“The Little Mermaid”: Sun, Sea and Cinematography

(Spoiler alert!) The denouement of The Little Mermaid takes place in the waves on a picturesque beach, where Cam (William Moseley) has carried Elizabeth (Poppy Drayton). In true fairytale style, our hero and heroine finally share their first kiss, parting to reveal the flaring orange sun behind them, just above the horizon. By the time we got to this sequence, we had already shot some water scenes, but those were in controlled, studio-like conditions. Working with natural light and real waves was going to be a whole different ball-game.

Here are some extracts from my diary, revealing how this magical moment was ultimately captured.

 

Day 22

Scenes at the beach today, with actors in the ocean. We’ve been worried about this sequence since the earliest stages of preproduction. Will the cast get too cold? Will it be too dangerous with waves and jellyfish and razor-sharp oyster beds? Will we get the magical dawn lighting the script requires? Building a partial beach set against green-screen was considered for a long time, but eventually shooting on a real beach, and this one particular beach, turned out to be our only option. (We’re back on Tybee Island, the same island we did the Shirley Shoot on so very long ago, and Baywatch seems to have all the other beaches tied up.)

The weather is good, with a cloudless sky. We’re cheating sunset for sunrise, and I know exactly where the sun will go down, thanks to the Helios and Sun Tracker apps.

We get ready to go into the water shortly after 6pm. The ACs put the camera in the splash bag and we bring it into the ocean. It starts to leak. Which is pretty much the last thing you want to happen. We pull it out before the camera gets damaged, but now we’re wondering how to shoot the scene. Someone suggests I just put the camera on my shoulder (I’m only going in up to my waist) and a couple of the crew spot me to make sure I don’t drop it. Sounds risky, doesn’t it? But it works. Meanwhile Captain Dan joins us in his waders to hand-bash a polyboard bounce, and the ‘B’ camera team are on a pontoon trying to get alternate angles.

Perhaps the most important thing I do today is ask Will to pick Poppy up the other way around. You see, when we’re about to turn over, Will picks up Poppy with her head to his right and her tail to his left. But I can see that if they play the scene with Poppy this way around, I will end up framing the two-shot with my back to the sun, losing that magical image of the low sun in the background, and probably casting camera shadows on them to boot. So I ask Will to pick Poppy up the other way around.

As the sun races towards the horizon, we get two magical takes. I’m constantly reframing to keep the setting sun in the background, and as the hero and heroine kiss, it flares out perfectly between them. Everyone is ecstatic.

 

Day 23

‘B’ cam 1st AC Geran Daniels on the pontoon with the Alexa XR Studio and the hefty Angenieux 19.5-94mm Optimo

It’s another beautiful day, and the first task is to go out on the pontoon and shoot Poppy’s double swimming about in the mermaid tail. I use the Angenieux zoom for only the second time (it normally lives on the ‘B’ camera), and for the first time on my shoulder. Damn, that thing’s heavy. But my shoulder has worse to come today.

As sunset approaches, we must shoot pick-ups for Saturday’s water scene with the principal cast. Today the tide is much lower at sunset, and getting out to a deep enough spot (up to around waist or chest level) means walking over very squelchy mud which you sometimes sink in up to your knees, and sharp oyster beds. So instead we get into the water via the pontoon. This boat has a limited capacity, so I’m dropped off on the first trip, before it returns to the dock twice more to get the rest of the cast and crew who are needed. It’s extremely pleasant to swim about in the ocean (more of an estuary really) while we wait.

In the water with 2nd AC Kane Pearson and some expensive electronics. The white patch on the splash bag is the $5 of tape!

Line producer Fabio has proudly repaired the leaky splash bag with a $2 bicycle inner tube patch. 2nd AC Kane, a big spender, added $5 of tape, and we successfully tested it before we set sail.

Because the splash-bag doesn’t fit our Alexa’s viewfinder, Kane has to hand-bash a 5.6” monitor in a ziplock bag (along with a Teradek receiver and battery) so that I can see what I’m shooting. This works pretty well though. The hardest thing is the mud; it’s impossible to find a firm spot, so during the takes I’m always sinking and trying to keep my balance and follow the action at the same time. Kane has to prop me up on a couple of occasions.

