Lighting Micro-sets

From time to time I help out my friend Kate Madison shooting show reels for actors. The fun and the challenge is in creating and lighting little micro-sets to capture angles that look like they might be lifted out of a scene from a much larger production, all with limited equipment.

lawyer-grade-moresat
Here’s an interesting shot from a recent showreel for Dana Hajaj. This was intended to resemble a Good Wife style legal drama, though actually the first reference that the lawyer’s office setting brought to my mind was Ally McBeal. I remember how they often had hot sunlight coming in through their office windows which would hit the talent from the chest down, while softer, indirect daylight would illuminate the faces.

Clearly this technique wasn’t exactly going to work for an MCU, but it did get me thinking about windows as two-in-one sources: a hard source which adds interest and ‘sheen’ to the image but is too harsh to hit faces with, and a soft sources for faces. Often cinematographers will use two different lights through the same window to achieve these two distinct effects. (I sometimes employ what I call a “Window Wrap” to this end.)

Now, the set for this showreel shot was just a red wall and sconce. (We tried a plant in the corner but couldn’t get it to work.) I wanted to suggest what the rest of the set might be, beyond the borders of this MCU, and simulating a window seemed like a natural choice. Furthermore, a window with Venetian blinds would help sell what was really a living room as a place of business. But this was not film noir; I didn’t want stripes of light on Dana’s face. Instead I used them to add interest to the wall.

Kate had a slatted-top stool in the hall which threw convincing “blinds” shadows when clamped to a C-stand in front of an 800W Arrilite. Ideally the shadows would have been sharper, but without a Dedo or a par this was the best I could do.

To get the maximum richness from the practical, I put a topper (black wrap clipped to the stool!) on the 800 to keep it off the sconce, and placed CTO inside the lampshade to warm up the fluorescent bulb.

To key Dana, I fired a 1K Arrilite into a 4’x4′ polyboard which was positioned next to the stool. Tungsten bounced off poly gives a beautiful soft, matt quality of light, and is a great way to key talent.

The backlight comes from a 1’x1′ LED panel set to about 4500K. What is the motivation for this source? North light coming from another window maybe? The great thing about micro-sets is there’s no wide shot so I don’t have to worry about that if I don’t want to! The motivation is that cold backlight looks good on black hair, and that’s that.

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As we prepared to roll, I wondered if I should increase the contrast more. I could have done this by (a) flagging the poly bounce to prevent it filling in the “blinds” shadows on the wall and (b) bringing in negative fill on the talent’s camera right side to kill the ambience. But I decided that more contrast was not appropriate for this kind of piece.

For another scene for Dana’s reel, we mocked up a remote Arabian campsite on Kate’s patio! Kate used a piece of fabric hung from a post and two light stands to representing the tent.

campsite-grade-moresat

I wanted to give the impression that if we cut to a wide shot – which of course we never do, but if we did – that it would show a vast landscape, perhaps a desert, all backlit by moonlight. On this hypothetical production, I would generate that moonlight with 18Ks on condor cranes, gelled with Steel Blue.

But on this tight shot I was able to achieve the same effect with two far smaller sources, both gelled with Steel Blue. (This is a blue with more green in it than CTB. It’s prettier and has connotations of many 80s and 90s thrillers and action movies that seemed to use copious amounts of this gel.) In the deep background is an LED panel, 3/4 backlighting a couple of blurry apple trees that could maybe play as vegetation around an oasis. Immediately behind the “tent” is a 40″ C-stand, top floor, with a 1K Arrilite on it. So close to the talent, the 1K comes down at a steep enough angle to imply moonlight, or an 18K on a condor, depending on how you want to look at it.

The flames from the fire pit weren’t doing much to light Dana, so I bounced another 1K off a gold reflector on the floor next to the fire. During takes I wiggled the reflector to add dynamics to the light.

To add a final touch of production value, I suggested a foreground practical. Kate found a candle lantern which we hung from a flag arm just in front of camera. Every frame of a Blockbuster movie is packed with details, so things like this help a lot to sell the scale.

