American Cinematographer - January 2015 - 49

At the Omori
camp, Zamperini
engages in a
battle of wills
with Bird, the
camp commander
(Miyavi, bottom,
left).

water tank, which was surrounded on
three sides by bluescreen; 20'x20' pieces
of bluescreen were moved into position
if the fourth side was needed. A smaller,
indoor tank was used for night scenes
and for rainy, turbulent day scenes.
A 12' wooden deck was built
around the outdoor tank. "The water
was two feet below the deck, which was
at the same height as the natural
surround of the tank," Deakins details.
"We shot a fair bit of the outdoor tank
footage with two cameras. I would set
the A camera on either a [Grip Factory
Munich] GF-6 crane or the Aero Jib
arm, while Andrew would find profiles
and other angles from the 23-foot
Scorpio telescoping crane. Most of the
time [he would catch] a particular
action, like Louie or one of the other
two survivors jumping into or out of the
water. We also chased the angle of the
sun in the tank, trying to achieve lighting continuity throughout each scene.
In the morning we'd shoot one side of
the tank; at midday we'd move partway
around; and in the afternoon, we'd move
to the opposite side."
The production also explored
other filming methods for the raft
sequence. "Our attempts to shoot on the
open sea - off a big, floating platform
locked down into the seabed - were
only partially successful," Deakins notes.
"At the time of year when we were
shooting, the wind came up every day in

the late morning, to such a degree that
it became impossible to shoot a full day
of production. Some scenes that we shot
on the open water are in the finished
film, but the more practical way of
shooting was with the raft in the tank
and the crane arms on the surrounding
deck."
Christidis used two of his own
custom-built camera housings for the
underwater work: the Alexa Deep
Water, a housing that accommodates
any Alexa model; and a lightweight unit
designed for the Alexa M. The lens port
on the latter housing works with
Christidis' Wetport system, which
"allows the camera lens to sit on the
waterline, putting the viewer right at the
surface, with no visible runoff or water
droplets on the lens," he explains. "The
www.theasc.com

housing is very small, so it was used [as
a] handheld unit inside the bomber
when it had just crashed. As Louie gets
trapped beneath the gun and the whole
bomber rig is sinking, the camera goes
from above water to underwater; since
the rig is so small, its buoyancy is easy to
manage. The Alexa M was also
mounted on a remote underwater head
for scenes involving the aftermath of the
bomber's crash, when Louie pops up
[from the wreckage] and swims. The
camera was right above him, so there
was a lot of water splashing on the lens,
but the Wetport worked perfectly."
After surviving at sea for 47 days,
Louie and Phil awaken to find themselves in the shadow of a Japanese ship,
with weapons pointing straight at them.
"We built a large set piece to mimic the
January 2015

49


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - January 2015

Contents
American Cinematographer - January 2015 - Intro
American Cinematographer - January 2015 - Cover1
American Cinematographer - January 2015 - Cover2
American Cinematographer - January 2015 - 1
American Cinematographer - January 2015 - 2
American Cinematographer - January 2015 - Contents
American Cinematographer - January 2015 - 4
American Cinematographer - January 2015 - 5
American Cinematographer - January 2015 - 6
American Cinematographer - January 2015 - 7
American Cinematographer - January 2015 - 8
American Cinematographer - January 2015 - 9
American Cinematographer - January 2015 - 10
American Cinematographer - January 2015 - 11
American Cinematographer - January 2015 - 12
American Cinematographer - January 2015 - 13
American Cinematographer - January 2015 - 14
American Cinematographer - January 2015 - 15
American Cinematographer - January 2015 - 16
American Cinematographer - January 2015 - 17
American Cinematographer - January 2015 - 18
American Cinematographer - January 2015 - 19
American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
American Cinematographer - January 2015 - 22
American Cinematographer - January 2015 - 23
American Cinematographer - January 2015 - 24
American Cinematographer - January 2015 - 25
American Cinematographer - January 2015 - 26
American Cinematographer - January 2015 - 27
American Cinematographer - January 2015 - 28
American Cinematographer - January 2015 - 29
American Cinematographer - January 2015 - 30
American Cinematographer - January 2015 - 31
American Cinematographer - January 2015 - 32
American Cinematographer - January 2015 - 33
American Cinematographer - January 2015 - 34
American Cinematographer - January 2015 - 35
American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
American Cinematographer - January 2015 - 39
American Cinematographer - January 2015 - 40
American Cinematographer - January 2015 - 41
American Cinematographer - January 2015 - 42
American Cinematographer - January 2015 - 43
American Cinematographer - January 2015 - 44
American Cinematographer - January 2015 - 45
American Cinematographer - January 2015 - 46
American Cinematographer - January 2015 - 47
American Cinematographer - January 2015 - 48
American Cinematographer - January 2015 - K1
American Cinematographer - January 2015 - K2
American Cinematographer - January 2015 - K3
American Cinematographer - January 2015 - K4
American Cinematographer - January 2015 - K5
American Cinematographer - January 2015 - K6
American Cinematographer - January 2015 - K7
American Cinematographer - January 2015 - K8
American Cinematographer - January 2015 - K9
American Cinematographer - January 2015 - K10
American Cinematographer - January 2015 - K11
American Cinematographer - January 2015 - K12
American Cinematographer - January 2015 - 49
American Cinematographer - January 2015 - 50
American Cinematographer - January 2015 - 51
American Cinematographer - January 2015 - 52
American Cinematographer - January 2015 - 53
American Cinematographer - January 2015 - 54
American Cinematographer - January 2015 - 55
American Cinematographer - January 2015 - 56
American Cinematographer - January 2015 - 57
American Cinematographer - January 2015 - 58
American Cinematographer - January 2015 - 59
American Cinematographer - January 2015 - 60
American Cinematographer - January 2015 - 61
American Cinematographer - January 2015 - 62
American Cinematographer - January 2015 - 63
American Cinematographer - January 2015 - 64
American Cinematographer - January 2015 - 65
American Cinematographer - January 2015 - 66
American Cinematographer - January 2015 - 67
American Cinematographer - January 2015 - 68
American Cinematographer - January 2015 - 69
American Cinematographer - January 2015 - 70
American Cinematographer - January 2015 - 71
American Cinematographer - January 2015 - 72
American Cinematographer - January 2015 - 73
American Cinematographer - January 2015 - 74
American Cinematographer - January 2015 - 75
American Cinematographer - January 2015 - 76
American Cinematographer - January 2015 - 77
American Cinematographer - January 2015 - 78
American Cinematographer - January 2015 - 79
American Cinematographer - January 2015 - 80
American Cinematographer - January 2015 - 81
American Cinematographer - January 2015 - 82
American Cinematographer - January 2015 - 83
American Cinematographer - January 2015 - 84
American Cinematographer - January 2015 - 85
American Cinematographer - January 2015 - 86
American Cinematographer - January 2015 - 87
American Cinematographer - January 2015 - 88
American Cinematographer - January 2015 - 89
American Cinematographer - January 2015 - 90
American Cinematographer - January 2015 - 91
American Cinematographer - January 2015 - 92
American Cinematographer - January 2015 - 93
American Cinematographer - January 2015 - 94
American Cinematographer - January 2015 - 95
American Cinematographer - January 2015 - 96
American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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