American Cinematographer - February 2012 - 26

From top: Hurlbut backlit the SEALs at the John C. Stennis Space Center’s live-fire range with a Nine-Light Maxi on an 80' Condor; Hurlbut and production designer John Zachary designed practical lighting around the hooch compound at Stennis; the production also filmed aboard an operational nuclear submarine; two SEALs converse aboard the USS Bon Homme Richard. 26 February 2012 American Cinematographer

plasticky, but the 5D would have been too noisy at 3,200 [ASA], and we needed the 1D Mark IV’s hyper-sensitive imager to really bring the sub to life. How did you decide on the widescreen aspect ratio? Hurlbut: This is an epic tale, and we didn’t want anybody wondering if they were watching a documentary! Widescreen just felt right. It was hard doing the helmet cam in 2.35:1, though, because you could lose the part of the frame that includes the soldiers’ hands. In general, I didn’t go wider than a 24mm, but we used an 18mm for the helmet cam so we could see the gun and hands. We used Zeiss ZF lenses on the helmet cams and action-cam rig. For the other material, we Panavised the cameras and shot with Primos, because we had a lot of trouble pulling focus with the still lenses on the first few days of the shoot. I also used neutral-density glass, and over the course of the shoot I zeroed in on Tiffen Water White NDs, which seemed to be the cleanest for the 5D’s particular color space. You call your crew the ‘Elite Team.’ How were their roles defined? Hurlbut: We were a platoon, and we patterned our shooting style after the SEALs: go in with a small footprint and deliver a big vision. With that approach, multi-tasking is absolutely essential. Mike Svitak, Derek Edwards, Marc Margulies, Rudy Harbon, Bodie Orman, Jon Guerra, Dave Knudson and Darin Necessary were the core of the Elite Team and worked on most of the movie. They did everything from pulling focus to downloading the UDMA Compact Flash cards to operating cameras; they did two scales above their pay grade and six scales below. They were so powerful as an entity. Once I knew they could take the responsibility, I just kept giving them more. Did they travel with you everywhere, or did you hire local crew? Hurlbut: We brought two to four of them, depending on how intensive the sequences were, and then we picked up local crew. The Ukrainian crew was amazing. The warehouse we used in Kiev had all these fluorescents in the ceiling, none of them worked, and the place was half a football field long. I wanted every other fluorescent working, 18Ks blasting through



American Cinematographer - February 2012

Table of Contents for the Digital Edition of American Cinematographer - February 2012

American Cinematographer - February 2012
Contents
Editor’s Note
President’s Desk
Short Takes: NASA time-lapse footage of Earth
Production Slate: Extremely Loud and Incredibly CloseAct of Valor
Saving the Whales
High Stakes
A Very Bad Cop
Cinema, Italian Style
Filmmakers’ Forum: Hiro Narita, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - American Cinematographer - February 2012
American Cinematographer - February 2012 - Cover2
American Cinematographer - February 2012 - 1
American Cinematographer - February 2012 - 2
American Cinematographer - February 2012 - Contents
American Cinematographer - February 2012 - 4
American Cinematographer - February 2012 - 5
American Cinematographer - February 2012 - 6
American Cinematographer - February 2012 - 7
American Cinematographer - February 2012 - Editor’s Note
American Cinematographer - February 2012 - 9
American Cinematographer - February 2012 - President’s Desk
American Cinematographer - February 2012 - 11
American Cinematographer - February 2012 - Short Takes: NASA time-lapse footage of Earth
American Cinematographer - February 2012 - 13
American Cinematographer - February 2012 - 14
American Cinematographer - February 2012 - 15
American Cinematographer - February 2012 - 16
American Cinematographer - February 2012 - 17
American Cinematographer - February 2012 - Production Slate: Extremely Loud and Incredibly CloseAct of Valor
American Cinematographer - February 2012 - 19
American Cinematographer - February 2012 - 20
American Cinematographer - February 2012 - 21
American Cinematographer - February 2012 - 22
American Cinematographer - February 2012 - 23
American Cinematographer - February 2012 - 24
American Cinematographer - February 2012 - 25
American Cinematographer - February 2012 - 26
American Cinematographer - February 2012 - 27
American Cinematographer - February 2012 - 28
American Cinematographer - February 2012 - 29
American Cinematographer - February 2012 - Saving the Whales
American Cinematographer - February 2012 - 31
American Cinematographer - February 2012 - 32
American Cinematographer - February 2012 - 33
American Cinematographer - February 2012 - 34
American Cinematographer - February 2012 - 35
American Cinematographer - February 2012 - 36
American Cinematographer - February 2012 - 37
American Cinematographer - February 2012 - 38
American Cinematographer - February 2012 - 39
American Cinematographer - February 2012 - 40
American Cinematographer - February 2012 - 41
American Cinematographer - February 2012 - High Stakes
American Cinematographer - February 2012 - 43
American Cinematographer - February 2012 - 44
American Cinematographer - February 2012 - 45
American Cinematographer - February 2012 - 46
American Cinematographer - February 2012 - 47
American Cinematographer - February 2012 - 48
American Cinematographer - February 2012 - 49
American Cinematographer - February 2012 - 50
American Cinematographer - February 2012 - 51
American Cinematographer - February 2012 - 52
American Cinematographer - February 2012 - 53
American Cinematographer - February 2012 - A Very Bad Cop
American Cinematographer - February 2012 - 55
American Cinematographer - February 2012 - 56
American Cinematographer - February 2012 - 57
American Cinematographer - February 2012 - 58
American Cinematographer - February 2012 - 59
American Cinematographer - February 2012 - 60
American Cinematographer - February 2012 - 61
American Cinematographer - February 2012 - Cinema, Italian Style
American Cinematographer - February 2012 - 63
American Cinematographer - February 2012 - 64
American Cinematographer - February 2012 - 65
American Cinematographer - February 2012 - 66
American Cinematographer - February 2012 - 67
American Cinematographer - February 2012 - 68
American Cinematographer - February 2012 - 69
American Cinematographer - February 2012 - 70
American Cinematographer - February 2012 - 71
American Cinematographer - February 2012 - Filmmakers’ Forum: Hiro Narita, ASC
American Cinematographer - February 2012 - 73
American Cinematographer - February 2012 - 74
American Cinematographer - February 2012 - 75
American Cinematographer - February 2012 - New Products & Services
American Cinematographer - February 2012 - 77
American Cinematographer - February 2012 - 78
American Cinematographer - February 2012 - 79
American Cinematographer - February 2012 - 80
American Cinematographer - February 2012 - 81
American Cinematographer - February 2012 - International Marketplace
American Cinematographer - February 2012 - Classified Ads
American Cinematographer - February 2012 - Ad Index
American Cinematographer - February 2012 - 85
American Cinematographer - February 2012 - Clubhouse News
American Cinematographer - February 2012 - 87
American Cinematographer - February 2012 - ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - Cover3
American Cinematographer - February 2012 - Cover4
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