For all the material in the ocean I stick to a (Cooke S4i) 32mm lens; the zoom won’t fit in the splash housing, and lens changes take too long. (The cast can only be in the water for 30 minutes at a time, according to Screen Actors Guild rules.) Although we mostly shoot at water level, where the splash bag floats and is easy to control, one set-up requires me to put it on my shoulder. The weight is quite something, but with help I get the shot.

With the water scenes wrapped, and the tide now higher, we swim back to shore. We’ve been in the water at least three hours, and it was exhausting but a lot of fun too.

That concludes my blog series on The Little Mermaid. If you missed any of the earlier instalments, here are the links:

Don’t forget, if you’re in the UK, the film is currently available from all good high-street DVD retailers and on Amazon as a DVD or download.

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“The Little Mermaid”: Sun, Sea and Cinematography

“The Little Mermaid”: Lighting from the Back

So far, this blog series about my cinematography of The Little Mermaid has covered the biggest and most complex scenes in the movie. Today I’m going to look at some smaller scenes, and how I employed the cinematography tenet of lighting from the back to quickly build a look for these which has depth, mood and drama.

Many of these examples are specifically cross-backlighting, something I covered in my Lighting Techniques series, but I’ll quickly recap since it has so much relevance here. It involves lighting two characters facing each other with two sources, on the far side of the eye-line (short key), crossed so that each source keys one character and often backlights the other too.

So with that in mind, let’s proceed to the examples from my shooting diary.

 

Day 1

The first week is pretty much all in houses with just a few principals, so an easy start. Day 1’s schedule is tight though. We start in a third floor bedroom – no way lamps are getting up to those windows from outside, so I’m relying on natural light augmented with a bit of cross-backlight cheated inside the room. (There’s a Kino Flo shining at Elle over Cam’s right shoulder, for example.) Once the haze is in it looks great. After we get the main coverage, we head out to the garden for the next scene, while the ‘B’ camera team steps in to pick up a couple of inserts…

 

Day 3

…It’s a night scene and the grips have tented the window. To get a nice blue glow coming in, I have two 4×4 Kino Flos set either side of the window (outside), and they give a great wrapping backlight to the actors and the set dressing. Smoke and a cool white balance of 3,200K (the Kinos are tubed for 5,600K) complete the look. It owes a lot to a scene from Hook, one of Blake’s (director Blake Harris) reference movies which I watched during preprod. This stuff definitely filters in and inspires things!

 

Day 13

Our first day on stage. It’s weird to be back at the former supermarket I spent five weeks of preproduction in. The first set, Locke’s chamber, is very confined and the walls don’t wild, so it’s quite slow-going to work in there. We fire a 5K fresnel through the stained glass window at the back of the set. Then I fall back on the tried and tested method of cross-backlighting even though I know that it will be hard to hide the lamps (a 650W fresnel in both of the upper rear corners of the set) from camera. In the end I have the art department dress drapes in front of them. For the villain’s single I leave the light hard, but for the hero’s single we use bounce boards to wrap the light around his face more…

 

Day 28

We start with the fortune-teller’s tent, another small set constructed on stage. In fact, it’s just an Easy-Up artfully draped with fabrics. Initially there’s nowhere to get light in from except the front, but I know that this will leave the scene looking flat and fake, so I work with the art department again to make holes in the top rear corners. Through those we shine tungsten-bubbled “Fat Boy” Kino Flos. (These 2ft 4-bank units are giving the dual kickers on Cam in the centre, and the beautiful down-light on the background fabrics, bringing out the ruching. Each one also provides a little key-light on the two ladies.) The other sources are “moonlight” coming in through the entrance, linking us to the circus exteriors, and a stylised slash of light across Thora’s eyes from a Source Four, suggested by Jason (key grip Jason Batey). Adding foreground practicals is an important final touch to expand the depth and scale of the set…

 

Day 31

It’s the last day of principal photography. Our big scene of the day is the newspaper office where Cam works, which is a set in the front of the studio, using the building’s real windows. We fire the 12K in and gel it with half CTS for a nice morning sunlight effect. We’re shooting towards the windows, which have blinds, so we get some nice shafts of light, though sometimes it’s a little too smokey. Running haze is a pretty skilled and tricky job, and involves considering the lens length and backlight, which both affect how much the smoke shows up on camera. When we get it right, combined with the dark wood period furniture, it totally sells the 1937 setting. Apparently people at video village are loving it, saying it looks like Mad Men….

