American Cinematographer - January 2016 - 60

◗

Savage Sea
Right: Captain
George Pollard
(Benjamin Walker,
right) and select
crew board one of
the three Essex
skiffs in search of
whales. Below:
Dod Mantle
operates a
watertight
Indiecam
IndieGS2K for
close-ups on actor
Cillian Murphy.

"Finding these shots is something
Anthony has a particular attention
for and understanding of," says
Howard. "I've always loved detail
shots because they draw you in -
they create a poetic insight. Once you
see this material coming in, it starts
to become really exciting. It's like
casting a net, and you can be
surprised by what you find."
An essential tool in this shooting approach was the Indiecam
IndieGS2K, a tiny - 40mm x 40mm
x 100mm - 2K camera with a 2⁄3"
CMOS global-shutter sensor. The
60

January 2016

cinematographer had previously used
Indiecam units to shoot portions of
Rush and the crime drama Trance.
Numerous saltwater-proof tube
housings were built for these Cmount cameras - fitted primarily
with Kowa 5.6mm, 8mm and 12mm
lenses - which could be easily
hidden on set and operated remotely
for additional in-shot coverage, with
the data streams stored by offboard
recorders.
Dod Mantle explains, "Getting
these unique Indiecam shots just
became a part of our coverage
American Cinematographer

approach, sometimes with me plopping one of them in the sand or
behind a shrub or rock or in a boat,
with objects in extreme foreground
while our character is in the distance,
and the focus falling off. We'd just let
them roll and see what we'd get. The
wide, fixed-focus lenses we had for
them were a bit brutal, so I'd add a
little diffusion to it, and diffuse even
further in post. It's hard to communicate the value of these Indiecam shots
- especially on a studio picture -
until people see them, since they
usually have the actors out of focus
way off in the background. But Ron
saw the potential for this on Rush; he
got it straightaway."
Another inspiration for the
filmmakers was the 2012 documentary Leviathan, directed by Lucien
Castaing-Taylor and Verena Paravel
and largely shot with GoPro cameras.
"It's an absolutely horrific film about
the fishing industry," Dod Mantle
says, "with these breathtaking images
of these fish swimming in their own
blood - truly disturbing. Ron and I
watched a few scenes, and it was
about understanding what we felt
while watching these often abstract



American Cinematographer - January 2016

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
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American Cinematographer - January 2016 - 14
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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
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American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
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American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
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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
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