It’s with slight regret that I wake up this morning with no crew to join and no location to go to. What’s my motivation?…and so I’m still in bed (midday).
We formed great bonds working so hard together for such long hours. Although, of course, I have conflicting emotions as I’m also relieved to be free to have time for my family and indeed everything else in my life. We worked some pretty crazy hours. I had intentions to write this blog most evenings and to document the lighting/photography techniques of the day…there wasn’t always time.
I gave it my all and feel like I applied almost every trick I know. Often I knew what I wanted to achieve with the lighting, but not necessarily how to achieve it, so I learned so much from this experience. As in the past, the little Dedo lights became my best friend for their ability to be directional and controllable – picking out a subject without lighting the background, controlled with their integral dimmers and compact enough to go in tight spaces or be hung from scissor clamps from the ceiling their cables extended on XLR cables. At times I wish they had a little more punch. I wonder whether cinematographers on big budget movies use them. And the china ball has to get a credit.
My big conundrum during the shoot, which probably shows my ignorance, was how to get enough exposure without ruining the ambiance and balance of levels I was seeing. On occasion, using the a slower Zeiss 18mm f3.5 lens (most lenses were at least f2.8), I resorted, after lighting the scene, to adding a flood of light from a 2kW lamp through muslin to lift everything – the only way I could think of getting the exposure I needed. Often I cheated the shutter angle towards 360 degrees, justifying it by the fact that the narrative is dreamlike and by the fact that most of the shots were static and the actors not moving much in frame (ISO on the Blackmagic Cinema Camera is always at 800ASA so that can’t be adjusted to increase exposure).
I think I’m happy with pretty much every single shot that went in the can – that’s pretty satisfying. Bar one poorly placed track – laid in a hurry – that made a really simple short shot a pig to operate and multiple shadows (3!) on an otherwise beautiful shot as the protagonist walks around a swimming pool (with every take he walked further along the pool – probably at my request – increasing the number of shadows…please use an earlier take Mr Director/editor!).
I’ve got to say thank you to the actors, and in fact to everyone, for being patient with me while I learned on the job, forgive me for being ‘at speed’ and then running around the camera to make a further tweak (1st AD, Beth). Some of the coverage Ed and I discussed required nearly ten passes on the same scene and of course multiple takes on each pass….not necessarily my fault, as the repetition is just part of single camera shooting, but it did make me feel a bit guilty / sorry for the actors especially as the drama I shoot day-to-day is shot multi-camera and therefore if a take works very often that’s the only pass, done and we move on.
These are the people I worked most closely with in my role: Jordan, 1st AC was calm, cool and good for a nudge…”Jim have you spotted that?”. Amy, 2nd AC was happy and kept us smiling and was always ready with “50mm coming up” or “can I just swing that battery”. Craig, Gaffer – I was lost on the few occasions he wasn’t on set…were does he keep this / how did he do that / can we get some steps cause I’m not as tall as Craig – such a hard worker. Ben, no-one knows if he did a good job cause no-one heard his sound recordings! I have a feeling he put in a very strong performance! Sorry for the maze you had to take to get your mic in among the scene to avoid shadows/reflections/being in frame. 1st AD, Beth was great at keeping things moving and was v supportive. The team of runners kept us going and on the few days when their number dwindled we really noticed it. Michael took on the role of DIT with some trepidation at first, but Ed wouldn’t have a film without the organisation of footage and stock. And Mr Greenberg lead from the front with leadership and the firefighting ability of a seasoned politician.
I hope my grammar is okay? CJ is a stickler…thanks for all the quiz questions and the fun.
By Jim Cullen, DoP, The Renata Road
Thanks to Phil at in-vision TV facilities Ltd. for providing Zeiss prime lenses and Metabones Speedbooster.
Thanks to Steve and Siobhann at OConnor Engineering, Vitec Videocom Inc. for providing tripod/pan and tilt head for the project and for their support.
Thanks to René Bijleveld at Alphatron Broadcast Electronics B.V. for replacing my original ex-demo EVF for new.
Thanks to Matt at Top-Teks Ltd. for selling me camera gear at the best price he could do!
Thanks to Andy Bennet for providing tripod/pan and tilt head, baby legs, HMI Arri 575, stand and bulbs.
Thanks to Danny at ProVision (part of ITV) for providing in-line dimmers.
Thanks to Toby Gregory for all the rest of the kit, technical support and gripping.
Thanks to Jenny at Cameras Underwater Ltd. and Ewa-Marine for rushing out a BMCC splash bag to us.
Thanks to Nick Wheeler and Eric Young for lighting advice.
Thanks to Grant Perry:
”We have worked very hard over the last year to be able to build the Blackmagic Cinema Camera at a lower cost so we can reduce the price and allow access to digital filming to a wide range of cinematographers and photographers.
We have done it and from today the Blackmagic Cinema Camera EF and MFT models will be reduced in price to US$1,995. This is very exciting and is one of the proudest moments of my life to be able to do this!
I think people will be able to use the savings to invest in some exciting lenses and rigs to really boost the creative possibilities. The Blackmagic Cinema Camera is a fantastic design that’s now well proven. The advantage of the 2.5K sensor is it has enough resolution to eliminate the bayer resolution loss of a HD sensor, but when shooting RAW it produces files that are too not to big to store and work with easily. It’s a fantastic solution.”