Next week, in the final part of my blog series on The Little Mermaid, I’ll share my experiences of shooting the sunset denouement while up to my waist in the Atlantic Ocean.

“The Little Mermaid”: Lighting from the Back

“The Little Mermaid”: Boats, Trains and Automobiles

One of the biggest challenges on The Little Mermaid was the amount of material set in moving vehicles at night. Over the course of the story, the heroes travel in two different trains, a pick-up truck and a riverboat, and I knew that lighting large stretches of railway, road or river wasn’t going to be practical on our budget. Ultimately much of it ended up being done against green screen, with the notable exception of the riverboat, the first mode of transport to go before the cameras. Here are the relevant extracts from my diary.

 

Day 14

Today’s a big day because we’re shooting on a riverboat which has been hired at great expense. We have a huge amount of material to cover and there’s no way we can come back to the boat later if we don’t get it all. Chris and I make a game plan in the afternoon and arrive at the dock in good time.

It feels a lot like a micro-budget movie, shooting on a location that perhaps should have been a set (once we set sail you can’t see anything in the background because it’s night) with a tiny lighting package running off a little genny: some Kinos, two LED panels, and a 1K baby. Out there in the dark river, it is eery watching unfathomably huge container ships pass 50ft from us. We leave ‘B’ camera on the shore and try to co-ordinate with them by walkie as they shoot wide shots of the boat and we try to hide!

 

Day 16

Night driving scenes in a pick-up truck today. Poor Man’s Process was considered for these, then doing it for real with a low loader (called a process trailer here in the States). But at last green screen was chosen as the way to go.

The period vehicle is wheeled into our studio and parked in front of two 12×12 green screens, which VFX supervisor Rich dots with red tape crosses for tracking markers. Throughout the night he moves them around to make sure there are always a couple in shot. We light the green screen with two Image 80s (4ft 8-bank Kino Flos with integral ballasts) fitted with special chroma green tubes. Rich tells me to expose the screen at key, which in this case is T4.

Captain Dan Xeller, best boy electric, has lit car stuff before, so I give him free reign to establish the ambient level. He does it with 1Ks fired into 8×4 bounce boards, so that any reflections in the car’s bodywork will be large and sky-like, not strips like Kino Flos or points like pars or fresnels.

For shape we add a 5K with a chimera at a three-quarter angle, and a side-on par can with a “branch-a-loris” in front of it. Key grip Jason Batey designs this rig, consisting of two branches on a pivot like a Catherine Wheel, which can be spun at any speed by one of the grips, to simulate movement of the car.

Finally I add a 2K poking over the top of the green screen with Steel Blue gel, as a gratuitous hair-light.

Most of the night’s work is handheld, often with two cameras, but we also get some dolly shots, moving towards or away from the car, again to simulate movement.

 

Day 17

More green screen work today. At the end of the night we recreate one of the scenes from the boat with a piece of railing against the green screen. I do exactly the same lighting as before – Steel Blue three-quarter backlight, and a tungsten key bounced off polyboard. I love the way the actors’ skin looks under this light. Tungsten bounced off polyboard may just be the best light source ever.

 

Day 18

Stage scenes on real sets today, one of which is meant to be on the riverboat. The grips come up with a gag where we shine moonlight through an off-camera window gobo, which they handbash back and forth to simulate the boat rocking. We end up dialling it down so it’s very subtle, but still adds a hint of movement.

We move to the caboose (guard’s van), one of the train carriage sets. A second branch-a-loris is constructed so that both windows on one side of the carriage can have the passing trees effect cutting up the hard fresnel “moonlight”. We light from the other side with Kinos, and add a 1K baby bounced off foamcore to represent light from a practical oil lamp. Later the dialogue transitions to a fight scene, and we replace the bounced baby with an LED panel so it’s a little easier to move around and keep out of shot. I get to do some energetic handheld camerawork following the action, which is always fun.

 

Day 27

Interiors on stage, followed by night exteriors out the back of the studio. One of these is a shot of the heroes running, supposedly towards the train. It’s shot from the back of the 1st AD’s pick-up truck as we drive next to them. We have no condor today so the 12K backlight is just on a roadrunner stand, flooding out across the marsh between the lamp and the talent. With smoke it looks great, but lens flare keeps creeping in because the lamp’s not high enough.

We also shoot some Poor Man’s Process around a small set of the rear of a train car. Two lamps with branch-a-lorises in front of them, wind, smoke and shaky cameras help sell the movement.

