American Cinematographer - June 2006 - 70

Taking on Water
Right: A tilecovered, flyaway

"ceiling" allows
Seale to skim
the water from
above with

a

Technocrane

while

watertight

units

cover

scene

the

from low

angles. Large
amounts of

structural steel
were

used in the

set construction
to allow for the

weight and
power of the
water. Below: In

otherwise
featureless

an

corridor, Seale's

uplighting
strategy

instantly lends
the

scene

drama and

(dis)orientation.

of real

that would be

submerged
by the rising water - in shot - had
to be lit with waterproof fixtures.
However, most waterproof fixtures
cannot be run dry, as the sealed
units will immediately overheat.
Working with underwater chief
lighting technician Cory Geryak,
set

Krattinger decided to house the 50
underwater units needed for the set
in sections of

large-gauge PVC tub¬
ing, each of which would be filled
with water and then capped with a
transparent lid, creating a self-con¬
tained aquatic environment for each
lamp. "We tested it and it worked

Seale. "The PVC con¬
simply looked like standard
light housings. It was a fantastic
idea; the only problem was that the
water inside literally started boiling
if the lamps were left to run for
great,"

says

tainers

more

than about 15 minutes! So

our

dimmer-board

Barnes,
switch

operator, Scott
programmed the lamps to
off as soon as Wolfgang

called 'Cut.' That allowed the water
to

cool between takes. It

was

an

ingenious plan. Now, I have to say
that we never ended up using the
system exactly as such, which was a
disappointment; shooting and
schedule changes meant the water
would be CGI. But

we were

pre¬

pared for it, and that's half the bat¬
tle. If Wolfgang had needed it, we
were ready."
The cinematographer notes
that the foyer set was also a chal¬
lenge for key grip Anderson,
because "four floors of set

were

going to have action, so there was a
considerable amount of rigging and
camera platforms that had to be
66 June 2006



American Cinematographer - June 2006

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