American Cinematographer - June 2017 - 72
◗
Shot Across the Bow
Rather than shooting at sea, the production constructed massive outdoor "arenas" in which to
shoot the scenes set aboard ships.
72
June 2017
American Cinematographer
Sánchez adds, "We had large rags
on cranes that we could fly in, which
took the harshness of the really high sun
away from the top, and then we would
re-create sun ourselves. We had the six
120-foot condors with Arrimaxes, and
with MaxMovers we could line them up
and create a sun source underneath our
rags to keep it motivated - lower and a
little more stylized as opposed to that
top, harsh light. So between the big rags
and those Arrimaxes, and our ability to
spin the boats to pick up the best light
as the sun moved across the sky, we
could adjust a couple of times a day as
needed for the best light possible."
Conway adds that there was a
wide range of other lighting touches
employed on, in and around the boats in
the arenas to provide additional lighting
control - in particular for shooting on
the ships at night or in night-for-day
situations. "I have been using 8-by-8 soft
boxes for a number of years, and had
LED versions that we attached to a truss
'spine' that ran the full length of the ship,
and this was hung from a construction
crane," Conway says. "We could pan it
one side or the other to create contrast
depending on the action, and dial in an
underexposed amount that brought the
ship to life. Ringed along the back, and
over the bluescreen, our Arrimax rigs
were softened and reduced, and they
were used for a harder edge or backlight.
Then we rigged four double-headed soft
boxes on condors to bring in as fill or soft
key-light if required. On deck, we used
LED fire effects, and smaller soft boxes
with six tungsten lights on separate
circuits that I could create pretty
convincing fire effects with, emulating
flaming torches."
More lighting innovation was
required for a climactic sequence near
the end of the film - known as the
"Poseidon's Tomb" scene (see lighting
diagram, page 65) - in which the
waters part and key characters discover
an ancient secret at the bottom of the
sea. "When you are underwater, you feel
this kind of caustic moving light from
the sun - the sunlight hits the surface
and refracts [as it] goes through the
Table of Contents for the Digital Edition of American Cinematographer - June 2017
Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
American Cinematographer - June 2017 - 12
American Cinematographer - June 2017 - 13
American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
American Cinematographer - June 2017 - 16
American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
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American Cinematographer - June 2017 - 24
American Cinematographer - June 2017 - 25
American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
American Cinematographer - June 2017 - 38
American Cinematographer - June 2017 - 39
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American Cinematographer - June 2017 - 41
American Cinematographer - June 2017 - 42
American Cinematographer - June 2017 - 43
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American Cinematographer - June 2017 - 49
American Cinematographer - June 2017 - 50
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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