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Later we have a POV shot of a train screeching to a stop in front of the villain. The camera is on a dolly and the G&E team mount a 2K on there as well, to represent the train’s headlight.

Next week I’ll turn my attention to The Little Mermaid‘s smaller scenes, and discuss how the principle of lighting from the back was applied to them. Meanwhile, if you’re interested in some techniques for shooting in genuinely-moving vehicles, check out my blog from week three of Above the Clouds where we shot on Longcross Studios’ test track, and my article “Int. Car – Moving”.

“The Little Mermaid”: Boats, Trains and Automobiles

“The Little Mermaid”: Pools of Light

Although The Little Mermaid takes place mostly on dry land, there were some key scenes involving tanks and pools. These include the moment which introduces the audience to the mermaid herself, played by Poppy Drayton. Here are some extracts from my diary covering the challenges of creating a magical, fairytale look while filming in and around water.

 

Day 10

Today we’re inside the big top all day – actually all NIGHT. We can’t shoot during the day because too much daylight bleeds through the canvas of the tent.

We are setting up when a storm hits. The tent starts to blow about in a slightly alarming fashion, rain lashes down outside (and inside, because the tent isn’t very waterproof) and lightning flashes. We are ordered out of the tent, and I run into a waiting mini-van with Joe from art and some of the camera crew. We sit watching the rain and telling stories for half an hour before we can press on.

Setting up with a stand-in next to the mermaid tank (centre, behind the monitors). In the top right you can see the 575W HMI backlight for the tank, and below that, grip Sawyer Oubre stands ready to fake watery rippling light with a par can and a blue gel frame.

Around the wall of the tent the art department have hung canvas posters; at the suggestion of gaffer Mike Horton, we uplight these with par cans and par 38s. The design of these fixtures hasn’t changed since the 30s, so we can get away with seeing them in shot. The art dept have sourced four period spotlights which we use as background interest (they’re not powerful enough to really illuminate anything), as well as string-lights.

Ambience comes from a Maxi Brute, with just a couple of bubbles on, firing into the tent roof. After seeing a video test of various diffusers during preproduction, I asked for Moroccan Frost to be added to our consumables list, and we use it for the first time on this Maxi Brute. It gives a lovely muted orangey-pink look to the scene.

Steadicam operator Chris Lymberis. Photo: Kane Pearson

We’re shooting our mermaid for the very first time, in a tank in the circus ring. The initial plan is to fire a Source Four straight down into the water to create genuine watery rippling light, while bouncing a par can off a wobbling frame of blue gel to beef up the effect. In the end the Source Four isn’t really cutting it, so instead we rig a 575W HMI, gelled with Steel Blue, to a menace arm and fire it into the tank as toppy backlight. This Steel Blue gelled daylight source, blued up slightly further by the water itself, contrasts beautifully with the Moroccan Frost tungsten ambience which the Maxi Brutes are giving us.

In her mermaid tail and costume, Poppy Drayton looks stunning in the tank. We shoot steadicam angles and some slo-mo to get the most out of the set-up.

 

Day 15

The rocky pool set with two of the side-lighting Kino Flos and the 1.2K HMI backlight (centre) in place

Back on stage, and we’re shooting the rocky pool. This set was built before I even arrived in Savannah, so I’ve been waiting a long time to shoot it. It’s built almost right up to the ceiling of the studio (a former supermarket) so it’s challenging to light. The grips build four menace arms and poke two 4×4 Kinos and two 575W HMIs over the sides to cross-light the set and bring out all the texture in it. Where the set ends they put up a 20×20′ greenscreen, which we light with two Kino Flo Image 80s fitted with special chroma green tubes.

After a wide (which didn’t make the final cut), the next set-up is a 2-shot of our leads in the pool itself. We consider arming the camera out over the pool using a jib, but ultimately decide that it’s better for me to join the cast in the pool, with the camera on my shoulder in a splash bag. 2nd AC Kane Pearson joins the pool party as well, and ends up hand-bashing a monitor for me since the splash bag’s designed for a Panaflex film camera and the viewfinder doesn’t line up. I’m reminded of my frustrating splash bag experience on See Saw back in 2007, but this time at least within a few minutes I’ve found a comfortable and effective way to operate the camera, under-slinging it and allowing it to partially float so I don’t have to support the whole weight.