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The 1K “moon” backlight is at top left. The gold reflector for the fire source is in the bottom centre, with the 1K bouncing into it visible two-thirds of the way down the right-hand edge of this image. The camera is just out of the bottom right corner of this frame. Not pictured is the LED background light, way back off left of this frame.

For more on shooting micro-sets, check out my blog from Above the Clouds, a feature that had several of them. Visit actorsatworkproductions.co.uk for showreel info.

Lighting Micro-sets

Lensing Ren – episode 5

Season one of Ren: The Girl with the Mark has come to an end, and to ease the pain a little, here’s one last video breakdown of the show’s cinematography. This week I talk about the exterior scenes from daylight through sunset to night.

Here is the lighting plan for the final scene:

Village-night-1080p

Check out the article I wrote during the shoot about the sunset scene if you’re still hungry for details. And here is an unpublished blog post I wrote during the shoot about the village night exteriors…

The 2.5K HMI backlight
The 2.5K HMI backlight. The dimmer board for the Cyclotron can be seen in the lower right.

The last two days of principal photography on Ren were actually night shoots. It was great to take the village set that I’d shot in natural light for five weeks and chuck some of my own light at it.

In his American Cinematographer interview about The Monuments Men (February 2014), Phedon Papamichael said, “My big night-exterior lighting setups usually have one source” – often a backlight, judging by the examples given in the article – “and then I use whatever practicals are in the shot.” My approach is much the same, though a big source for me is a 2.5K HMI, not an Arri T12, sadly!

One of the Urban Sodium-gelled 800W Arrilites beefing up the braziers
One of the Urban Sodium-gelled 800W Arrilites beefing up the braziers

I knew our key shot was going to be Ren’s POV looking up the street to the Kah’Nath Master flanked by several archers, with Karn and Baynon in the background. I set up my 2.5K dead in the back of the shot, its stand hidden by the furthest house facade.

Another of the Urban Sodium-gelled 800W Arrilites beefing up the braziers
One of the Urban Sodium-gelled 800W Arrilites beefing up the braziers

The plan was for the archers to light their arrows from two braziers, one either side of the street, so Chris Dane and Amanda Stekly dressed these in accordingly. I set up an Arrilite 800 near each one, choosing Urban Sodium gel to give the “firelight” a grungy colour appropriate to the bad guys. (I was shooting on a tungsten white balance to turn the HMI moonlight blue.)

The dimmers controlling the Arrilites
The dimmers controlling the Arrilites

Chris – by this time well-attuned to my lighting needs – also rigged a third brazier to act as the key light for himself (Karn) and James Malpas (Baynon), towards the back of the set. The Arrilite for this one I gelled with full CTO for a yellower, friendlier colour.

All three Arrilites were run through in-line dimmers, and various bystanders were co-opted to flicker them throughout the evening.

Bulbs
The Cyclotron

I rigged a Cyclotron behind the window of the background house – four 100W bulbs under a sheet of CTO, wired to Colin’s dimmer board so they too could be flickered, suggesting firelight inside the house.

The Celotex bounce board
The Celotex bounce board

I figured that the front of this house would still be very dark, being out of range of the Arrilites and facing away from the HMI, so I had gaffer Richard Roberts rig a Celotex board to bounce some of the HMI light back onto it. As it turned out, when it got dark and we fired everything up, there was lots of bounce off the set pieces closest to the HMI anyway. This was a nice bonus that gave us more options when blocking Karn and Baynon’s actions, without having to set up extra lamps.

A sunset view of the lighting set-up from roughly the master camera position. The LED panel on the right was used only as a work light.
A sunset view of the lighting set-up from roughly the master camera position. The LED panel on the left was used only as a work light.

When the braziers were lit and the Master and soldiers strode onto the set in their awesome costumes (courtesy of Miriam Spring Davies and stand-in wardrobe supervisor Claire Finn), we all felt we had a truly epic sequence in the can.

