{"id":2039,"date":"2012-05-01T15:43:04","date_gmt":"2012-05-01T23:43:04","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2039"},"modified":"2014-05-29T20:04:19","modified_gmt":"2014-05-29T20:04:19","slug":"you-sunk-my-battleship","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/you-sunk-my-battleship\/","title":{"rendered":"You Sunk My Battleship!"},"content":{"rendered":"

High action on the high seas with Tobias Schliessler, ASC and director Peter Berg<\/strong><\/p>\n

As <\/span>Transformers<\/em>, <\/span>Pirates of the Caribbean<\/em><\/strong> and other films adapted from the unlikeliest of sources \u2013<\/strong> toys, theme park rides and the like \u2013 have shown, high recognition factor at the box office pays off.<\/span><\/p>\n

Battleship<\/em>, directed by Peter Berg, occasionally gives a nod to its source material, a century-old board game that became popular in the 1960s when Hasbro introduced a plastic pegs version. The movie even incorporates principal strategies of the game, with the besieged heroes creating a grid of X-Y coordinates for the surrounding waters to aid in locating and engaging the unseen enemy. But in the film, the world\u2019s naval fleets are pitted not against one another but against hostile aliens seeking global annihilation.<\/p>\n

Cinematographer Tobias Schliessler, ASC, who has lensed three of Berg\u2019s last four features \u2013 Hancock<\/em> (2008), Friday Night Lights<\/em> (2004) and The Rundown<\/em> (2003) \u2013 says the actor-turned-director brings strong visual ideas to each of his films.<\/p>\n

\u201cPete said he wanted to feel like it is really happening,\u201d Schliessler explains. \u201cBut he also wanted aspects of heightened reality, stressing the sense of adventure for audiences.\u201d<\/p>\n

The photographic vision for Battleship<\/em> began taking shape in previs nearly three years before the (35-mm anamorphic) film cameras rolled. \u201cWe started with production designer Neil Spisaks\u2019s detailed illustrations,\u201d Schliesser recounts. \u201cThere were two incredible previs artists, Justin Denton and Barry Howell [from HALON and The Third Floor, respectively; see Previs\/Revis<\/em>, ICG April 2012].<\/p>\n

\u201cI would see and review their work every few days, sometimes offering alternative shots or ideas for movement. We made a point of integrating lighting choices into previs so everybody would know about the interactive lighting requirement before shooting. And we spent days moving scale model ships around to get a sense of geography. We had to figure out where to put the camera to capture the size and speed of these ships \u2013 I\u2019m talking about 900-foot-long ships traveling at 30 knots \u2013 while getting them to where they needed to be for story points. Half of our final image wasn\u2019t even going to be visible when we went on location, so previs informed how all of our operators would frame.\u201d<\/p>\n

\"\"<\/p>\n

Using many cameras and Guild operators, including<\/strong> Chris Haarhoff, SOC, Robert Baumgartner, Maurice K. McGuire, SOC, Patrick O\u2019Brien, Don King and Langston Travis was nothing new for Berg. Schliessler says one of the director\u2019s strengths is orchestrating multiple cameras on the fly. \u201cHe\u2019ll change all the angles around from one take to the next as part of the storytelling,\u201d Schliessler continues, \u201cand that contributes to the energy of the shooting.\u201d Local 600 members on the shoot included film loader Stephen Early, Doggicam operator Scott Dropkin, 1st ACs Jimmy E. Jensen and Jason Jensen, B-cam 1st AC Tony Nagy, 2nd ACs Brian Matsumura, Miguel Pask and Daryl Gilmore, 2nd AC and B-cam operator Scott Whitbread, and DIT Kurt E. Soderling.<\/p>\n

