American Cinematographer - June 2006 - 60

Taking on Water
Right: After the
Poseidon has
been

capsized
by a rogue
wave,

the

luxury cruiser
becomes

a

nightmarish
world of

flooding and
flames. Here,
of Seale's

one

cameras

tracks

along with the
action. As the
water rose

through the
production,
dolly track gave
way to the
increased use
of "slider"

linear-motion
camera

mounts,

Steadicam and
a

Super

Technocrane to

keep the
cameras

constantly
moving. Below:
Several of
Seale's

operators line
up

for multiple
in the
pre-disaster

coverage

ballroom.

experience came into play, as most
foreign cameramen like myself
learned our trade while working on
very
limited productions. In
Australia, we couldn't go over sched¬
ule or over budget - there just
wasn't any more money. I believe
Wolfgang also went through that
aspect of filmmaking while working
in Germany. That experience has

always held me in good stead, even
on
larger pictures such as this. You
can
go in with the mindset of, 'Well,
the studio has lots of money, so let's
just concentrate on making every¬
thing perfect,' but that abuse of the
schedule isn't something I approve
of. The cinematographer is paid to
make a picture look as good as it can
within the time and budget limita¬

tions. I feel that's part

of our job. I
backlight, but if we have to
shoot in ffontlight because we won't
otherwise make our day, then I'll
just make it look the best I can."
For Seale, this responsibility
entails carefully analyzing each
scene to determine not only the nec¬
essary coverage, but the dramatic
weight and relative value of each
shot. This will help him decide how
love

his time and

resources

will be bud¬

geted throughout the day. "For
example, you can look at a given
scene and say, 'This sequence will
last about

a

minute, and each shot

may be onscreen no more than

eight

seconds,"' he says. "So the relative

pain of a less-than-perfect shot will

only last about eight seconds. It's not
the whole movie, just eight seconds.
Well, I don't mind that. I'd rather

spend extra time on the most
important or dramatic shots of a
scene, the ones that leave a lasting
impression on the audience and
therefore

create

the overall 'flavor' of

the film, instead of equally distribut¬

ing
and

56 June 2006

shot
possibly blowing the schedule.

my resources across every



American Cinematographer - June 2006

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