Shooting Day 3

Today started off really strong with shooting pickups from the sequence where Jack Steel receives his gear. Arriving slightly early I set up two Dedos and a 650W Arri in the small studio space to replicate the lighting from Wednesday, along with dressing the scene with Kurt as appropriate. Jack arrived slightly late with all of the camera equipment, we were both able to quickly rig it whilst Kurt went through the pickups with Ian upon his arrival.


Jack had to chase up some information regarding bookings and equipment for the shoot, so he left me to film the pickups with the Red. The first few shots I used the McJib to suspend the Red directly above, various items were then brought in and out of frame. The next few shots consisted of a perspective of these items, so I framed the Red low to the ground so that Ian could interact with the lens directly. I suggested reframing the shot slightly to Kurt so that the metal scaffolding in the studio could act as the overhead framing. In a subtle reference to Reservoir Dogs Kurt wanted the suitcase to light up the characters face when opened. To achieve this I attached a LED panel to the camera rig with two CTO filters, then wiped over it to match the speed of the suitcase opening for a subtle glow.

Kurt, Ian and I managed to get through all of the pickups within an hour. In the meantime Jack had already started setting up lighting in the studio for the montage sequence. This meant upon completing the pickups Kurt and Ian could go directly to the next studio whilst I de-rigged all the kit and prepared the Red camera for its return.


As the Red had to be returned halfway through the shoot Jack, Kurt and I had come to the verdict to shoot the montage on a Sony FS700. By shooting the entire sequence on a separate camera it shouldn’t be too noticeable during the narrative, however if it becomes a problem there is the option to heavily stylised the scene due to the nature of it being a montage. Kurt is still uncertain whether he is happy with heavily stylisation, but at the time we had no other option logistically so the best verdict was to accommodate for this “get out of jail” option.

The benefit of shooting on the Sony FS700 is its high speed filming option, being able to shoot 200fps whilst maintaining its 1080P resolution. The creative decision was to film at a high frame rate leaving the option in the edit to cut in and out of slow motion movement. The fact each shot was so short there was no real reason not to film at the high frame rate and keep our option open. More light was needed to accommodate for the new frame rate, this consisted of a 1K Dexel backlight, an overhead fresnel and two KinoFlo Divas placed either side of the character.


Unfortunately Sam had fallen short again by forgetting some of the props, in particular Jack Steels’ gloves which were heavily reliant upon for the montage sequence. This meant Jack and Sam had to run back to find the prop whilst Kurt and I went ahead to film a few shots that didn’t need the gloves. In all fairness Sam has done extremely well in organising the shoot and gathering all of the props ready for the shoot that were only available for loan today. It is just the odd little thing that can hold up production, I think going ahead a clear list needs to be made of what is needing for each day.

Filming the montage was relatively simple, seeing as all of the lighting was established it was the case of fine tuning shots to accommodate for the high frame rate. The first accommodation was to not slate the shots as it ate into a lot of the 10 second time limit of the FS700, also creating unnecessarily large file sizes. By the time Jack returned with the gloves I stepped back and monitored the filming, staying around to help speed up the process as much as possible.

We were a little pressed for time towards the end, there are a few shots still needing pickup but other than that the filming for the day proved a success.  The next block of filming is going to be much more complicated as it needs to be choreographed for fight sequences. Kurt has requested an in-depth production meeting to go through everything and ensure no little mistakes are made like what has happened the last few days.


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