American Cinematographer - October 2016 - 45

effects crews use - all those propane
fires are yellow. Oil fire has a very
specific quality, and I wanted to reach
that. It was important to feel the sense
of hell."
These inspirations led to a
number of Chediak's technical decisions. For example, the Salgado
photographs steered the cinematographer to work with CW Sonderoptic's
Leica Summicron-C (T2.0) and
Summilux-C (T1.4) primes, which
would enhance the desired contrast and
mercury-like sheen. In his previous
films, Berg had favored zoom lenses, but
this time, Chediak explains, "I asked
him not to use zooms. [I suggested we]
stay with wide-angle lenses close to the
faces in order to be more with those
characters. Pete liked the idea, and we
went with that approach. So with the
two cameras running simultaneously,
we usually had the combination of a
wide-angle and a tighter lens." The
filmmakers favored the 21mm, 25mm
and 29mm at the wide end - and the
75mm and 100mm for longer focal
lengths - for both the Summicron-C
and Summilux-C lenses.
Seeking a narrow depth of field
without color shift, Chediak coupled
the Leica lenses with Mitomo True ND
filters. "Apart from that, there are no
tricks in the camera," he says.
According to Chediak, Berg is
practically minded and less interested in
conceptualizing, talking, and preplanning than in responding to actors on set.
"Pete is very talented and passionate
with the actors," says the cinematographer. "He's very concerned with the
realism of the situation and characters."
Berg also proved to be very fast. "Once
he's on the set and starts shooting, no
more lighting is possible - he just
shoots and improvises until the scene is
done. Sometimes we shot eight-page
scenes in six hours. We shot a very
complicated scene with five cameras,
two helicopters and 140 extras in a boat
in three hours!"
Knowing this would be the case,
Chediak spent his 10 weeks of prep
striving toward a "Zen mode," which he

Top: Williams meets Caleb Holloway (Dylan O'Brien) on the deck of the rig. Middle: Director
Peter Berg (left) discusses a scene with actors Jeremy Sande, O'Brien and Wahlberg.
Bottom: Holloway and Vidrine inspect aberrations on the drill floor.

www.theasc.com

October 2016

45



http://www.theasc.com

American Cinematographer - October 2016

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

Contents
American Cinematographer - October 2016 - Intro
American Cinematographer - October 2016 - Cover1
American Cinematographer - October 2016 - Cover2
American Cinematographer - October 2016 - 1
American Cinematographer - October 2016 - 2
American Cinematographer - October 2016 - Contents
American Cinematographer - October 2016 - 4
American Cinematographer - October 2016 - 5
American Cinematographer - October 2016 - 6
American Cinematographer - October 2016 - 7
American Cinematographer - October 2016 - 8
American Cinematographer - October 2016 - 9
American Cinematographer - October 2016 - 10
American Cinematographer - October 2016 - 11
American Cinematographer - October 2016 - 12
American Cinematographer - October 2016 - 13
American Cinematographer - October 2016 - 14
American Cinematographer - October 2016 - 15
American Cinematographer - October 2016 - 16
American Cinematographer - October 2016 - 17
American Cinematographer - October 2016 - 18
American Cinematographer - October 2016 - 19
American Cinematographer - October 2016 - 20
American Cinematographer - October 2016 - 21
American Cinematographer - October 2016 - 22
American Cinematographer - October 2016 - 23
American Cinematographer - October 2016 - 24
American Cinematographer - October 2016 - 25
American Cinematographer - October 2016 - 26
American Cinematographer - October 2016 - 27
American Cinematographer - October 2016 - 28
American Cinematographer - October 2016 - 29
American Cinematographer - October 2016 - 30
American Cinematographer - October 2016 - 31
American Cinematographer - October 2016 - 32
American Cinematographer - October 2016 - 33
American Cinematographer - October 2016 - 34
American Cinematographer - October 2016 - 35
American Cinematographer - October 2016 - 36
American Cinematographer - October 2016 - 37
American Cinematographer - October 2016 - 38
American Cinematographer - October 2016 - 39
American Cinematographer - October 2016 - 40
American Cinematographer - October 2016 - 41
American Cinematographer - October 2016 - 42
American Cinematographer - October 2016 - 43
American Cinematographer - October 2016 - 44
American Cinematographer - October 2016 - 45
American Cinematographer - October 2016 - 46
American Cinematographer - October 2016 - 47
American Cinematographer - October 2016 - 48
American Cinematographer - October 2016 - 49
American Cinematographer - October 2016 - 50
American Cinematographer - October 2016 - 51
American Cinematographer - October 2016 - 52
American Cinematographer - October 2016 - 53
American Cinematographer - October 2016 - 54
American Cinematographer - October 2016 - 55
American Cinematographer - October 2016 - 56
American Cinematographer - October 2016 - 57
American Cinematographer - October 2016 - 58
American Cinematographer - October 2016 - 59
American Cinematographer - October 2016 - 60
American Cinematographer - October 2016 - 61
American Cinematographer - October 2016 - 62
American Cinematographer - October 2016 - 63
American Cinematographer - October 2016 - 64
American Cinematographer - October 2016 - 65
American Cinematographer - October 2016 - 66
American Cinematographer - October 2016 - 67
American Cinematographer - October 2016 - 68
American Cinematographer - October 2016 - 69
American Cinematographer - October 2016 - 70
American Cinematographer - October 2016 - 71
American Cinematographer - October 2016 - 72
American Cinematographer - October 2016 - 73
American Cinematographer - October 2016 - 74
American Cinematographer - October 2016 - 75
American Cinematographer - October 2016 - 76
American Cinematographer - October 2016 - 77
American Cinematographer - October 2016 - 78
American Cinematographer - October 2016 - 79
American Cinematographer - October 2016 - 80
American Cinematographer - October 2016 - 81
American Cinematographer - October 2016 - 82
American Cinematographer - October 2016 - 83
American Cinematographer - October 2016 - 84
American Cinematographer - October 2016 - 85
American Cinematographer - October 2016 - 86
American Cinematographer - October 2016 - 87
American Cinematographer - October 2016 - 88
American Cinematographer - October 2016 - Cover3
American Cinematographer - October 2016 - Cover4
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