For this shot we’ve added our par-can-bounced-off-a-wobbling-blue-gel gag for watery light ripples, and combined with the real light ripples and the reflections of a 1.2K HMI backlight, the image looks beautiful.

 

Day 19

After lunch we shoot the singles for the rocky pool scene. The pool itself has been removed, and the actors sit on stools in a paddling pool, with the set behind them. The paddling pool serves two functions: it catches the water that make-up pours over the actors to make them look wet, and it reflects rippling light onto their faces. This light originates from a par can. At first it flattens out the look, then we figure out that we need to lay black fabric on the bottom of the pool. This stops the par can’s light bouncing directly, while retaining the rippling highlights off the water’s surface. (Check out my article on shooting water for more tips like this.)

The low-tech solution for the pool pick-ups

In the final edit this was all intercut with some beautiful footage by underwater DP Jordan Klein, shot both at a local diving pool in Savannah and at Weeki Wachee Springs State Park in Florida. The main unit shot another scene in the actual ocean, but I’ll cover that later in this series. In the meantime, next week I’ll reveal some of the tricks and techniques used in shooting The Little Mermaid‘s many sequences in moving vehicles.

“The Little Mermaid”: Pools of Light

“The Little Mermaid”: Circus Cinematography

‘B’ cam 2nd AC Matt Dixon preps the camera on the crane’s Scorpio remote head. Photo: Tim Gill

The biggest set on The Little Mermaid was the circus, an area the size of a football pitch which was transformed into a period spectacle. The big top and many other pieces were driven across the country from LA, and during our first week of principal photography the art department were hard at work setting it all up and dressing it.

Today’s post is about how I lit the night exterior scenes on this huge set. To that end I’m going to focus on the two biggest shots in the sequence: a tracking shot outside the big top, and the crane-up which first reveals the circus to the audience. Below, as well as my diary entries from the shoot, you’ll find a little behind-the-scenes video I grabbed on my phone for the tracking shot, and a lighting plan for the crane shot.

 

Day 7

The two 18K HMI fresnels rigged on the condor

A couple of daylight pick-ups today, then we start setting up for a big night scene. The camera will dolly with Cam and Elle from the exit of the big top, past candy floss and ‘healing water’ stalls where bits of dialogue will happen, and finally reveal a ferris wheel in the distance. We block while the sun’s still up, and paint in the light as night sets in. We are trying to light most of it in a way that will also work for our big crane shot reveal of the circus later in the week, because repositioning large HMIs – especially the two 18Ks we’re flying on a condor (cherry-picker) – is very time-consuming. Inevitably it doesn’t quite work out that way, and one of the 18Ks has to die for now at least.

The ferris wheel is backlit by a 12K, with a little front-light from a 5K tungsten fresnel. Cross-light on the talent comes from the working 18K and a 6K on the opposite side of frame. Nine-light Maxi Brutes illuminate the tent from inside, some of that light spilling out onto the talent, while par cans uplight a row of banners outside. A 1K baby provides edge-light to the talent in their final position. A 300W fresnel inside the healing water wagon spills out, and a bare 40W globe inside the umbrella of the candy floss stall gives us a little glow there.

The final lamp to go up is another 300W fresnel, because the directors are concerned that the ’sold out’ sign on the healing water wagon isn’t clear enough. We end up firing it in from the front because there’s no time for anything else, but as always with front-light, I deeply regret it. Ideally we would have armed it out from the roof of the wagon to rake down the side of it.

Once the supporting artists are choreographed, the shot looks great.

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Day 9

A Nine-light Maxi Brute inside the big top

We start with a big crane shot revealing the whole circus at night. For this shot we have the following lamps burning: 2 x 18Ks (on a condor), 1 x 12K, 1 x 4K – all those are providing moonlight or starlight, with varying degrees of blue gel on them; 2 x Nine-light Maxi Brutes making the big top glow from inside; a 5K spilling some orange glow on the background; 2 or 3 smaller tungsten units spilling out light from inside the smaller tents; and lighting the foreground, a 4×4 Kino and a 1K baby bounced off unbleached muslin. There are also numerous practicals on, including the lights on the ferris wheel, the illuminated ‘circus’ sign, several par can up-lighters, and about 7KW of fairy lights. Totalling over 80KW, it is easily the biggest lighting set-up of my career. Although the grip and electrical crew is relatively small given the scale of the set-up, they handle it with aplomb.

