Lighting I Like: “Broadchurch”

The penultimate episode of Lighting I Like goes back to 2013 and the very first episode of the critically-acclaimed ITV crime drama Broadchurch. The scene features the parents of a murdered schoolboy trying to deal with their grief as the sun glares intrusively through the window.

I previously wrote about Broadchurch in an article about headroom, and its third season got a mention in my post about the 2:1 aspect ratio.

The final episode of Lighting I Like will be released, as usual, at 8pm BST next Wednesday, and I’ll be looking at a scene from Star Trek: EnterpriseClick here to see the playlist of all Lighting I Like episodes.

Lighting I Like: “Broadchurch”

5 Principles of Cinematography We Can Learn from Turner

Yesterday I took a trip to The Tate Britain to see what I could learn about light and composition from the world of traditional art. My background is more technical than fine art, so this world is quite new to me. Within quarter of an hour of arriving, I had fallen in love with the work of JMW Turner. The way this man captured the natural moods of light and weather is breathtaking.

Here are five of Turner’s techniques for creating beautiful images which we can apply to cinematography.

 

1. Negative space

One of the most powerful things you can do with an area of the frame is to let it go black. A great example is Bill Pope’s work on The Matrix. But 200 years before that, Turner was embracing the darkness, emphasising those areas in the light, and allowing the viewer’s imagination to fill in the gaps.

“Jason” (1802) – That dragon is lurking in the shadows like a dodgy monster costume in a B-movie.
“Sketch of a Bank, with Gipsies” (1809) – The titular gypsies are barely visible in the black shadows, betrayed only by the smoke from their fire.

 

2. Layering

Any artist creating a 2D image strives to give the impression of depth and dimensionality. There are a number of techniques that can be used to achieve this, but one which Turner uses repeatedly is layering. See how the paintings below delineate foreground (light), midground (dark) and background (light again). The midgrounds sink into shadow, becoming negative space, reinforcing the link and relationship between the foregrounds and backgrounds. At the same time, the foreground figures stand out clearly and eye-catchingly against the shade behind them.

“The Tenth Plague of Egypt” (1802)
“The Goddess of Discord Choosing the Apple of Contention in the Garden of the Hesperides” (1806) – This painting contains five layers: light-dark-light-dark-light, highlighting the two groups of people and the monster in the distance.

 

3. Framing

Although most images we see are framed, be it by a gilt picture frame or by the black edges of a phone screen, there is something aesthetically pleasing about adding a second frame within the image itself. An extreme example would be shooting through a window, framing the image on all four sides, but more commonly we frame two or three sides of the image. Turner frequently does this using trees, buildings and shadowy ground.

“The Decline of the Carthaginian Empire” (1817) – A backwards-‘J’-shaped frame is created by the dark foreground: the wall on the left, the shadowed floor across the bottom, and the dark space in the lower right. To balance the shorter part of the ‘J’ on the righthand side, the sun and its reflection (the focal point of the image) are placed left of centre.
“England: Richmond Hill, on the Prince Regent’s Birthday” (1819) – The dark ground and dark tree to the right create a backwards-L-shaped frame which appears to cradle the rest of the image like a waiter cradling plates in the crook of his elbow.

 

4. Dynamic Composition

The composition of the two paintings below fascinates me. Both seem to be two images in one: a deep view of a settlement on the left, and a tapering tunnel perspective on the right. As I studied them, I found my eyes “panning” from one side to the other. As cinematographers, we can use actual camera movement to create a dynamic shot, but we should not forget Turner’s lesson here, that there can also be dynamism in static frames.

“Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia” (1820)
“Palestrina – Composition” (1828)

 

5. Colour Contrast

Apart from stunningly demonstrating Turner’s power to create mood and atmosphere (a core skill for any DP), the two paintings below are great examples of warm/cool colour contrast. The yellows, oranges and reds of fire and sunset are juxtaposed with the blues of the sky. The result is pictures that really “pop”, arresting the viewer’s attention. A modern cinematographer can readily achieve a similar effect by playing natural daylight, and daylight sources like HMIs and Kinos, against practicals and other tungsten sources.

“Peace – Burial at Sea” (1842) – Contrast in both hue and luminance make this a powerfully evocative painting.
“War. The Exile and the Rock Limpet” (1842) – Note how Napoleon’s blue uniform causes him to stand out against the oranges of the sky, whilst the unimportant, red-garbed soldier behind him is allowed to blend into the background.

 
See also: my trip to the National Portrait Gallery.

5 Principles of Cinematography We Can Learn from Turner

Lighting in Traditional Art

IMG_0879As I dig deeper into the craft of cinematography I feel the need to consume more references and inspiration than cinema itself can provide. To that end, I took a trip this week to the National Portrait Gallery in Trafalgar Square to see a little of  how light has been used in painting and photography over the last few centuries.

The light in many of the portraits is strikingly similar, with the subjects positioned near an unseen window in such a way as to light their up-side, the side of their face closest to the artist or viewer. This is known as a broad key, and in modern cinematography you don’t see it very often; a short key (‘lighting the down-side’) is almost universally favoured. The only convincing explanation I can offer for this is changing fashions.

The paintings that caught my eye were the ones that try something a little different with their lighting. I found it an interesting exercise to work out where the natural light was coming from and how I would recreate it with modern equipment. Here are three of my favourites…

 

Frederick, Duke of York and Albany by Sir David Wilkie (1823)

by Sir David Wilkie, oil on panel, 1822-1823, dated 1823

Rather than using the daylight to illuminate his subject’s face, Wilkie seats the duke with his back to the window, which cross-lights his sword nicely. The paper in his hand acts as a bounce board, throwing light back onto his face and shirt buttons. It’s great fun doing this in cinematography – firing a hot source in through a window and then seeing it bounce unpredictably off the set and costumes. If I was recreating this painting, the source might be a 6K HMI through a diffusion frame.