Ren archers

If you’ve missed any of Lensing Ren or Ren itself, here’s a playlist featuring every episode of the fantasy series, interspersed with the corresponding cinematography breakdowns:

Lensing Ren – episode 5

Lensing Ren – episode 4

On Tuesday the penultimate episode of Ren: The Girl with the Mark was released and so here’s my video breaking down the cinematography of that fourth episode. This week I cover lighting the guardroom and the prison cell, and demonstrate cross-backlighting.

Here are the lighting plans for the guardroom and the cell:

Guard-room-1080p Cell-1080p

You may also be interested to read the blog I wrote during the shoot about Lighting the Prison Cell, and my post explaining the technique of Cross-backlighting. And here is an unpublished post I wrote during the shoot about the guardroom….

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The guard room shoot came at the end of a long and intense week of shooting interiors. By Sunday most of the lead actors had left, we had crested the hill and the end of principal photography was in sight. The atmosphere was even more relaxed and informal than usual, particularly as everyone’s favourite spouter of inappropriate comments, Richard “Squish” Roberts, was playing the lead jailor.

A behind-the-scenes view of the lighting set-up for the window and swords
A behind-the-scenes view of the lighting set-up for the window and swords

Ren’s bedroom had been repainted and redressed to be the Kah’Nath guard room. This meant a single, small window again, and as usual I couldn’t resist blasting a 2.5K HMI through there for a shaft of hot, smoky sunlight.

The Window Wrap in action on the swords
The Window Wrap in action on the swords

I wanted to highlight the rack of swords next to the window, which the shaft of light wasn’t catching, so I used a variant on my Window Wrap technique. I put a 2′ 4-bank kinoflo outside the window at such an angle as to light up the swords without blocking any of the HMI light.

I was interested to find that the art team had done something a bit different with the room’s candles, hanging a cluster of them from an overhead beam. I asked for the “table” (actually a barrel) – where the guards would be playing a board game – to be placed directly under that.

The Dedos (left and right of the picture) and 100W globes used to enhance the light from the candles
The Dedos (left and right of the picture) and 100W globes used to enhance the light from the candles

The candles wouldn’t shed light directly down on the game in the classic single-light-source-coming-straight-down-onto-the-poker-table style, but I felt it would give me an excuse to cross-backlight. I clamped a Dedo to the top of each side of the set, each one spotted on one of the two characters who would face each other across the barrel.

A view of the finished lighting set-up from over the dimmer boards
A view of the finished lighting set-up from over the dimmer boards. On the floor to the right can be seen the shaft of light from the LED fresnel coming through the fake door (off right).

These Dedos couldn’t be flickered, being the kind which go into a single control box with only three discreet settings for brightness. So to introduce some dynamics, and soften the light a bit, I clipped a dimmable 100W bulb to either side of the beam from which the candles hung. This would also ensure that Hunter would be lit when he stood next to the barrel.

An additional light source in the set was a small brazier on the wall next to the dungeon door. This seemed bright enough to shed plenty of light by itself, particularly as Squish would be standing right next to it for a large part of the scene.

The final touch for lighting was to re-use the fake door to create the effect of daylight spilling in as characters exited and entered from off camera. This time I placed an LED fresnel behind it.

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Check back next Saturday for another instalment of Lensing Ren, and meanwhile watch the next episode of Ren itself from Tuesday at 8pm GMT at rentheseries.com

Lensing Ren – episode 4

Lensing Ren – episode 3

It’s the mid-point of season one of Ren: The Girl with the Mark and here’s my video breaking down the cinematography of that third episode. Topics covered this week include grip equipment, aspect ratio, smoke and faking candlelight.

Here is the lighting plan for Ren’s bedroom:

Rens-bedroom-1080p

There is more on simulating firelight in my First Musketeer blog post Candlelight.

For my thoughts on composing for the cinemascope aspect ratio, take a look at 2.39:1 Composition.

Want to know more about smoke? Check out Lighting Techniques #5: Smoke.

