Captain Randy Crites the commander of the USS Florida SSGN Ohio Class Submarine was so graceful in giving us permission to come along while they were doing covert ops just of the coast of Cuba. He let us shoot on the Bridge while his amazing, talented crew piloted her through the depths of the Atlantic. I would say “lets go back to one,” and chief David Newsome the Dive Officer of the Watch would say I will be ready in two seconds let me get her stable. “No problem.” This is the area where the periscope lives and where they steer and maneuver this huge impressive fortress; it’s like the cockpit of an aircraft.
Customized Canon 1D hits the Sub
With all the gauges rear illuminated for night ops the Canon 1D went in and kicked butt. The sensitivity of the sensor is absolutely incredible. I shot at 3200 ISO at a 2.0 on a 21mm Primo Primes. All the gauges glowed beautifully and with a little medium blue green fill light and a red light edge you felt like you were on the Bridge of the Enterprise. I was in Man Cam mode starting high overhead looking down over the Dive Officer’s shoulder onto the control panel then I wrapped around him and moved into a close up. This would be impossible with any other camera. For film this would have to be a set that the Production Designer builds, more natural resources being spent, he would engineer the ceiling so that it could be removed for camera and lighting assist. The camera would be then put on a Technocrane, more labor, more fuel being consumed, etc. We would build the control panel so that I could use movie lights to back light all the gauges. Then add the necessary fill and accent lights to bring it up to a film exposure.
Walkway between the missile tubes
We then took the Canon 1D to the Missile Launch tubes that extend 5 stories down into her hull. We shot the SEALS hauling ass through them, we lit with 12 MR-16 Par cans that we placed at the end of the walkway that flared the camera out, all the rest was available light. We photographed the SDV (SEAL Delivery Vehicle) launching from the DDS (Dry Deck Shelter), which is a huge compartment that is attached to one of the missile tubes, this has a door that swings open to release the mini-sub holding the SEALS into the open ocean.
Entering the DDS
We shot a 3-page scene in the BMC, which is the Battle Management Center; again taking advantage of the low light capabilities of the camera we were able to use their practical light, their cool monitors and screens to add to the reality of the scene. With all this said and done it would have taken about 50 build days, 4 pre-light days, 8 shooting days, a crew of over 175 people to make this happen, with resources being consumed from all over and money being spent for no apparent reason. We did this in 2 days and with five crewmembers. Gene Martin (sound mixer extraordinaire), Elite team members John Guerra: gaffer, Darin Necessary: 1st A.C., Michael McCoy the Director, and myself. Multi-tasking to the max!!!
Mouse McCoy and Shane lens the approach
This does not even include the ocean portion of the operation. Which was a recovery op. of 2 small zodiacs filled with SEALS that were ripping across the Atlantic when all of a sudden the Sub breaches in front of them, they ride the wake onto the stern of the sub, jump out and head down into a lock out chamber. We did this all with 2 boats, 2 boat drivers, 5 Navy crew members to coordinate the sub, and talk with the zodiacs on Comms, the SEALS, 44 Pelican cases filled with lights, underwater gear, cable, cameras, props, and wardrobe in one day.
Seals activate first person helmet cam
What makes this sub so amazing is that she is 560 feet long Special Operation Forces sub that delivers Navy SEALS to front line in very cool toys. The SDV is a mini sub that is a totally flooded vehicle that they load six SEALS into on re-breathers so bubbles won’t give them away. The SSGN Ohio Class Submarine’s propulsion system equals 15 million foot pounds of torque, over a million horse power that catapults her to speeds way over 20 knots, (the speed is classified). She’s fast. Living in this community was an incredible life experience and I thank the U.S. Navy for giving me this glimpse.
Sub recovers SEALS off the Horn of Africa
So I go under the Atlantic Ocean just off the coast of Cuba for three days that expands to five because of squall conditions. We had 3 boats bobbing around the Gulf of Mexico, with boat drivers barfing their guts out; they were there to try and retrieve us. Not a chance. We starting thinking about other ways that we could get off the sub, the Navy offered because the Director was an ex-stuntman to shoot him out of one of the Torpedo tubes in an air bubble with a life raft and a light beacon, but none of them came to fruition because the seas were at 8- 10 feet.
Our bunks on board
So we had a few more days to live in this incredible self-sufficient living environment. I had no idea how awesome a nuclear sub was. So much of the world could learn how to become green from this monolith. It uses a nuclear reactor to power its engines, 2 steam generators that give her power with zero emissions for 25 years at full throttle or power up Las Vegas for 5.76 years. It has its own desalination plant on board to provide water for showers, drinking water, etc. Best water I have ever tasted. It makes its own O2 from the seawater she takes in. No plastics are brought on board. All paper and cardboards are recycled and stowed on deck till they head to port. It seems like she has it all figured out, how to live in harmony and save the environment. Plus packed with the power to defend us. Wow, what a novel concept.
Sub bathroom
Bandito Brothers, sticking with their small footprint approach, fit right into the eco-system of the sub. As we recycled our flash cards they recycled paper, as we conserved on film processing, using less lights, less crew, less fuel, less food and water being consumed on shore because of this small, nimble Canon HDSLR platform, the Submariners did the same at sea. DIVE!! DIVE!!
Tags: Digital Workflow, green, HDSLR Cameras
Shane 
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This is so cool, I really need to get a job like yours one day.
