Yesterday some of the crew started the long drive up to Skye, but for a lucky few – me, MUA Helen and actors Naomi and Andy – our journey starts today with a flight from Luton to Inverness. From there it’s a two-and-a-half-hour drive across the Highlands to the Kyle of Kochalsh, where Gary is waiting for us with his motorhome and the crafty table all set up. Soon afterwards the vans arrive, and the Yellow Peril. From 4pm we are shooting on a little ferry, big enough to hold three or four cars, as it pootles back and forth, back and forth between Skye and the mainland. It is, I think, the most stunning location I have ever shot in. The mountains tower over us from either side of the water, which sparkles in the sun. Although the light turns cloudy pretty quickly, the scene looks epic. All I do is add the usual dashboard LEDs in the picture car, and some sky bounce from Celotex, and darken the skies a little with an ND grad.
Day 19 / Wednesday
For some reason there’s no water at the cottage where many of us are staying, so it’s a slightly whiffy cast and crew that rocks up in another stunning location this morning. In common with the whole shoot to date, the weather – and therefore the light – is very changeable. We have to roll between the squalls that drift across the valley. An interesting continuity issue arises with the mountains in the background of shot: the light on them keeps changing as clouds move across them. The weather here really is something else; this morning we saw a rainbow so close and so low to the ground that it felt like we could have walked over and touched it.
In the afternoon we’re at yet another stunning location, a bench overlooking a bay. For once the light is fairly constant and sunny, which gives us lovely sparkles in the sea. Again I frame the master like the painting in the Turner, with the horizon bang on the vertical centre of frame: clouds above, landscape and characters below. When we flip around to shoot the singles, the light is hard on the actors’ faces, but frontal, which at least is the most flattering kind of hard light. And it fits well with the dialogue, which references it being sunny, so it wouldn’t make sense to put a diffusion frame up. All I do is have runner Jacob stand just out of frame with some poly, which lifts the shadows a little and makes sure we see into Naomi’s eyes when she looks away from the sun.
Day 20 / Thursday
Various small driving scenes to start with. Rupert and Max reconfigure the camera as per our test of week 2, and I climb into the Yellow Peril’s modest rear seat to capture the action. I black out the rear window to get a classic dark-to-light depth effect: underexposed backs of seats in the foreground, the actors (including Naomi’s reflection in the rear view mirror) correctly exposed in the midground, and the view through the windscreen slightly overexposed in the background.
We also shoot exterior up-and-pass shots of the car amidst the spectacular scenery, before crossing the Skye Bridge to record a scene in a mainland village. Here we’re shooting dusk-for-night, so I set the white balance to 3,200K and heavily grad the sky. For shots inside the car, I plaster multiple Litepads over the windscreen, gelled with half CTO. The intention was for these to represent the car’s courtesy light, but with a fair amount of daylight coming into the vehicle the effect is more subtle, serving only to warm up what would otherwise be very cold skin-tones at 3,200K.
On the final set-up, appropriately enough, a car with clouds painted on it happens to drive by. And with that, principal photography is wrapped. There is a fifth week to do at some point, perhaps September, when a certain critical role has been cast, but for now the shoot is over. Andy, Naomi, Helen and I will meander back to Inverness tomorrow, while the rest of the crew drive south. I’ve had a great time, and I look forward to seeing a rough cut and shooting the remaining scenes later in the year.