We have rebuilt our Giraffe crane to its maximum 31ft configuration, so we can swoop up over the entrance tent, past the ’circus’ sign, and reveal the twinkling string-lights of the midway leading to the big top, and the rides beyond.

Here’s a retrospective lighting plan for this crane shot (not to scale); click to enlarge it. Note that additional tents were added in postproduction, as you can see in the trailer.

Ideally we would have had two condors, with an 18K on each, and put one of them way back behind the trees, to maintain a consistent direction of moonlight, but budget and the practicalities of the location made this impossible.

The ‘A’ camera on the dolly, with the two 18Ks on the condor in the background

One thing that was a little different to my original plan was the hard 4K edging the roofs of the midway tents on the lefthand side. This was meant to be a pair of 6Ks firing through a diffusion frame, to get a much softer, less “sourcey” look than the hard “moonlight” from the 18Ks. But unfortunately both our 6Ks were malfunctioning.

Another change was the lighting of the midway itself. We had a tungsten helium balloon on the truck, which I had planned to float above the midway to provide warm ambience. As it turned out, the practical string lights, although only 40W each, were so numerous that they provided ample illumination in the centre of the frame.

Later on in production, I was chatting to one of the ADs about this scene and he expressed surprise at how well I had handled it, given that it was so much bigger than any lighting set-up I’d previously done. Honestly it never fazed me. Lighting is entirely scaleable; the principles are identical, whether your set is a small bathroom or a football pitch. I’d done so much night exterior in my career, I’d just never had the big toys I wanted before. I’ll let you in on a secret though: the only reason I knew to ask for 18Ks and a condor was from reading American Cinematographer!

In my next post I’ll discuss shooting some of Poppy Drayton’s key scenes as the eponymous mermaid, including her introduction inside the big top. Don’t forget that The Little Mermaid is currently showing in movie theatres across the US and on Amazon in the UK.

“The Little Mermaid”: Circus Cinematography

“The Little Mermaid”: Shooting Shirley

The Little Mermaid, an independent live-action take on the Hans Christian Andersen fairytale, is now showing in cinemas across the USA. To mark the release, over the next few weeks I’ll be posting a series of articles about my cinematography of the film, using extracts from the diary I kept during production.

In this first instalment I’ll focus on the “pre-shoot”, two days of capturing the present-day scenes, undertaken a few weeks before principal photography began. For these scenes, we were all very excited to be working with bona fide Hollywood royalty in the form of Shirley MacLaine. Since debuting in the 1955 Hitchcock comedy The Trouble with Harry (and winning a Golden Globe), Shirley’s career has taken in six Oscar nominations as well as a win for Terms of Endearment, plus an AFI Life Achievement Award, two Baftas, an Emmy and several more Golden Globes.

No pressure then….

 

Saturday

Shirley is installed at a five-star hotel in downtown Savannah for hair, make-up and wardrobe tests. Taking it easy at the studio, I get a call from the UPM telling me that Shirley wants to meet me. Nervously I transfer my lighting reference images (including screen grabs I gathered last week from her previous movies) to my iPad and await my car.

When I get to the hotel I bump into her and the rest of the crew in the hall. Plunging straight in, I shake her hand and introduce myself as “Neil Oseman, the DP”. Evidently not hearing that last bit, and presuming I’m a PA or possibly a fan, she looks me up and down and asks me who I am. I repeat that I am the director of photography. “You’re so young!” she exclaims, laughing at her mistake.

“Well, I’ve been doing this for fifteen years,” I reply, all too aware of how short my career is compared with hers.

“Which pictures? Tell me,” she says.

Again acutely aware that my credits list isn’t going to sound very impressive to her, I mention Heretiks, and Ren: The Girl with the Mark and mutter something about doing lots of features.

To my great relief she doesn’t press the point, instead asking what I think of the wig and make-up she’s wearing. I ask her to step into the daylight, and assure her that it looks good, but that I’d like to warm up her skin tone a little with the lighting, an idea she responds well to.

Satisfied, Shirley moves on to other things, and I hang out in a meeting room at the hotel drawing storyboards, until it’s time for a production meeting.

 

SUNDAY

The present-day scenes were shot on Arri Alexas using Zeiss Super Speed Mark I primes and an Angenieux Optimo zoom, diffused with Tiffen Soft FX filters.

