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Akeelah and the Bee


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I'm getting near the end of pre-production on my next feature, "Akeelah and the Bee", which starts shooting Feb. 7. The last two days have been devoted to the tech scout, where most of the department heads and their assistants visit each location to be shot. Today's scout lasted from 7 AM to 7 PM.

 

This is a fictional story about a young black girl from South Central LA who competes in spelling bee contests and gets to the National Bee in Washington, D.C. The story is a little more uplifting and family-oriented than I normally get to shoot, which is a nice change. The young girl will be played by Keke Palmer, who just got a SAG nomination for Best Actress for a TV movie called "The Wool Cap". Her mentor is played by Lawrence Fishburn and her mother is played by Angela Bassett.

 

This is a low-budget union production funded by Lion's Gate. It's a tight budget because we're having to recreate so many spelling bee events involving hundreds of kids and their parents. The final bee is in a huge arena and takes up the final twenty pages of the script. So this is pretty ambitious for the budget.

 

I convinced the director that we should shoot this in 35mm anamorphic. There was some brief talk about HD because the director shot some real footage of last year's National Bee in HD and wants to incorporate it. We still might, but as a montage of HD-only material rather than intercut it with 35mm.

 

Panavision has been very generous to me, getting me a 2-camera package (a Millenium and a GII, with Primo anamorphic lenses.) Kodak also gave us a good price on the Vision-2 stocks, so I'll finally be shooting a whole feature on just Kodak -- last time was two years ago on recanned stock.

 

The director and I don't want this film to look "little" -- the idea is to visually treat this little girl's journey as an epic for her and the spelling bees as big sporting events. Hence why I felt that anamorphic was the right choice. I plan on using a lot of anamorphic lens flares in the last bee; the idea is that light represents enlightenment, so we move from a low-key movie to one with a lot of hot areas in the frame. I'm also trying to start out a little cold and pastel, moving into a richer look.

 

I decided to avoid any silver retention processes (except maybe for a very brief flashback, which I might skip-bleach) partially because I doubt that Lion's Gate would want a complicated release print involving some reels with ENR or ACE, let's say, then switching into another look. I'm trying to avoid being overly arty -- for the most part, the film will look failry natural and realistic.

 

So instead, I'm using four stocks on this movie. The first third of the movie will be shot on 5229 Expression 500T without the 85 filter, with some 5212 for sunny day exteriors, also without the 85 filter, overexposed and pulled one-stop to match the contrast of the Expression stock. I'll time to the image to end up slightly cool, not overly blue.

 

The rest of the movie will use 5212 (100T) for day exteriors using the 85 filter, 5205 (250D) for day interiors, and 5218 for nights and these big indoor spelling bee events.

 

I tested all the stocks, rated 2/3's of a stop slower -- my experience on "Shadowboxer" just taught me that I was always happier with the look of the print when I was in the 30's instead of the high 20's.

 

At 320 ASA, in anamorphic, the new Expression 500T is much less grainy than its predecessor, 5284.

 

5212 is very sharp and fine-grained with very natural contrast outdoors. If I had any complaints, it's only that it's not a pretty as 5245, which has those thick colors and deep blacks. But I think 5212 is the right choice for dealing with dark skintones in full sunlight compared to 5245. Anyway, I don't have a lot of exterior scenes anyway, and if I get stuck for light, I'll either be shooting Expression 500T (for the earlier scenes) or 5205.

 

I'm also thinking of using a light diffusion filter for the second half of the movie; the idea being that the Expression stock, unfiltered, is slightly soft, and when I use the regular Vision-2 stocks later, I can get away with a little diffusion and also get more flaring around lights.

 

I tested the Tiffen GlimmerGlass #1 and #2 and the ProMist #1/8 and #1/4. Tiffen made #1 the lightest grade of GlimmerGlass and the lowest filter is actually more subtle than a #1/8 ProMist. Also the jump from a #1 to a #2 GlimmerGlass is more subtle than the jump from a #1/8 to a #1/4 ProMist. Otherwise, they are similar-looking filters.

 

So I think I'll be using the #1 and #2 GlimmerGlass for the second half of the movie.

