American Cinematographer - January 2016 - 57

Left: Dod Mantle
chose to shoot
major scenes
aboard the Essex
night-for-day. To
create a base
"daylight," the
crew used balloon
lights rigged in
scaffolding cages
suspended from
cranes above the
tank. Below: For
directional
sunlight, the crew
placed 20Ks and
12-lights on cherry
pickers behind the
bluescreen that
encircled the tank.

appear thinner and thinner and,
finally, emaciated during the final
act."
Dod Mantle's key crewmembers included a number of veteran
collaborators, such as gaffer Thomas
Neivelt, key grip Rupert Lloyd-Parry
and 1st AC and operator Telfer
Barnes, as well as 2nd-unit director of
photography Michael Wood. The
cinematographer also expresses gratitude to B-camera and Steadicam
operator Alastair Rae and Rae's 1st
AC John Watters.
The production's primary
camera was the Arri Alexa XT (delivering ArriRaw files), but he also
employed an array of secondary
systems, including Canon Cinema
EOS-1D C DSLRs, and Cinema
EOS C300s and C500s. His selection
of lenses was equally diverse, including Panavision Primos, as well as
Arri/Zeiss Ultra Primes specifically
for the PL-mount Canon cameras.
"My favorite lenses were the closefocus 21mm and 27mm Primo
series," Dod Mantle enthuses.
Assessing this camera selection,

the cinematographer says, "I think of
them as thick, medium, thin and
minute paintbrushes. This mixing of
formats is much more about a
camera's form, for physical and
ergonomic reasons. I don't want the
audience to be conscious of those
choices, but for me to use the right
tool for the job. In this case, I wanted
to embed the audience in this story,
to get them closer to the characters,
www.theasc.com

to feel the scenes and remove the
distance that's sometimes there in
period movies.
"Part of that was also the depiction of the sea," he continues. "I
wanted to capture that look of
J.M.W. Turner's paintings, in which
the density of the water in the lower
part of the frame is the same as the
sky - that moody mysteriousness.
And that's unusual in landscapes,
January 2016

57


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - January 2016

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
American Cinematographer - January 2016 - 10
American Cinematographer - January 2016 - 11
American Cinematographer - January 2016 - 12
American Cinematographer - January 2016 - 13
American Cinematographer - January 2016 - 14
American Cinematographer - January 2016 - 15
American Cinematographer - January 2016 - 16
American Cinematographer - January 2016 - 17
American Cinematographer - January 2016 - 18
American Cinematographer - January 2016 - 19
American Cinematographer - January 2016 - 20
American Cinematographer - January 2016 - 21
American Cinematographer - January 2016 - 22
American Cinematographer - January 2016 - 23
American Cinematographer - January 2016 - 24
American Cinematographer - January 2016 - 25
American Cinematographer - January 2016 - 26
American Cinematographer - January 2016 - 27
American Cinematographer - January 2016 - 28
American Cinematographer - January 2016 - 29
American Cinematographer - January 2016 - 30
American Cinematographer - January 2016 - 31
American Cinematographer - January 2016 - 32
American Cinematographer - January 2016 - 33
American Cinematographer - January 2016 - 34
American Cinematographer - January 2016 - 35
American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
American Cinematographer - January 2016 - 39
American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
American Cinematographer - January 2016 - 44
American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
American Cinematographer - January 2016 - 47
American Cinematographer - January 2016 - 48
American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
American Cinematographer - January 2016 - 52
American Cinematographer - January 2016 - 53
American Cinematographer - January 2016 - 54
American Cinematographer - January 2016 - 55
American Cinematographer - January 2016 - 56
American Cinematographer - January 2016 - 57
American Cinematographer - January 2016 - 58
American Cinematographer - January 2016 - 59
American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
American Cinematographer - January 2016 - 65
American Cinematographer - January 2016 - 66
American Cinematographer - January 2016 - 67
American Cinematographer - January 2016 - 68
American Cinematographer - January 2016 - 69
American Cinematographer - January 2016 - 70
American Cinematographer - January 2016 - 71
American Cinematographer - January 2016 - 72
American Cinematographer - January 2016 - 73
American Cinematographer - January 2016 - 74
American Cinematographer - January 2016 - 75
American Cinematographer - January 2016 - 76
American Cinematographer - January 2016 - 77
American Cinematographer - January 2016 - 78
American Cinematographer - January 2016 - 79
American Cinematographer - January 2016 - 80
American Cinematographer - January 2016 - 81
American Cinematographer - January 2016 - 82
American Cinematographer - January 2016 - 83
American Cinematographer - January 2016 - 84
American Cinematographer - January 2016 - 85
American Cinematographer - January 2016 - 86
American Cinematographer - January 2016 - 87
American Cinematographer - January 2016 - 88
American Cinematographer - January 2016 - 89
American Cinematographer - January 2016 - 90
American Cinematographer - January 2016 - 91
American Cinematographer - January 2016 - 92
American Cinematographer - January 2016 - 93
American Cinematographer - January 2016 - 94
American Cinematographer - January 2016 - 95
American Cinematographer - January 2016 - 96
American Cinematographer - January 2016 - 97
American Cinematographer - January 2016 - 98
American Cinematographer - January 2016 - 99
American Cinematographer - January 2016 - 100
American Cinematographer - January 2016 - 101
American Cinematographer - January 2016 - 102
American Cinematographer - January 2016 - 103
American Cinematographer - January 2016 - 104
American Cinematographer - January 2016 - 105
American Cinematographer - January 2016 - 106
American Cinematographer - January 2016 - 107
American Cinematographer - January 2016 - 108
American Cinematographer - January 2016 - 109
American Cinematographer - January 2016 - 110
American Cinematographer - January 2016 - 111
American Cinematographer - January 2016 - 112
American Cinematographer - January 2016 - 113
American Cinematographer - January 2016 - 114
American Cinematographer - January 2016 - 115
American Cinematographer - January 2016 - 116
American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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