Wednesday, 15 October 2014

Stephen H. Burum ASC Document & new Camerimage blog

Camerimage have launched a new blog and very kindly asked to interview me for their site. If you follow the link below you can read the interview and find the 12th in my series of DOP Documents, this time featuring the work of Stephen H. Burum, exclusively available through their site.
http://camerimageblog.com/?p=27




Tuesday, 12 August 2014

Tuesday, 5 August 2014

"Abdullah" Lighting notes

As the premiere of "Abdullah" fast approaches I thought I'd share a few lighting notes from the set along with some high res frame grabs.

Shot on 35mm using Kodak 5219 and 5230. The Kodak 5230 was some of the last, if not the last, batch of that stock left in the UK and after clip testing i rated it at 400ASA instead of 500asa.

All my day exteriors were shot on 5230 with a 1 stop pull process and the stock rated at 200ASA.

Night exteriors and interiors were shot on Kodak 5219 with a 1 stop pull process and the stock rated at 500ASA; I also used a Tiffen Low Con 1 and flashed the film in camera 10% with a Panaflasher.

I used Panavision's beautiful B series Anamorphic lenses with a combination of Tiffen 85, 81 EF and ND filters throughout, depending on the colour balance i wanted to achieve in camera.

Day Interiors were lit with medium size HMI's outside the windows, usually 4K Cinepars or a 4K Molebeam, with very little additional lighting inside, other then negative fill or sometimes some poly bounce. If there were flourescents visible in shot I'd swap those out to colour matched tubes and gel them with some plus or minus green.

For Night exteriors I also carried several Mercury Vapour lights from Panalux that I could rig in shot to various places in our exterior sets, along with raw Kino tubes. For one scene these were gelled with Lee 115 Peacock Blue, and for the car exteriors at night they were kept uncorrected, for a cyan/green cast and panned across the car in a poor mans process fashion.

Most of the film was shot at T4/T5.6 except the night car exteriors which were shot at T2.8 to take advantage of the exisiting shop front lighting.

The Negative was scanned at 4K at Company 3 and I did a full 4K DI at Smoke and Mirrors with Dan Moran. The 4K DCP will screen at festivals around the world begining with Frightfest in the UK in August.








Sunday, 6 July 2014

Alex Thomson BSC Document

The latest in my series of "DOP Documents" features the work of the late, great Alex Thomson BSC.

Download it here and as usual this is best viewed on an iPad.

For further reading I highly reccommend Alex's very funny autobiography "Take One" available directly from the BSC www.bscine.com




Tuesday, 1 July 2014

"The Station Master" online

A couple of years ago i shot a bittersweet little film called "The Station Master" for a very promising graduate of the Met Film School, Jon Olav Stokke. After a successful festival run the film has now gone online. It's a lovely performance piece. It was shot on Alexa using Super Baltars and black pro mists.



The Station Master from Jon Olav Stokke on Vimeo.

Sunday, 15 June 2014

"Fireflies" Richard Rawson feat. Tom Parker - Music Promo

Shot on Red Epic with a combination of Panavision's B series, C Flare series and the same HS series Anamorphics I used on "Coward". I also had the chance to test Tiffens new Black Pearlescent Diffusion Filters on this and I think the combination looks terrific.