I arrive on location before even the early crew call of 8am, with my gaffer Mike Horton. His and key grip Jason Batey’s teams have rigged a dark box around the beach house’s deck/balcony so we can shoot day-for-night interiors.

At 10am Shirley arrives, blocks the scene, then goes off to hair and makeup. We’re starting with close-ups of her, so the grip and electric teams come in and build a book light. (This is a V-shaped arrangement of bounce and diffusion material, resembling an open book, which greatly softens the light fired into it.) When we start to turn over and Shirley watches playback, I’m gratified to find she is very happy with how she looks on camera. We shoot out all her close-ups, then bring in the little girls playing opposite her and block the wide shots.

In the lefthand foreground here is the 2K source for the book light. In the top right you can see the diffusion frame it’s firing through, and you can just make out the poly or rag we attached to the wall to bounce the light back onto Shirley (in the white nightgown). The net in the upper centre is cutting some light off the background. The camera can just be seen on the right of the photo.

As time begins to crunch, I fall back on cross-backlighting as a quick no-brainer solution to get the wide shot looking good. It’s so important to have these lighting templates up your sleeve when the pressure’s on. (Later on in this blog series I’ll discuss the use of cross-backlighting in several other scenes in the movie.)

For a little while it looks like we might not make the day, but I suggest a way to maximise the beautiful beach view at twilight and get the story beats covered in one two-camera set-up. The shot feels like something out of a classic old movie. Shirley MacLaine walking off into the sunset! Everyone loves how it looks, including Shirley. The praise of an actor as experienced as her is high praise indeed, and it makes my day!

 

Monday

At the monitors with producer Rob Molloy. Photo: Brooks Patrick Allen

We start lighting for our “sunset” scene, which involves firing a pink-gelled 6K through the window and netting the background to get some highlight detail into it. Rather than a book light, this time I use a diffused 4×4 Kino Flo as Shirley’s key. I take a risk and place it further off to the side to get a bit more shape into the light.

Shirley enters, takes one glance at the lighting and remarks, “So, you like this cross-light, huh?”

Busted!

We compromise by adding a little fill from a reflector which Shirley positions herself before each take. Her awareness of how she’s being photographed is astounding. She knows more about lighting than some DPs I’ve met!

Looking at the scenes now, I realise that a large white horizontal reflector in front of Shirley would have been perfect to simulate bounce off the bed, which we moved out when we were shooting the close-ups. Hindsight is 20/20, but I’m still pleased with how it turned out.

Next week I’ll break down the huge lighting set-up required for the night exterior circus scenes.

“The Little Mermaid”: Shooting Shirley

Poor Man’s Process II

Back in 2013 I wrote a blog about Poor Man’s Process, a low-tech method of faking shots inside a supposedly moving car, using lighting gags and camera movement to sell the illusion. But Poor Man’s Process doesn’t have to be limited to cars.

While gaffering for DP Paul Dudbridge on By Any Name, we had to tackle a nighttime scene in which the hero flees through a forest. Rather than trying to get close-ups with any kind of tracking rig, Paul decided to use a technique apparently favoured on Lost, whereby the actor and camera are stationary, and lights and branches are moved around them to create the impression of movement.

It worked a treat, so when faced with a very similar scene on Ren, I shamelessly ripped Paul off. The actors weren’t sure; they felt pretty silly running on the spot, but we persevered. My lighting set-up used the 2.5K HMI, already rigged for earlier shots, as a side key, and an LED panel as three-quarter backlight. Branches were waved in front of both to throw shadows, and I shook the camera a lot.

Poor Man’s Process was required a second time on the series, in the very last scene, on the very last day of the shoot.

Sophie Skelton (Ren) and Duran Fulton Brown (Hunter) ride Tony the Phony Pony. Photo: Miriam Spring Davies
Sophie Skelton (Ren) and Duran Fulton Brown (Hunter) ride Tony the Phony Pony. Photo: Miriam Spring Davies

By this time we were one big happy family and we were all having far too much fun. Gaffer Squish was singing “One Day More” from Les Miserables, actor Duran was riding Tony The Phony Pony like a rodeo champ, candy was being freely imbibed and marshmallows were being toasted. The Poor Man’s shot seemed more like an extension of us all just larking about than anything else.

