Another successful shooting day, any obstacle approached we are easily overcoming and continuing to film at a pleasant pace where everyone involved can enjoy the process without feel pressured. The fact we are working at a leisurely pace I feel helps with the quality of work we are produce, no stress or panic means no silly mistakes, and anything that is noticed can be quickly dealt with. For example today we were missing the crowbar prop so Sam (Producer) popped off set briefly to pick one up and spray painted it the appropriate colour ready for filming.
Unfortunately Ian was running late today for the shoot pushing back our initial recording time, however we were able to utilise this additional time well to clearly block out and light the entire scene. As a result we decided to film both the lounge and hallway in the same flat after some furniture adjustments and set dressing, definitely a better choice for logistics, it was good that we were able to make the house work for the script.
The narrow nature of the hallway made it difficult to place lights. I placed a KinoFlo Diva in each doorway to create intense strips of light for the character to pass through. Three dedos were concealed throughout the hallway for a dim and grim practical light, making the KinoFlo cut through strongly. One dedo was clamped above the doorframe at the front of shot to dramatically light Jack Steel, I marked this area on the floor so that Ian could pause on the mark briefly to best utilise the lighting. Having discussed and fine tuned the lighting format with Jack (DP) we were ready to film as soon as Ian arrived, whilst we waited on this the entire crew set about readjusting the lounge for the following scene.
Upon Ian’s arrival we were very quick to film the corridor sequence, making some minor adjustments to cater for the actor and Red One camera. The lighting was able to stay generally fixed for most of the slates. When moving to the doorway opening we optimised natural light outside, in addition I used an LED panel to catch the sparkle in each characters eyes throughout the conversation.
For the lounge sequence we ended up only using one 2K Arri shone through the window as hazy morning sunlight. The room was slightly adjusted to accommodate this light as Jack enjoyed how it softly lit the subjects face and caused a silhouette of the window frame after I had applied two layers of scrim. This was the final lighting setup for the day, much simpler than anticipated, mostly due to operating in a smaller filming space than originally intended.
I had to leave set at wrap time due to other commitments, so the fact we overran meant I missed the last few slates. Overall another successful day, the last minute changes aren’t ideal but as a unit we are all pulling together to deal with whatever is throw our way. The shoot continues to be an enjoyable experience; Jack and I are continuing to form a strong team for the camera department. I was happy with the lighting today, it heightened the sense of grittiness and dirtiness perfectly.
Looking to tomorrow’s shoot I have told Sam to push the schedule forward to accommodate for the Red One camera booking. Starting filming from 9.45am we will get the pickups from yesterdays shoot, at 11am the camera needs to be returned so we will film the montage sequence on the Sony FS700. This opens opportunities to film it at a high frame rate for the ability to cut in and out of slow motion as a stylistic option in the edit. Kurt (Director) loved the idea of this, the change in camera is justified for the new scene and could add to the exaggerated nature of the montage.