American Cinematographer - June 2006 - 64

Taking on Water
Right: Actor Kurt
Russell (as hero
Robert Ramsey)

provides a bit of
practical
lighting as he
and his costars
endure the

rising tide.
Keeping the
water warm,

chlorinated and
clean

was a

priority
throughout the
production, but
after weeks of

being
submerged, the
flooded sets

began to
deteriorate and

mold became

an

issue. Below: A

HydroFlex unit
into play

comes

for

a sequence
in which the

survivors must
swim for their
lives.

act

of the

picture, which

we go even

ment.

I'd tell them, 'Even if you

further with in the third act, to the

didn't need

calling out to the
operators on the radio, 'Handheld,
handheld, handheld!' They may
have been on tripods and sliders, but

because you

point where I

was

I wanted that 'handheld' energy.

also wanted them

to zoom

in

or

I

out

depending on how the action
played. A zoom can be hidden so
easily within a little panning move¬

to zoom, pan anyway,

don't know what's
going to happen!"'
After seeing this footage cut
together, Seale was pleased with the
visual energy this approach brought
to

the film. "Of course, the A

was

camera

always the safest shot, generally

the 'wide' shot,

so

it's often the first

used, maybe just two or three sec¬

onds in

a

scene,

but the rest works

beautifully. The A

camera

is the fall¬

back."
Seale's

team

of operators

McGuire and several

day players

achieved the look he

was

he

-

Gold, Greg Smith, Maurice

Dan

also

credits

1st

-

after, and

ACs

Brad

Peterman, Mike Endler and Jay
Peterman with

ensuring the roving
stayed in focus. "We were just
flying, and when you're driving
across a room into a close-up at

lenses

270mm

marks

on

an

actor

who has

no

for much of the film, our
underwater, with bodies and

-

sets are

junk floating around - you need to
have a reliable hand pulling focus.
And they performed brilliantly. They
should win technical Academy
Awards, those boys."
Asked what kind of chance he
gave his 1st ACs by building up a
solid base stop, Seale chuckles slight¬

ly and replies, "Almost none."
Shooting in Super 35mm on Kodak
Vision2 500T 5218, the cinematog¬
rapher tried to establish at least a
T2.8,

but

not

much

more.

"Anamorphic would have been
much

too

slow

-

a

T4.5

was not

going to happen. I also had to have
60 June 2006



American Cinematographer - June 2006

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