 

Thomas Henry Huxley by John Collier (1883)

NPG 3168; Thomas Henry Huxley by John Collier

I love how the top-light in this painting throws Huxley’s eye sockets into shadow, making him resemble the skull he’s holding. I’m guessing Collier didn’t pitch the portrait that way though! I might recreate this using a lightly diffused Joker Bug rigged to the ceiling, or a Source 4 Leiko fired up into an overhead bounce board.

 

The Mission of Mercy: Florence Nightingale Receiving the Wounded at Scutari by Jerry Barrett (1857)

NPG 6202; The Mission of Mercy: Florence Nightingale receiving the Wounded at Scutari by Jerry Barrett

The key light here is coming from the left – perhaps a 12K through a 12×12 full grid – but there’s a hotter shaft picking out Flo in the centre. For that I might use a 2.5K just out of frame, flagged to hit only her. At her feet there would have to be a silver reflector to kick that up-light onto the face of the kneeling woman. The characters on the right of frame are edged quite strongly by the light from the archway. (We know from looking at the shadows on the background buildings that it can’t be direct sunlight, so there must be a window or a very bright wall which that edge light is bouncing off.) I would use an 8×4 matte silver bounce board or maybe even a mirror board to recreate that.

That’s all for now, but look out for more art posts in the near future.

Lighting in Traditional Art

“Above the Clouds”: Week 4

IMG_0725Day 18 / Tuesday

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.

IMG_0713

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.

IMG_0751In 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

IMG_0768Various 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.

IMG_0775On 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.

Keep up to date with Above the Clouds on the official Facebook page or Instagram account.

“Above the Clouds”: Week 4

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

Synced: The Japan Shoot – Part 4

Setting up in front of Himeji Castle
Setting up in front of Himeji Castle

This is the final instalment looking back at the whirlwind shoot I DPed in Japan at the start of this month. Part 1 looked at the equipment package, Part 2 covered an interior scene, and Part 3 covered night exteriors.

By the time we wrapped those night exteriors it was about 4:30am and starting to get light. After some well-earned sleep, we reconvened at 3pm to shoot the daylight exterior scene in front of Himeji Castle – featured in You Only Live Twice as a Ninja training school.

The first shot had to start with a picture postcard composition of the castle and a martial artist, then pan to reveal Daisy and a crowd watching her, while still keeping the castle in. This took some considerable time to set up, carefully placing all the extras. To balance the opening composition, I framed it with a tree in the foreground. This is the kind of thing you have to look out for as cinematographer, because simply shooting your cast in front of a landmark can result in a very flat image if there aren’t other elements in the frame to add depth.

Yurijo shades the actors between takes. You can see the bounce board being held by another crew member on frame  right, and how effectively this is filling in everyone's faces.
Yurijo shades the actors between takes. You can see the bounce board being held by another crew member on frame right, and how effectively this is filling in everyone’s faces.

After watching the initial blocking, I requested that everything be flopped in order to place Sydney in direct sunlight and Daisy in backlight. I knew that the backlight would look fantastic on Daisy’s hair – especially as the sun was very low by the time we got to her CU – and we could fill in her face with flattering bounce from a big white sign that the ever-resourceful Keisuke had brought along.

Ollie and the crew very kindly built me a sunshade.
Ollie and the crew very kindly built me a sunshade.

Masculine facial features tend to look better in harder, direct light, which is why I was happy to face Sydney into the sun. (There’s more to it than that though, and I’ll be debating the ethics of lighting men and women differently in an upcoming post.) However, for the first take of Sydney’s CU, worried about shine and squinting, I chickened out of the hardlight and put up a sheet of Full Frost to soften it. For the second take I got rid of it, which made for better lighting continuity with the wider shots, but left Sydney looking very shiny. There’s only so much powder can do when someone’s looking straight into the setting sun. I’ll be interested to see which one Devon prefers in the edit, although his decision will likely be based on performance rather than light and shine! A good colourist can probably reduce the shine anyway. If only I’d had 1/4 or 1/2 Frost to get the best of both worlds.

Judging when to shoot the various angles in your scene is an important part of a DP’s job for day exterior work, and especially so at Golden Hour. Devon wanted to shoot Sydney’s CU before Daisy’s, his logic being that if we lost the sun before we shot Daisy then it wouldn’t matter because her face was in shadow anyway. Knowing that I was probably going to diffuse Sydney’s light, I felt the greater priority was capturing the lovely backlight on Daisy, and so asked to shoot her first.

Anyway, when the sun went down, that was a wrap for the brief but intense Japan shoot. Many thanks to Devon and co for bringing me along, and to the people of Himeji for welcoming us so warmly.

Synced: The Japan Shoot – Part 4

Ren: Shooting the Exterior Set

Here’s a little video blog about the challenges of shooting on the amazing medieval village set that Chris Dane and others have built for Ren.

I’ve been using the Artemis app a lot to test out lens choices and compositions for “seeing off the set” issues. That way if I’m set up for a shot and we’re waiting on costume or an actor, I can preview the next shot on Artemis and warn Chris that he’ll need to move a wall to hide the car park.

More soon from the set of Ren.

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Ren: Shooting the Exterior Set