 

Again, testing the lenses and stocks, I found that you need to be at least at f/4 to get something reasonable, depth-of-field-wise, and even at that stop, it's fairly shallow-focus in close-ups. I'm going to try and stick to an f/4 for this film, except maybe an f/5.6 outdoors in daytime.

 

My biggest challenge will be dealing with a young actor in every scene who cannot work a full 12-hour day. Also, the director is a bit fond of these wandering 270 degree Steadicam shots; he's constantly describing shots where we will have to shoot behind someone and then swing around and get a frontal shot, etc. And I don't think he's used to a DP talking to him in regards to where the light sources may be coming from. Anyway, obviously I am more comfortable with static, well-framed, well-lit shots but I'm going to give it my best shot to get some of these elaborate moves that he wants even though I'm not always sold on the idea. But we may simply run out of time.

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Just for the curious, my printed tests from Deluxe had the following info:

 

5212 (100T, rated at 80 ASA)

lab control strip: 26 26 26

my gray scale: 27 34 31

 

5212 Pulled one stop (rated at 40 ASA)

lab control strip: 26 26 26

my gray scale (shot with 81EF instead of 85B): 27 39 39

 

5205 (250D, rated at 160 ASA)

lab control strip: 26 26 26

my gray scale under 5500K: 26 34 29

 

5218 (500T, rated at 320 ASA)

lab control strip: 26 26 26

my gray scale under 3200K: 30 38 27

 

5229 (500T, rated at 320 ASA)

lab control strip: 26 26 26

my gray scale under 3200K: 31 37 24

my gray scale (outdoors with 81EF instead of 85B): 28 38 31

 

Not sure exactly what the control strip is.

 

It's odd how the numbers change in different ways. For example, the increase in density from rating 5205 at 160 ASA was not as significant as with the other stocks.

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Sounds like a good project. I am glad you got your way as far as anamorphic goes, when we spoke you seemed to have your fingers crossed :D .

 

Do you have any idea what your lighting package is looking like? To get the stop you want in some of these locations, may call for some big guns.

 

Keep us posted, and good luck.

 

 

Kevin Zanit

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David

 

Thanks for the info. What different focal lenghts do you plan to carry? I suppose that even if you shoot on the Primos, you are still going to use the E180mm (and maybe the E135mm as well)?

 

How often do you plan to use 2 cameras? For scenes of the contest 2 cameras will probably come in handy.

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Hi,

 

It's not my place to question someone who's shooting some upscale feature (but I'm going to do it anyway) - how're you going to make LA look "cool, but not blue?" I always associate it with warm sun, all those creamy stucco buildings, tan-coloured asphalt, and that permanent tobacco grad around the horizon.

 

Phil

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Hi,

 

It's not my place to question someone who's shooting some upscale feature (but I'm going to do it anyway) - how're you going to make LA look "cool, but not blue?" I always associate it with warm sun, all those creamy stucco buildings, tan-coloured asphalt, and that permanent tobacco grad around the horizon.

 

Phil

 

Phil, haven't you seen Heat or Collateral?

 

Good luck with the film, David. Sounds like a good little setup for some nice shots. And anamorphic is always nice. :D

 

Excuse my ignorance, but just what IS a spelling bee? Some kind of writing insect? :blink:

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We're carrying the 35mm, 40mm, 50mm, 75mm, 100mm Primo, the last two being close-focus Primos -- I have some shots that dolly into a close-up and I've found that the 75mm tends to be the best lens for that, but on a normal Primo anamorphic, that becomes a medium CU at minimum focus. I figure if I have a kid's head in the frame, I may need to end up closer to get a tighter shot.

 

I also will have a 40mm and 60mm C-Series for Steadicam shots.

 

Then I'll have a 135mm and 180mm E-Series, plus a 200mm Macro. I'm also getting the 11:1 Primo anamorphic zoom.

 

That cool, gray look of "Heat" is sort of what I want for the early scenes. It's only about a third of the script and half of that are night scenes. I plan on lighting our night exterior scene in Central LA with a blue-green mercury-vapor look.

 

My main concern is lighting for these curving camera moves that the director wants in small interior locations. I may have to light more from above than I normally like to.

 

I'm not concerned about getting an f/4 on these small locations. It's the big auditorium scenes where I'm worried. Multiple cameras with long lenses at a wide f-stop could be difficult, focus-wise. I'm actually planning on dressing the final event with two 24-lights and several 12-lights in the shot to create flares and make it seem like a big media event.