Check back next Saturday for another instalment of Lensing Ren, and meanwhile watch the next episode of Ren itself from Tuesday at 8pm GMT at rentheseries.com

Lensing Ren – episode 3

Lensing Ren – episode 2

Here’s my video breaking down the cinematography of episode two of Ren: The Girl with the Mark. This week I discuss lighting Ren’s house, tweaking wide-shot lighting for close-ups, and depth of field.

Here is the lighting plan for Ren’s house:

Rens-house-1080

And here is a video blog from the set of Ren’s house:

Check out the article I wrote during the shoot about lighting Ren and Dagron’s house if you’re still hungry for details.

If you want to know more about using kinoflos as indirect window light, have a look at Lighting Technique #3: The Window Wrap.

Want to know more about Depth of Field? This post will give you the basics.

Check back next Saturday for another instalment of Lensing Ren, and meanwhile watch the next episode of Ren itself from Tuesday at 8pm GMT at rentheseries.com

Lensing Ren – episode 2

Lensing Ren – episode 1

Here is the first in a series of cinematography videos I’m publishing to compliment the five episodes of Ren: The Girl with the Mark as they are released over the coming weeks. These videos will tell you the how, what and why of photographing the show. This week I discuss the camera equipment used, differentiating characters photographically, and lighting Karn’s magical woodland house.

Here is the lighting plan for Karn’s house:

Karns-house-1080p

And here is a video blog from the set of Karn’s house:

You may be interested to read my article on Masculine and Feminine Lighting, which gives some more detail on the techniques used to light Ren and Karn in the riverside scene.

See also: 5 Tips for Perfect Shafts of Light and Lighting Techniques #6: Cross-light.

Check back next Saturday for another instalment of Lensing Ren, and meanwhile watch the next episode of Ren itself from Tuesday at 8pm GMT at rentheseries.com

Lensing Ren – episode 1

Crossing Paths: Night Exterior

Col and Sophie smoke up the road before a take.
Col and Sophie smoke up the road before a take.

After a morning of playing with the sun, the next task on Crossing Paths was to light a night exterior scene.

The Blackmagic Production Camera, with a native ISO of 400, is not the most sensitive of cameras. But with this scene being a flashback, I gained a stop of light by changing my shutter angle to 360 degrees and making that extra motion blur part of the film’s flashback look. (Click here to read my post on Understanding Shutter Angles.)

ArriMax M18
ArriMax M18

Just as a DP normally looks to orientate a daylight scene to use the sun as backlight, so they often aim to do the same with the moon at night. Except of course, unless you’re shooting on a Sony A7S, the actual position of the moon is irrelevant because it’s too dim to shed any readable light. Instead you set up a fake moon – usually an HMI – in the position that works best for you.

I knew that there would be two main camera angles for this scene, in which Michelle runs out of her house and across the road. One would be a handheld tracking shot, leading Michelle as she runs. The other would be an angle looking up the road. So the first angle would be looking towards the house and the second would be at 90 degrees to that.

Gulliver
Gulliver

Where to put the backlight? (I was going to use an ArriMax M18 for the moon.) Clearly not behind the house, because I didn’t have a massive crane to put it on! Similarly I could not put it at the end of the road without it being in shot. The clear solution was to put it mid-way between these two positions, in a neighbour’s garden. From there it would provide 3/4 backlight (from the left) for the view down the road, and side-light (from the right) for the view towards the house, developing to 3/4 backlight as Michelle crosses the road.

To get my backlight fix at the start of the handheld leading shot, I placed a Dedo at the top of the stairs shining down.

3 x 300W Gulliver lamps, kindly supplied by spark Colin Stannard, were also used in the scene. Two were hidden behind trees down the road, pointing at parts of the background to stop it being black. (The road’s sodium streetlamps provided some nice bokeh as they reflected in parked cars, but did nothing to illuminate the scene.)

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A Gulliver, on the left of this image, shines on the front door through a tree.