Battleship\u2019s<\/em> second unit team (which also used multiple cameras) was led by cinematographer Larry Blandford and his camera operator Christopher Duskin, B-cam\/SteadiCam operator Jason Ellson, SOC, B-cam 1st AC Louie DeMarco, 2nd unit film loader Savannah Teller-Brown and 2nd AC Rob Pittman. More support, beneath the waves and in the sky, came from underwater DP Peter Romano and aerial DPs Hans Bjerno and Kurt E. Soderling, aerial camera technicians Eric Dvorsky and Marc Ehrenbold (the latter on Wescam), with additional photography provided by 2nd unit DP Dino Parks and 2nd AC Halle Fischer, and unit still photographer Frank Masi, SMPSP documenting the production.<\/p>\n

The overall shooting plan mandated a different look for pre-battle scenes, which featured wide lenses, smooth camera moves and softer light. Once the alien attack commenced, camera movement became part of the action \u2013 a mix of handheld, SteadiCam and longer lenses \u2013 to immerse the audience in the fight.<\/p>\n

Battleship<\/em> was shot on film, reflecting director Berg\u2019s vision that subject matter and scale mandated anamorphic capture. \u201cI was there from the beginning when there was a one-page outline, and I thought to myself, \u2018Wow, this is going to be a big exciting action sci-fi movie,\u2019\u201d Schliesser remembers. \u201cAnd Pete comes in with a visual approach [35-mm anamorphic] that got me even more excited to take on the task, as we ultimately kept to a stop between T4 and 5.6 to visualize the movie.\u201d<\/p>\n

Kodak\u2019s Vision 3 250D 5207 and Vision 2 50D 5201 (for daylight exteriors) were Schliessler\u2019s stocks of choice. For most interiors, he used Vision 3 500T 5219. With greenscreen sets (where there was enough light), Vision 3 200T 5213 was employed. Panavision Platinums were used for A- and B- cameras, as the operators appreciated the clear viewing system, which more than offset any weight issues. SteadiCam and crane work utilized Millennium XLs.<\/p>\n

\u201cOur anamorphic lenses were picked and tested by Jimmy Jensen,\u201d says Schliessler. \u201cI was very happy with the 40– to 80 [millimeter] and 70- to 200 [millimeter] zooms, and the E-series lenses gave me the nicest anamorphic flares. For SteadiCam, there were G-series lenses, and we used a set of Primo primes for lowlight situations.\u201d<\/p>\n

\"\"<\/p>\n

Production capitalized on U.S. Navy vessels engaged in RIMPAC<\/strong> exercises in Hawaii and San Diego locations. \u201cWe shot on real ships at sea and on a destroyer inside the harbor in Hawaii,\u201d Schliessler states, adding, \u201cWe shot lots of interiors and exteriors on the [battleship Missouri<\/em>], shooting on their flying bridge as well. Many of these shots were also done as stage work, so matching was tricky.\u201d<\/p>\n

Eighty percent of the film\u2019s interiors were shot on sets against greenscreen in Baton Rouge, Louisiana, featuring accurate recreations by production designer Neil Spisak. All sets were built of steel to hold the heavy computer screens and cables hung from the ceiling. Magnets were used to hang lighting fixtures wherever needed, as Spisak designed the ceiling so panels could be opened (to hang Kinoflos for extra light on tight sets). Schliessler says that without the art department, \u201cit would have been impossible to light and shoot the kinds of shots we ended up with.\u201d<\/p>\n

In fact, the DP\u2019s biggest challenge was the low ceilings aboard the ship. \u201cIn reality, vessel interiors are no more than seven feet high, so practicals were the only way to light inside these sets,\u201d he observes. The art department found fixtures that became main units, with three-quarters of the practicals consisting of small snorkel lights.<\/p>\n

A variety of color temperatures, ranging from daylight to green fluorescents and warm tungsten, were mixed in gaffer Bob E. Krattiger\u2019s lighting placements. To strike a balance between the reality of a ship\u2019s CIC (Combat Information Center) \u2013 made up of overhead fluorescents wrapped in blue gel \u2013 and more natural light, Schliessler settled on a gel combination of \u00bd CTB and \u00bc plus green on daylight Kino bulbs overhead, while monitor-based light sources used tungsten with \u00bc CTO to keep natural skin tones.<\/p>\n

