 - 71
American Cinematographer - November 2013 - 72
American Cinematographer - November 2013 - 73
American Cinematographer - November 2013 - 74
American Cinematographer - November 2013 - 75
American Cinematographer - November 2013 - 76
American Cinematographer - November 2013 - 77
American Cinematographer - November 2013 - 78
American Cinematographer - November 2013 - 79
American Cinematographer - November 2013 - 80
American Cinematographer - November 2013 - 81
American Cinematographer - November 2013 - 82
American Cinematographer - November 2013 - 83
American Cinematographer - November 2013 - 84
American Cinematographer - November 2013 - 85
American Cinematographer - November 2013 - 86
American Cinematographer - November 2013 - 87
American Cinematographer - November 2013 - 88
American Cinematographer - November 2013 - 89
American Cinematographer - November 2013 - 90
American Cinematographer - November 2013 - 91
American Cinematographer - November 2013 - 92
American Cinematographer - November 2013 - 93
American Cinematographer - November 2013 - 94
American Cinematographer - November 2013 - 95
American Cinematographer - November 2013 - 96
American Cinematographer - November 2013 - 97
American Cinematographer - November 2013 - 98
American Cinematographer - November 2013 - 99
American Cinematographer - November 2013 - 100
American Cinematographer - November 2013 - 101
American Cinematographer - November 2013 - 102
American Cinematographer - November 2013 - 103
American Cinematographer - November 2013 - 104
American Cinematographer - November 2013 - 105
American Cinematographer - November 2013 - 106
American Cinematographer - November 2013 - 107
American Cinematographer - November 2013 - 108
American Cinematographer - November 2013 - 109
American Cinematographer - November 2013 - 110
American Cinematographer - November 2013 - 111
American Cinematographer - November 2013 - 112
American Cinematographer - November 2013 - Cover3
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