Shooting The Three Stooges.
- “current day” interiors and exteriors Eastman Kodak EXR 7248 100T
- “flashbacks” interiors and exteriors Eastman Kodak EXR 7298 500T
- “shorts” Eastman Kodak EXR 7245 50D
Shooting The Three Stooges.
2018 DEMO REEL
In response to numerous questions via email you can get the inside scoop on how I went about shooting Sushi Tushi. A football film, with no stadium, on a small budget. The studio, the bluescreen, lighting, codecs, LUT’s, lensing, etc… I will include lighting diagrams and storyboards to give an complete look inside the shooting of a relatively complex independent film.
I have had quite a few questions regarding the candle scene frame grab I posted some time back. To answer the questions I have included a series of still frames and a brief explanation of what I was doing to get the final look I wanted. It is important to realize the final was not an afterthought but was what I was after. I therefor needed to light for the elements that were going to be important in the final grade.
I have had many questions regarding lighting for some of the dramatized battle re-enactment scenes in “The Crater”.
The lighting plan was simple, there were essentially no lights.
The concept called for very minimal lighting as Director, David Bradbury, wanted absolute realism and the nights of the battle, as described by the Vets who were there, “were pitch black, no moon, nothing, just black”. Helping keep to this plan was the fact this was being done on a vey tight budget so there was no financial room for condors with 12K’s, balloons, Musco, generators, etc. to light the huge battle field for the all night time battle scenes.
The lighting plan involved playing the battle in “layers”, lighting, at very low intensity, the background and then allowing flares, explosions and muzzle flash to light the middle ground and foreground with no additional supplemental foreground lighting.
Each sequence was staged by laying down smoke from explosive pots in the deep background. This was lit by the explosions themselves and by a single 5K backlighting the smoke at extremely low level. Next the explosions moved progressively towards camera laying more smoke and the middle ground and foreground was the charging troops and lots of muzzle flash. Essentially everything played in silhouette unless “soldiers” were captured on camera during an explosion or muzzle flash. The added benefit of this was no-one (particularly the camera operators) had any idea where anyone was except when there was light…..again, exactly as experienced by those who were there, and this, adding to the realism.
Ultimately the effect was to create as much disorientation and chaos as possible so nothing was evenly lit and only fleeting glimpses of the action were visible. Exactly as it was described by the Vets.
Everything was shot on the SONY F55 at 1600ISO, wide open at T2.9 on Fujinon Cabrio 19-90 lenses. As the re-enactment footage was to be intercut with potentially every other format imaginable (PAL-SD, NTSC-SD, 16mm, 35mm, color, black and white, and HD interview footage from several different camera’s) I decided to stay with HD resolution so we shot 1920×1080 in S-Log2. This allowed easier integration of the footage by keeping the resolution at a reasonable level. In post film scratches and “dirt” were added which made for an even closer match to all the actual newsreel and documentary footage from Vietnam.
The day ext of the Aussie soldiers after the bombing was shot about 30 minutes after sunset with only ambient light. The scene in the command center using only 100W Tungsten bulbs dimmed to about 50% to get the warmth.
One lighting unit I was able to use was the searchlight mounted on the Centurion tank. These were used in an on/off fashion during the battle when the North Vietnamese soldiers were attacking. The actual light (part of the Centurion Tank) was a 1 million candlepower Xenon that was mounted just above the gun and provided some serious illumination on the battlefield. Of course during battle this light never remained on and was only used in occasional very brief bursts to locate the attacking soldiers.
I used the Fill-Lite’s for the first time on the feature “Irrefutable Proof”, which just wrapped Principal Photography in Syracuse NY, essentially lighting the entire movie with them. This Indie film was shot on a very tight budget with huge locations and required an innovative approach to the lighting to keep costs down and maintain a very strong visual style. Fill-Lite make an exceptional unit and this was my first chance to put them through their paces.
Having demo’d the units earlier in the year at a seminar I gave for Band Pro, I knew their potential but did not appreciate the usefulness and versatility of these small units until I had them on set.
“The Lady Pleaser”
The quality of the light is astounding, dubbed by my crew “the lady pleaser”, great wrap and essentially the quality of a soft light thru 216 (without the 216). The fall off is relatively short which meant less cutting and shaping in tight locations and being a square emitter they could easily be panned or tilted to control spill and intensity in different parts of the set.
I used them as singles, doubles and quads, to light masters and close-ups, green screen car scenes, men and women. For women, when punched thru diffusion, the light almost becomes a liquid. I also used them skirted as coup lights for large areas where they provided the perfect amount of base shooting on the Alexa at 800ISO, as fill on overcast day exteriors and in ultra low temps (-9 degrees and color temp and output did not change). In every situation these incredible units excelled. I will not be shooting again without them.
Their small compact size and amazing light quality make them ideal for shooting in very tight locations as, at a little less than 1″ thick, they take up such a small amount of space. They are also supplied with brackets allowing them to be directly attached to set walls giving them an even smaller footprint. Compared to Kino Flo’s or Chimera’s, well there simply is no comparison, these little units outperform in every area.
No Heat-No Generator-Less Cost
Of course one of the big advantages of LED lighting in general is that they do not produce heat. Therefor almost all the electrical energy passing into the LED produces light so they are much more efficient. This allowed using the lower wattage lights off normal household circuits, so I was able to structure the lighting for the film around a lighting package that did not force us to carry a generator, other than a 6500W as a backup source or for remote locations. Any night exteriors were shot dusk for night.
Actors also loved the “no heat” aspect of the Fill-Lite’s .
Check them out at www.fill-lite.com
Band Pro’s Burbank Headquarters held an LED lighting workshop hosted by DP Robert Draper, ACS on Thursday 1/23.
Full report BandPro website
I have had a few emails today regarding my earlier Facebook post. I was questioned as to why the images did not look like they were shot on Alexa or Canon 5D (two of the camera’s I used for the shoot). My response is….what should images from the Alexa and Canon 5D look like? Is there a rule for using those camera’s or do they have a very special signature that says…this image was shot on a “this or that” camera. It seems most these days regard a good image as something with shallow depth of field and sharp as a tack. Continue reading
I have been receiving this question on and off for several years now. This was one of the early shoots on the 900 series SONY HDCAM and I had to come up with some novel ways of lighting …. dancers, a constantly moving camera, nowhere to “hide” lights and no mounting as the caves are a National Park. Continue reading
Dynamic range has become the catchphrase for a whole generation of image makers but many are not sure exactly what it is, what it means or how they can use it. Continue reading