American Cinematographer - December 2014 - 73

and could be cut down or soldered
together into any size or shape required.
In particular, the periscopes in the tank
proved to be quite a challenge for the
practical team. But getting several
different LED circuits inside such a
tight space allowed us to imitate explosions, gunfire and other events outside
the tank, and to show the effects on our
actors' faces.
"We also developed an acrylic
floor made by sandwiching LEDs
between two layers of Perspex material,"
Walters continues. "This offered a
strong, stable floor on which the actors
could work, while providing a discrete,
soft light in a cramped environment.
LEDs have come a long way in recent
years [for this kind of work]."
Ayer notes that the ability "to fit
intricately shaped LEDs into little
nooks and crannies of the set" was
augmented by the design of the Fury
interior, which featured a series of
removable wall panels on each side.
This convenience allowed Vasyanov's
team to strategically insert cameras into
various sections of the tank set's two
levels via a 20' Chapman Hydrascope
crane outfitted with a Libra head for
key sequences. A-camera operator Des
Whelan says this methodology gave the
production the consistent ability to
"bring the audience right inside the
claustrophobic world of a World War II
tank, where so much of the characters'
struggle unfolds."
The entire set was built on a
gimbal platform about 1.5 meters off
the ground to simulate the motion of a
tank and the recoil of its cannon.
Whelan says the Hydrascope was
crucial "to find our camera position
without being connected to the body of
the vibrating tank. The B camera would
often be on a slider so we could poke it
through the sometimes very small
openings we would make in breakaway
sections of the set. We didn't move the
camera much, because Roman was very
sure of what he wanted visually, with
classic framing and headroom. The
camera was an invisible observer, never
to be noticed. So we did very few

camera moves on the tank interior,
which most of the time was vibrating or
shaking on the gimbal. And if the tank
was static, then so were we."
The production was particularly
hard-pressed to keep shots stable when
filming on the tank exterior, or directly
next to it as it maneuvered through
muddy fields - the thunderous vibration of a real tank is simply not
conducive to mounting a film camera.

A certain degree of vibration was
required for realism, but a large degree of
stability was also required in order to
preserve the "classic framing" the filmmakers sought. In the end, the director
says Fraser's grip team solved the problem by creating a process vehicle that
permitted efficient exterior shooting
atop the moving tank. Designing the
vehicle required a few days of testing
with a wide range of heads, isolators and


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American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
American Cinematographer - December 2014 - 10
American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
American Cinematographer - December 2014 - 13
American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
American Cinematographer - December 2014 - 16
American Cinematographer - December 2014 - 17
American Cinematographer - December 2014 - 18
American Cinematographer - December 2014 - 19
American Cinematographer - December 2014 - 20
American Cinematographer - December 2014 - 21
American Cinematographer - December 2014 - 22
American Cinematographer - December 2014 - 23
American Cinematographer - December 2014 - 24
American Cinematographer - December 2014 - 25
American Cinematographer - December 2014 - 26
American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
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American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
American Cinematographer - December 2014 - 35
American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
American Cinematographer - December 2014 - 39
American Cinematographer - December 2014 - 40
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
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American Cinematographer - December 2014 - 50
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American Cinematographer - December 2014 - 72
American Cinematographer - December 2014 - 73
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American Cinematographer - December 2014 - 76
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American Cinematographer - December 2014 - 78
American Cinematographer - December 2014 - 79
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American Cinematographer - December 2014 - 82
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American Cinematographer - December 2014 - 84
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American Cinematographer - December 2014 - 86
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American Cinematographer - December 2014 - 89
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American Cinematographer - December 2014 - 101
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American Cinematographer - December 2014 - 104
American Cinematographer - December 2014 - 105
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American Cinematographer - December 2014 - 107
American Cinematographer - December 2014 - 108
American Cinematographer - December 2014 - 109
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American Cinematographer - December 2014 - 111
American Cinematographer - December 2014 - 112
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