American Cinematographer - November 2013 - 70

◗

Seized at Sea

Top: Muse
ushers Phillips
into the vessel's
lifeboat.
Bottom: The
crew gets
additional
lifeboat shots
on land.

[only when they were seen] in shot."
Instead, a circular polarizer was often
used to include or exclude reflections.
"Barry likes to use a polarizer almost like
an ND," Driscoll observes. "Sometimes
we'll just keep them in; Barry's not
afraid of any flaring. Naturally, we keep
any loose light source in front [of the
70

November 2013

camera] down to a minimum. But he's
happy to leave on a clip-on matte box
with the 24-290mm or 28-76mm with
a rotating pola in the front. And he's
always very generous with the stop -
we tended to shoot around T5.6½."
Another part of Ackroyd's
methodology was to do long takes. That
American Cinematographer

might seem counterintuitive for a
Greengrass film, given the director's
trademark rapid-fire editing. In fact,
Ackroyd's camera operators have been
known to question the logic of shooting
a long walk down a corridor when only
a few frames will be used. "I say, 'Well,
if you can tell me which 12 frames he's
going to put in, you can shoot just those
12 frames,'" the cinematographer says
with a laugh.
From Ackroyd's perspective,
"The reason Paul's method works very
well goes back to documentary. There's
a massive amount of concentration in
each minute, each frame. We try to do
long takes - tracking with people,
leading them in and out of rooms, doing
whole sections of dialogue from beginning to end - and we're always trying
to get it better than the previous take,
trying to capture more information than
we had before. When [Greengrass'
longtime editor] Chris Rouse gets the
footage, he can select the moments and
synthesize these really economical and
dynamic edits, which tell the story very
precisely but also immerse you in the
story. And he uses only our best work,



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
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