The third Gulliver was used to 3/4 front-light Michelle in the first half of the leading shot. I put it on a C-stand, nice and high, shining through a tree so as to break up the light – always a good trick for frontal light sources at night.

To ensure Michelle’s face was visible in the second half of the leading shot, an 8’x4′ poly was used to bounce some of the “moonlight” back at her.

Frame grab from the leading shot. The warmer light from frame left is from the Gulliver shining through the tree, while the colder light from the right is from the M18.
Frame grab from the leading shot. The warmer light from frame left is from the Gulliver shining through the tree, while the colder light from the right is from the M18. (C) 2015 B Squared Productions

Here’s a lighting diagram of the whole set-up…

Sketch 2015-10-01 17_01_36Crossing Paths is a B Squared production (C) 2015. Find out more at facebook.com/Crossing-Paths-Short-Film-697385557065699/timeline/

Crossing Paths: Night Exterior

Crossing Paths: Day Exterior

Michelle Darkin Price and Phil Molloy in Crossing Paths (C) 2015 B Squared Productions
Michelle Darkin Price and Phil Molloy in Crossing Paths (C) 2015 B Squared Productions

The sun is an awesome light source, but you’re not alone as a DP if you sometimes feel it’s the enemy. Shooting Ben Bloore’s Crossing Paths at the weekend, I was very lucky to be met with a perfect blue sky, but even so there was work to do in maintaining and sculpting the light.

The first step on the road to succesfully photographing day exterior scenes is choosing the right location. Crossing Paths is mostly about two characters sitting on a park bench. It needed to look serene and beautiful – which means backlight.

The initial location had an east-facing bench, so I asked for the scene to be scheduled in the evening. That way the characters would be backlit by the sun as it set in the west.

Hard reflector
Hard reflector

The location was later changed to Belper River Gardens (where, three years earlier, I had shot scenes from Stop/Eject). The new bench faced west, which meant shooting in the morning so it would be backlit from the east.

In a rare instance of nature co-operating, the sun blazed out over the trees at about 8am and perfectly backlit the actors as we set up for the master shot. I used an 8’x4′ poly to bounce the light back and fill in their faces.

As we moved into the coverage, a very tall tree started to block some of the sunlight. This was where our hard reflector came in. This is a 3’x3′ silver board mounted in a yoke so that it can easily be panned and tilted.

Col set up this reflector in a patch of sunlight, ricocheting it onto the back of the actors’ heads, maintaining the look of the master shot.

Col adjusts the hard reflector to backlight the talent.
Col adjust the hard reflector to backlight the talent.

Later one of the characters stands up and looks down on the bench. We needed to shoot his CU for this moment without him squinting into the sun, and without harsh shadows on his face. Cue the next tool in our sun control arsenal: the silk. Stretched across a 6’x6′ butterfly frame, the silk acted like a cloud and softened the sunlight passing through it.

Col and production assistant Andrew position the silk.
Col and production assistant Andrew position the silk.
The silk in action on Phil
The silk in action on Phil. (C) 2015 B Squared Productions

You need to think carefully about what order to do your coverage in with natural light, particularly if the day is as sunny as this one was. I asked to leave the shots looking south last, so that the sun would have moved round to backlight this angle.

This south-facing shot was left until around midday in order to have it backlit. (C) 2015 B Squared Productions
This south-facing shot was left until around midday in order to have it backlit. (C) 2015 B Squared Productions

What if it had been an overcast day? Well, it wouldn’t have looked as good, but we were tooled up for that eventuality too. We had an ArriMax M18 which could have backlit the actors in all but the widest shots (for which we would have had to wait for a break in the clouds) and a 4’x4′ floppy for negative fill if the light was too flat. More on those some other time.

