All in one room today. Lots of handheld shots to start with, and we have no moose bars until lunchtime so I’m gripping the rods quite uncomfortably. We really milk those crucifix windows again, letting them flare out the lens sometimes. We have to be careful though because when too much light hits the Soft FX filter it throws a square reflection back onto the actors.
Paul designs a really cool Evil Dead style steadicam shot to cover a major scene in one set-up. It banks and swoops while Max and Mikey wave branches in front of the lamps outside the windows. Bad stuff is going down in this scene. The age of the windows helps soften the shafts of light through the crucifixes and it all looks beautifully organic. We use a lot of low angle bounce to catch the shafts near floor level and throw them back up into the actors’ faces. The cast look great with this under-bounce. We use a hard silver or gold reflector for the villainess, and polyboard on our heroine for a softer look.
In one shot there is a bright green paddling pool just out of frame. Filmmaking can be so bizarre.
It snows as we return to our holiday cottage for the night along the steep, narrow roads. I doubt it will stick, which is lucky because we’d struggle to get to set tomorrow if it did.