Ren and Hunter were required to ride off into the moonlight on a single horse, but the horse in question was quite jumpy and not safe for the actors to ride. Designer Chris and production assistant Claire knocked up the highly impressive phony pony, which was used extensively, but moving it fast enough for the final shot was out of the question.

Claire Finn prepares for some arboreal lighting action. Photos: Miriam Spring Davies
Claire Finn prepares for some arboreal lighting action.

So Tony remained stationary while Claire, her sister Alex and producer Michelle threw dignity to the wind and ran around with bits of trees.

I was using the 2.5K HMI as backlight, and a 1.2K HMI bounced off Celotex as a side key. Claire, I think, was on the 2.5K, jiggling a branch about to create some nice dynamism cutting up the hard backlight. Alex, if I recall rightly, was doing a windmill action with her branch in front of the Celotex. Michelle, meanwhile, stood ready with her branch until director Kate called “Tree!”, at which point Michelle would run past at full pelt and Sophie (Ren) would duck under the branch she was supposedly riding by.

You can see some behind-the-scenes footage in Lensing Ren episode 5.

Aided by smoke, a wind machine and the obligatory camera shake, the whole thing was quite effective. Less so the Epping Forest shots, which didn’t make the final cut. Somehow the running-on-the-spot was never quite convincing. Not enough choppy shadows, maybe?

My last project was a $4 million feature, but even that called for Poor Man’s in one instance. A small train carriage set piece had to appear to be moving as our heroes jumped onto it, so in front of each light we placed a ‘branch-a-loris’, a kind of man-powered windmill made from scaff tube and branches. Again lots of smoke, wind and camera shake were employed to sell the illusion.

I think Poor Man’s Process is one of my favourite techniques. It doesn’t always work, but if there’s enough movement in the camera and the lighting, and it’s cut in with genuine wide shots, it can often be extremely effective.

If you’ve enjoyed this post, please do me a little favour and vote for Ren: The Girl with the Mark in the Melbourne Web Fest Audience Award Poll (find us in the drama section). It only takes a moment!

Poor Man’s Process II

4 Reasons to Use a Light Meter

lightmeterIn the celluloid era, light meters were essential to ensure proper exposure of the film negative. In today’s digital world, where you can immediately see your images on a monitor, it may seem like light meters are obsolete.

But these devices still have their place in modern cinematography. On a bigger production, when you may not be at the camera the whole time, they can be very useful. Interrupting your ACs (as they set up the sticks, swing the lens, put on the eyepiece extension, balance the fluid head, run cables to the monitors, etc.) in order to see if your image is correctly exposed on camera can be inefficient.

And having the reliable, hard number a light meter gives you can be more reassuring than judging false colours or histograms.

Here are four ways in which I used my brand new light meter on my last production, The Little Mermaid:

  1. To call ND filters. When shooting outdoors, I would take light readings in the sun and in the shade, and when then the sun was in, to understand the range of light levels I was dealing with. I could then pick an ND filter that would put me at a stop at where I would still have the room to adjust the iris a little either way if the light got brighter or darker. This was particularly important when we were shooting on water in a splash bag, when changing NDs or even just adjusting the iris was a longer process. (In my next post I’ll look deeper into stop maths and ND filters to demonstrate exactly how to select an ND filter based on a light reading.)
  2. To measure contrast ratios. The Alexa can handle up to seven stops of over-exposure and eight stops of under-exposure. Knowing this, I could use my meter to see if certain areas were going to blow out or crush, before the camera was even set up. I could also measure how many stops the key side of an actor’s face was above the fill side, and thus work out the key-to-fill ratio. At present this is still something I judge by eye on the monitor, but the more I get to know the numbers, the more I suspect I will start determining it in advance.
  3. To check green-screens are properly lit. The visual effects supervisor, Jafar, told me that green-screens should be exposed at key, or up to half a stop over key. So if I was shooting at T4, I would walk along the green-screen and take readings at various points to make sure the meter was generally giving me between f4 and f4½.
  4. To schedule a dusk shot. For a twilight scene on a beach, I needed to know in advance exactly what our window of opportunity was. Looking up the sunset time is all well and good, but it doesn’t help you figure out how long afterwards there will be enough ambient light left to shoot with. So while at location the day before, I went out onto the beach and took light readings every few minutes after sundown. These told me I had 20 minutes from sunset until the ambient light dropped below what the lenses could expose.

Do you use a light meter? And if so, how?

4 Reasons to Use a Light Meter