Related posts:
Lighting ‘3 Blind Mice’ – using positive and negative fill and artificial backlight for day exterior scenes
Sun Paths – choosing the right locations for The Gong Fu Conection
Moulding Natural Light – shooting towards the sun and modifying sunlight

Crossing Paths is a B Squared production (C) 2015. Find out more at facebook.com/Crossing-Paths-Short-Film-697385557065699/timeline/

Crossing Paths: Day Exterior

Soft Wrapping Backlight on The Shepherds’ Play

The Second Shepherds’ Play, the medieval comedy which I lensed last week, had several scenes in “the Mak Shack”, the grotty home of the antagonists. The set posed an interesting problem in that – apart from the door, which wouldn’t always be open – it contained no light sources. No windows, no lamps, no candles. Given the wordy script and the tight schedule, I needed to light it in a way that would not need tweaking between set-ups, and which would work for one particular scene that director Doug Morse wanted to film as a single developing shot showing about 180º of the set.

One option would have been to posit a window in the off-screen 180º, but that would have resulted in very flat illumination, all lit from the front like a photo taken with flash.

I wanted to create a cross-backlighting set-up (Lighting Technique #2), but it was impossible to hang lamps above the rear of the set without damaging the location’s brickwork. So instead I had Colin rig two pieces of Celotex (matte silver bounce board) above the back two corners. Into these I fired Source Fours, peeking over the front walls of the set. These lamps, designed for theatre use, are relatively cheap to hire and have lenses and cutters which provide a great deal of control over where the light does and doesn’t go, meaning you can ensure it all goes onto a bounce board and nowhere else. Using Source Fours as sources for bounced light is a tip I picked up from David Vollrath‘s talk in the Big League Cine Summit in January.

Here you can see a Source Four Junior peeking over a wall at the front of the set to hit a bounceboard at the back.
Here you can see a Source Four Junior peeking over a wall at the front of the set to hit a bounceboard at the back.
Viewed from the back of the set, both Source Fours can be seen firing over the front walls.
Viewed from the back of the set, both Source Fours can be seen firing over the front walls. The lamps are high enough that their beams go completely over the heads of the talent.
This reverse angle shows the two bounce boards above the back corners of the set, which you'll have to trust me is directly underneath them in the darkness.
This reverse angle shows the two bounce boards above the back corners of the set, which you’ll have to trust me is directly underneath them in the darkness.

This set-up enabled me to execute the 180º handheld shot without casting any shadows myself, and without the actors casting hard shadows (which would have been inappropriate for a period piece), while still primarily lighting the downsides of their faces to give depth and shape to the image. It also provided backlight to ensure the actors stood out.

I’ll leave you with some frame grabs (courtesy of Grandfather Films) and a floor plan of the set-up. Visit Grandfather Films on Facebook for more on the Shepherds’ Play.

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Soft Wrapping Backlight on The Shepherds’ Play

The One That Got Away: Festival Results

In 2013 Katie Lake and I made a little puppet film for the Virgin Media Shorts competition, called The One That Got Away. Although it failed to make the shortlist, I believed it had legs, so I started entering it into festivals. Today I’m going to talk about how it fared. A little later in the year I’ll do the same thing for my other 2013 short, Stop/Eject, and between the two posts I hope to help you answer the question, “Is it worth entering my film into festivals?”

To start with, here’s the film.

It cost next to nothing to make, so I decided to enter it only into festivals that had no entry fee. I created accounts on the festival submission platforms Short Film Depot and Reel Port. Both sites have systems whereby you purchase credits (known on Short Film Depot as ‘reels’ and on Reel Port as ‘stamps’), which you can then use to pay for submissions. As far as I know, this payment is purely a middleman fee and doesn’t go to the festivals themselves. Both sites allow you to upload your film, which is then sent automatically with your submissions.

The_One_That_Got_Away_ posterShort Film Depot allows you to upload your first film for free, with subsequent uploads costing 3 reels (€3 – currently about £2.15). Each festival submission costs 2 reels(€2 – about £1.45).

Reel Port is free to upload your film to. Each festival submission costs one stamp. Stamps are priced on a sliding scale: buy just one and it will cost you €3 (£2.15), whereas a book of 5 is €12.50 (£9), a book of 20 is €39 (£28) and a book of 50 is €75 (£54). So if you buy in big bulk, you could pay as little as £1.08 per submission, plus currency exchange fees. More likely, you’ll end up with leftover stamps you never use!