\u201cBob Krattiger outfitted these with LED MR 16 bulbs and plain tungsten track light fixtures with tungsten MR 16 bulbs painted gray,\u201d says Schliessler. \u201cWe made about thirty of each, and one-foot, three-bulb fluorescents, ubiquitous aboard naval craft.\u201d<\/p>\n

Custom-built LED light panels, ranging in size from 1 \u00d7 6 to 24 \u00d7 48 with daylight, tungsten, blue, green and red LEDs provided by LiteGear were easily hidden between set pieces. \u201cBob and Tobias had some great ideas for integrating LED panels into the ship\u2019s controls,\u201d LiteGear\u2019s Chief Product Engineer Al DeMayo acknowledges. \u201cWe specialize in creating \u2018building blocks\u2019 for gaffers and DPs \u2013 strips and panels with flicker-free dimmers, DMX and wireless controls can be made to fit just about anywhere.\u201d<\/p>\n

\"\"<\/p>\n

The destroyer bridge set was redressed to serve as different ships.<\/strong> It was built on a 9-foot-high gimbal and featured exterior observation decks on either side.<\/p>\n

\u201cThe bridges on actual destroyers in the ocean are lit from the outside through small windows,\u201d Schliessler explains. \u201cEnormous amounts of bounce light, off the water and sky, enter, along with slivers of hard sunlight.\u201d<\/p>\n

A 60 \u00d7 60-foot diffusion created the skylight effect, while a 375 \u00d7 40-foot greenscreen encircled the set, enabling elaborate 360-degree SteadiCam moves around actors on the observation deck. The camera would follow the actors (leads included Taylor Kitsch, Liam Neeson and Rihanna) through the interior and back out the other side.<\/p>\n

\u201cWe had fifteen 20Ks on trusses plus about ten 20Ks on the floor, all on dimmers for a soft overhead sky ambiance,\u201d Schliessler describes. \u201cIt was difficult to hide these lights on wide tracking shots. Our key grip, Mike Anderson, built different sizes of greenscreen panels that we could move in front of the lights to hide them. Mike also built a greenscreen covering 600 feet of highway on both sides, thirty feet high and five lanes wide, then covered a sinking ship set piece with a screen that was easily 300 by 40 feet!\u201d<\/p>\n

With no room to lay dolly track, sliders allowed for moving camera shots. Technocranes were used outside of the gimbaled bridge, either shooting in through the windows or swooping in toward the actors on the observation deck. Schliessler praises ProCam\u2019s Moviebird crane, which was the size of a 30-foot Technocrane and offered a fast-telescoping arm with a reach nearly equal to that of the 50-foot Techno. A Techno on a Chapman Super Nova crane was also employed for a complicated 360-degree move on a ramp that the actors climb before the ship sinks, part of a nearly two-minute continuous shot that took both first and second units three days and hundreds of hours to rig.<\/p>\n

\"\"<\/p>\n

ILM visual effects supervisor Grady Cofer<\/strong> also began working on Battleship<\/em> nearly three years ago, heading up work on water and destruction, while ILM visual effects supervisor Pablo Helman supervised creature work once shooting commenced. Cofer says the challenge for ILM recalled Pearl Harbor <\/em>in terms of ship replication and synthesizing ocean, but the extraterrestrials added more complexity.<\/p>\n

\u201cIt was a massive water and destruction show,\u201d Cofer says. \u201cOut of 1,500 VFX shots, over half feature water, so we spent a year on the Hopper Water Project, where we reengineered how we tackle large-scale fluid simulations and rendering at ILM. Since Peter demanded authenticity, we amassed hours of real-world reference to emulate.\u201d<\/p>\n

The level of realism achieved via the CG water went beyond creating a reasonable facsimile of the ocean, in some instances demonstrating an ability to generate phenomena that when captured on film would be considered \u201chappy accidents.\u201d<\/p>\n

\u201cWhen a splash takes place, it goes through various looks,\u201d adds Cofer, \u201cfrom a dense, massive deforming shape to smaller globules, before atomizing into mist. All the while, it reflects and refracts the light, so we were able to simulate the rainbow-like effects present from certain angles when sunlight hits water.\u201d<\/p>\n

