American Cinematographer - November 2013 - 66

◗

Seized at Sea

Top: The pirates
prepare to board
the MV Maersk
Alabama.
Middle:
A-camera 1st AC
Oliver Driscoll (in
red shirt) and
other crew and
cast members
prepare for the
boarding scene.
Bottom: Ackroyd
used a bungee
rig to help
support an
Aaton XTR Prod
while he filmed
from the
pirate skiff.

camera in a skiff while riding the wake
led Ackroyd to his reliable old friend,
the Super 16mm Aaton XTR Prod,
upgraded with Xterà video assist. He
explains, "I realized we were going to be
in 20-foot skiffs in rough water, day and
night, with the camera. How were we
going to do that? We thought we'd build
a little bungee rig so I could handhold
[the camera] on my shoulder with a
12:1 zoom; that way, I could be inside
the skiff with the pirates, then zoom and
find Phillips on the bridge or the first
mate running along the deck being fired
at by Kalashnikovs, and connect those
shots. I thought I could do that only
with a 16mm camera with a 12:1 zoom,
which is light and reliable enough to
survive the bashing it would take."
The next choice was to differentiate the Somali and Phillips story
threads. To that end, scenes in the
Somali fishing village (filmed in
Morocco) and on the skiffs were shot on
Super 16mm, while those aboard the
Maersk Alabama and other Western
vessels were shot on 3-perf Super
35mm. "We literally switched over to
35mm as the pirates stepped onto the
deck of the Maersk Alabama," says
Ackroyd.
66

November 2013

American Cinematographer



American Cinematographer - November 2013

Table of Contents for the Digital Edition of American Cinematographer - November 2013

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
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American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
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American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
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American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
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American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
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American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
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American Cinematographer - November 2013 - 43
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American Cinematographer - November 2013 - 45
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American Cinematographer - November 2013 - 65
American Cinematographer - November 2013 - 66
American Cinematographer - November 2013 - 67
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