I entered The One That Got Away into 36 festivals over the course of about 18 months: 23 entries on Reel Port, 12 on Short Film Depot, and one directly to the Worcestershire Film Festival (which was completely free).

The total cost was €98.95, or about £71 plus currency exchange fees – that’s about twice the film’s budget! I should point out that I made one exception to the ‘no entry fee’ rule: that total cost includes €12.50 I spent on entering the film into Encounters. This was a discount rate because I was entering Stop/Eject at the same time. Why did I pay for Encounters? Because of their Depict Competition (which The One That Got Away didn’t actually qualify for, being over 90 seconds) they seemed to be associated with very short films, and with hand-made animation-type films. Plus I knew the festival director from doing FilmWorks.

How many of those 36 festivals did the film get into?

Two. Worcestershire Film Festival, and Belo Horizonte International Short Film Festival in Brazil. Belo Horizonte’s notification email told me that The One That Got Away “was one of the 12 selected for the Children’s Exhibition, among 2,700 subscribers.” That gives you an idea of the kind of odds you’re up against with a festival submission. Suddenly 2 out of 36 doesn’t seem so bad.

Shooting The One That Got Away. A row of 100W bulbs can be seen on the right.
Behind the scenes of The One That Got Away

I have great admiration for what the guys at Worcestershire Film Festival are doing, and it was really great to go along and see the film with an audience, but at the moment it’s quite a new and low-key festival. For all I know, the same is true of Belo Horizonte, though I wasn’t about to fly to Brazil to find out. (They were not offering to pay my travel.) I’d estimate a total audience reach of about 100-150 people for those two screenings. Less, I would guess, than it’s had online. And apart from a little bit of buzz amongst my social media network generated by the announcement of these festival selections, there have been no other benefits.

I leave you to decide for yourself whether you think it was worth all those entries and the cost of £71. A full list of festivals entered follows.

Look out for my future post on Stop/Eject’s festival entries. Since that film was crowd-funded, we were able to take a very different approach and enter a lot of top tier festivals, so it will be an interesting comparison.

The One That Got Away submissions via Reel Port:

  • Anibar International Animation Festival, Republic of Kosova
  • 12th International Festival Signes de Nuit,  France
  • Kinodot Online Festival of Creatibe Short Film, Russian Federation
  • The International Bosphorous Film Festival, Turkey
  • Exground Filmfest, Germany
  • Encounters Short Film and Animation Festival, UK
  • 9th International Short Film Festival, Lithuania
  • Cinefiesta, Puerto Rico
  • Mobile SIFF – Shanghai International Film Festival, China
  • Odense International Film Festival, Denmark
  • Concorto Film Festival, Italy
  • 20min|max, Germany

Submissions via Short Film Depot:

  • Short Shorts Film Festival & Asia
  • International Short Film Week, Regensburg
  • Seoil International Extreme-short Image & Film Festival
  • Curocircuito – Santiago de Compostela International Short Film Festival
  • Tehran International Short Film Festival
  • Kaohsiung Film Festival
  • Asiana International Short Film Festival
  • Bogota Short Film Festival
  • Belo Horizonte International Short Film Festival (accepted)
  • Kuku International Short Film Festival for Children and Youth, Berlin
  • Off-courts Trouville
  • Uppsala International Short Film Festival
  • Shnit International Short Film Festival
  • Manlleu Short Film Festival
  • Sapporo International Short Film Festival & Market
  • Sao Paulo International Short Film Festival
  • Seicicorto International Film Festival Forli
  • Festival Silhouette
  • China International New Media Shorts Festival
  • Plein la Bobine
  • Corti da Sogni Antonio Ricci – International Short Film Festival
  • FEC Festival – European Short Film Festival
  • Mecal Barcelona International Short Film and Animation Festival

Direct submissions:

  • Worcestershire Film Festival (accepted)

 

The One That Got Away: Festival Results