American Cinematographer - April 2017 - 84

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At Home and at War

Top: With the camera on a crane, the crew captures a close-up of Goggins for a scene in episode
three, "Tour of Duty." Bottom: SEAL Team Six discusses a plan to rescue Taggart.

he had never thought of before. "When
you create a tool, you have a predetermined notion of how the tool will be
utilized," Behar says. "The person who
invented the hammer probably had a
pretty good feeling people would use it
to drive nails into wood. The same thing
held true with LiveGrain. When developing the product I tested it in many
different configurations and scenarios to
see what looks I could create. Yet, when
I sat down with David, within a few
84

April 2017

minutes he suggested creative uses I had
never really thought of. He said, 'What
would happen if we applied black-andwhite reversal 16mm stock to a color
image? I know on real film you could
not acquire in color using black-andwhite stock, but can we do that with
LiveGrain? And what would that look
like?' We applied it and started playing
around. The result was pretty amazing.
It created a sort of bleach-bypass look,
but with dark silver imprints in the
American Cinematographer

highlights, which you would never see
on a color-negative emulsion. So while
the image was photochemically impossible to create on film, the final results
were very filmic and exciting to look at."
Klein employed a variety of
cameras to capture the various looks.
"Our A and B cameras were [Arri]
Alexa Minis," he says. "C, D and other
additional cameras were Alexa Classics."
The Alexa cameras captured to ProRes
4:4:4 Log C, and the production was
framed for a 1.78:1 aspect ratio. "I
always carry a Red Epic Dragon on the
truck, and we utilized the 'low-light
monster' ME20F-SH for our nightvision footage," Klein continues,
"because it's capable of roughly
4,000,000 ISO - but we found a
remarkable singular image around
600,000 ISO where signal-to-noise
ratio was suddenly irrelevant. We also
utilized a Canon [EOS] 1D C, 5D, and
Hero4 Black GoPros for when our
Navy SEAL advisors jumped out of
airplanes for a sequence."
"Klein set up the package beautifully to handle anything they could
throw at us," Salas attests. "We ran two
cameras whenever possible, though
there were several shots and sequences
that were staged specifically for a single
camera. Night exteriors were generally



Table of Contents for the Digital Edition of American Cinematographer - April 2017

Contents
American Cinematographer - April 2017 - Intro
American Cinematographer - April 2017 - Cover1
American Cinematographer - April 2017 - Cover2
American Cinematographer - April 2017 - 1
American Cinematographer - April 2017 - 2
American Cinematographer - April 2017 - Contents
American Cinematographer - April 2017 - 4
American Cinematographer - April 2017 - 5
American Cinematographer - April 2017 - 6
American Cinematographer - April 2017 - 7
American Cinematographer - April 2017 - 8
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American Cinematographer - April 2017 - 33
American Cinematographer - April 2017 - 34
American Cinematographer - April 2017 - 35
American Cinematographer - April 2017 - 35A
American Cinematographer - April 2017 - 35B
American Cinematographer - April 2017 - 36
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American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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