Since tugboats were towing the retired battleship Missouri <\/em>back to Pearl Harbor, production was afforded an opportunity that would never come again \u2013 capturing comprehensive reference of the ship via camera boat and helicopter that showed how ocean bounce light and caustic effects played across her hull.<\/p>\n

\u201cShe was a museum piece, so we had to come up with VFX ways to make Missouri<\/em> seem a part of the battle,\u201d Helman recounts. \u201cAs a general rule we tried to have at least one real ship in every shot to use as a basis for the rest. Even for fully CG shots, we still used real ships as reference. Destruction footage revealed how an explosive blast can become a light source, so we used our proprietary Plume tool to create explosions that could relight our CG ships.\u201d<\/p>\n

\"\"<\/p>\n

To create an aerial lighting effect to simulate the passage of alien ships<\/strong> at night, Schliessler considered military flares on a cable rig, but nixed the approach due to the potential fire hazard. And even though FAA regulations restrict the number of lights that can be flown aboard helicopters, pilot Fred North (literally) rose to the occasion.<\/p>\n

\u201cI love when cinematographers ask you to build challenging rigs,\u201d North admits. \u201cWhen Tobias asked me to install powerful lights on the helicopter, I met with my engineers, Andy Spak and Peter Graf, and decided to use only FAA-approved parts.<\/p>\n

\u201cAfter brainstorming, we came up with four extremely powerful helicopter landing lights on each side and a LAPD-style searchlight on the nose that we installed on approved mounts, plus two landing lights already on board. It was a great idea, and since Tobias gave us plenty of time to prepare, it worked out great.\u201d<\/p>\n

\u201cFred is the best pilot I have worked with,\u201d Schliessler marvels, \u201cflying the copter at night between my Condors and lighting towers.\u201d And, he adds, \u201cthe interactive lighting effects made the visual effects more believable. To suggest explosion effects on set, I combined Maxi 12-lights on dimmers with Lightning Strikes, and matched many interactives to what was done in previs so ILM had as many real-world cues as possible.\u201d<\/p>\n

For the alien attackers, on-set motion capture utilized gray-suited performers, with helmets illuminated with LED spotlights.<\/p>\n

\u201cThe aliens had different body types that vary according to their function,\u201d explains Helman. \u201cThere are big one-on-one fights between humans and aliens, and a close-up dissection scene that required complete realism. To get that you need good design, good set reference and good lighting to achieve the necessary complexity and credibility.\u201d<\/p>\n

Company 3\u2019s Stefan Sonnenfeld, who has worked with Schliesser for more than a decade, handled the digital intermediate. \u201cStefan is good at making the image feel vibrant and natural, not like some DI post effect,\u201d the DP recalls. \u201cTo increase the drama we emphasized strong contrasts.\u201d<\/p>\n

Still, with all the digital and CG options available for the ambitious scale and deep-pocket resources of Battleship<\/em>, there are no magic solutions when dealing with Mother Nature\u2019s mercurial ways. \u201cThe hardest time I had in the DI,\u201d Schliesser concludes, \u201cwas trying to match cloudy days with sunny ones in scenes that are continuous action and that we shot over weeks. When the weather changes on the day, everyone always says, \u2018Let\u2019s fix it in the DI,\u2019 but unfortunately you can\u2019t make a cloudy day look sunny. At least not yet.\u201d<\/p>\n

By\u00a0<\/em>Kevin H. Martin \/ photos by\u00a0<\/em>Frank Masi\/ILM\/Universal pictures<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

High action on the high seas with Tobias Schliessler, ASC and director Peter Berg<\/p>\n","protected":false},"author":1,"featured_media":3401,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[103,104,37,105,102],"class_list":["post-2039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-battleship-cinematography","tag-battleship-movie","tag-icg-magazine","tag-peter-berg-battleship","tag-tobias-schliessler-asc"],"acf":[],"yoast_head":"\nYou Sunk My Battleship! - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/you-sunk-my-battleship\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"You Sunk My Battleship! 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