Call me if you need an intern
An amazing insight, thanks
Hi Shane,
Welcome back to the surface! Will you be allowed to show any of the footage to us?
Bob
I had no idea submarines were so eco friendly and self sufficent! Sounds like it was a fun shoot, I’m sure being confined inside that environment for so long must have added to the anxiety!
Shane, when you set exposure (specifically with the primos and non-Canon glass) are you using a light meter or the camera itself. If using a lightmeter, how exactly are you compensating for the differences in asa settings (or are you)? If you’re using the camera’s histograms and things, are you finding any issues using a manual lens (with my setup — nikkor’s on a dummy adapter — the camera’s metering is completely off)?
It’s so amazing seeing the production in such detail.
I apologize for showing my ignorance but I’m intrigued by the device mounted atop the 1D in the top photo. I believe it’s a focus system but I’m not sure. I see it again on the shoulder rig in the fourth photo.
What is this unit and how does it work?
Tim, It is called a Cine-Tape. This versatile ultrasonic system continuously calculates the distance between a subject and the camera’s film-plane. By continuously measuring distance during a shot, small or subtle subject movements are no longer a problem. With non-stop measurements, focusing a camera lens is simplified which saves time, avoids retakes and reduces production costs. http://www.cinematographyelectronics.com/images/CTM%20400×400.jpg. This is a very important tool in our arsenal because of the shallow depth of field on the 5D. This gives us a fighting chance in those difficult focus situations.
Mike, I am doing my exposure by eye off of the LCD screen. I will use a Zacuto view finder at times to help with judging color and contrast. What I have tried to do is make this camera operate like I would operate if I was exposing film. Not running back to the black tent where the HD monitor is to view. I want to keep it agile, creative, and responsive. I do not use a light meter to set exposures. I use my eye for day exteriors and a lighting monitor for day/night interiors and night exteriors. My monitor is simple and fast, again my objective to keep it agile. I will use a light meter if I have to go back days later and duplicate a set-up. This gives me an idea of my lighting ratios. I do not use the histograms, the process take too much time. I love the manual lenses.
Nick Keating, it was an amazing piece of hardware to say the least. Imagine they built this baby without computers, pretty impressive, all hand made.
Bob, I would love to, but the Navy will not let any of this footage out until they have scrubbed it. Considering that we have shot the equivalent of 1.8 million feet of film, it will take awhile. A trailer will be released soon and I will be posting that once it becomes available.
Mark, you are welcome.
Georg, Thanks so much. I love my job, I cannot imagine doing anything else. We are assembling a list for interns. If you contact Lydia at lydia@hurlbut visuals.com we will get you on the list and contact you when the next project comes in.
I was stationed onboard an Ohio Class Submarine out of the same port. Loved it and spent 5 years onboard. Hopefully will get to see the footage sometime.
Hello, I manage the St. Marys Submarine Museum, couple miles down the road from Kings Bay Subase in St. Marys, GA. If possible for our submarine boat files, would appreciate a CD with the photos, or printed copies, so our visitors can see the photos of the newly converted Florida.
Appreciate any assistance,
John Crouse, Museum Manager
St. Marys Submarine Museum
102 St. Marys ST
Saint Marys, GA 31558-4945
John Crouse, I will send you some pics. Thank you for your comments.
Tyler Enoch, I will deliver the footage as soon as the Navy gives me permission. The new title for the film is “Act of Valor.”
[...] individuals (or very small teams) to do the job that in the past required entire film crews. (See Shane Hurlbut’s article on his team shooting on the high seas from a U.S. Navy sub for someone practicing this at a level I [...]
Shane,
I was really looking forward to hearing about the times and experiences you had on the sub, I know this is a technical blog about making movies, and the insight is fantastic, but part of the process is the subject and in this case it was a situation few get to experience 1st hand. I found it most interesting reading this episode of your blog!
As I suspected the Navy WERE a pleasure to work with. I wonder if you can expand a little on the relationship you had with the men you had to work with in this Nuclear Sub? Was there anything that really stood out in your mind about working with them? Were you ‘delegated’ a navy 1st assistant?
Awesome Shane, most enjoyable reading
Peter, I am so glad you liked the article. It was one of those experiences that you will remember for the rest of your life. I was not a Navy 1st assistant but I did hang with the chefs. I loved the food and they were able to cook us special meals while on board. My gaffer was a vegetarian and our chef made sure that there was a veg. meal. Everyone on the sub was extraordinary. I cannot imagine going under the ocean and not coming up to see the light of day for 6 months. They are a very special breed.
Greetings Shane,
I admire your work! Your pioneering spirit is an inspiration to many. Besides that your gaffer is John Guerra and his best boy John shoemaker a.k.a. Brooke who are two of the most rock’n dudes out there. Alright… I admit it… They actually paid me to say that. No but really… they are two of the greatest guys to have on your team.
Anyway…
We recently shot a test with the 5d using canon L series lenses. It was under low light level conditions where a xenon was passing through smoke and ruin onto a trapped subject. When viewing the results in the post lab we noticed a color banding problem occurred. I was wondering if you are familiar with this defect and if you can suggest how to correct it. My guess is that it has something to due with the 8 bit factor. Do you have any suggestions? Your advice would be extremely helpful.
Thanks and continue the strong work!
G