 

A Spelling Bee is a spelling contest where kids have to spell rather complicated words. There was a documentary on the subject called "Spellbound". ESPN actually boradcasts the National Spelling Bee every year.

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David,

Thank you for taking the time to share your journal notes with us. I think I can speak for all of us when I say we are fortunate to have this level of technical exposure to your thoughts on your craft as they directly apply to a project that can be studied after it's release. I can definitely speak for myself when I say that I grow immensly from your discussion.

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From what I've heard the 11-1 Primo isn't very good in anamorphic. Even the people at Panavision say that the Angenieux HR is a better lens.

 

Maybe... but it's the best anamorphic zoom that they've got. They only have four:

 

48-550mm T/4.5 Primo

270-840mm T/4.5 Primo

40-200mm T/4.5 Cooke

50-500mm T/5.6 Cooke

 

I've used the old 40-200mm anamorphic Cooke in the past and it's not great unless you can stop down a lot, like to f/8-f/11. Those two old Cooke anamorphic zooms date back to the 1970's I think. I had to fight to get the 11:1 Primo because it's their most expensive anamorphic lens. I just found on "Shadowboxer" with the old Cooke 5:1 anamorphic zoom that I disliked the softness enough to constantly find excuses not to use it. With "Northfork" it was less of an issue -- it was only used outdoors on a few 2nd Unit shots and on a few inserts.

 

John Seale certainly shot a lot with the 11:1 Primo anamorphic so it can't be that bad. I only plan on using a zoom when I really need to -- probably it will go to 2nd Unit most of the time.

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Good luck David!

 

Beware of flare's on the C series 40mm it gets this nasty ugly bar at the bottom of the frame when struck with hard light from above. Hard to spot when using a wireless tap on those endless steadicam shots.

 

 

Matt

www.fuzby.com

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Congrats David! You're working with two very incredible actors in Fishburne and Bassett, and the young actresses' previous work with William H. Macy in Wool Cap makes this film one to look out for.

 

I look forward to reading more of your journal entries.

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My main concern is lighting for these curving camera moves that the director wants in small interior locations.  I may have to light more from above than I normally like to.

 

I'm not concerned about getting an f/4 on these small locations.  It's the big auditorium scenes where I'm worried.  Multiple cameras with long lenses at a wide f-stop could be difficult, focus-wise.  I'm actually planning on dressing the final event with two 24-lights and several 12-lights in the shot to create flares and make it seem like a big media event.

 

 

That last twenty pages sounds like it could be really fun: you get to design functional display lighting that is built into and becomes a part of the art direction so you get to be theatrical within the completely naturalisitic world established in the bulk of the script before the climatic scene. Best part is, the climatic Bee hall is just ONE set-up, so after that you can take the next few weeks off (knowing you though a fair bit of "cheating" will prevent this easy route)! ;) :D

 

This all sounds like something John G Avildsen or Sylvester Stallone would have made in the 80s with James Crabe ASC as cinematographer. I very much look forward!

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This all sounds like something John G Avildsen or Sylvester Stallone would have made in the 80s with James Crabe ASC as cinematographer. I very much look forward!

 

Funny you should mention that because the original "Rocky" is one of the models for the film that the director had in mind when he wrote it.

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David,

 

thanks so much for taking the time to post such edifying and thorough info on your technical and creative choices for your projects. I've shot a bunch of my own short films, but I've got a lot to learn, and having you keep us in-the-know about your various lighting scenarios, production difficulties and challenges, and the entire cinematographer's process, is an invaluable educational tool, almost as good as actually being on set, but without a craft services table from which to snack. Please keep it up, if you have the time.

 

Have you ever considered writing a book detailing your experiences and cinematography on all the films you've shot?

 

Anyway, thanks again and best of luck for a smooth shoot. Looking forward to seeing it.

 

Stas

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I don't think any publisher would be interested in such a book unless I had shot some more famous titles, although I hear that the Polish Brothers (for whom I shot all their films) wrote a book on indie filmmaking that might get published. But I was not involved in that book.

 

The general public are not particularly interested in cinematographers.

 

I may set-up a website someday with articles on my films.

 

The updated version of "Cinematography" that I co-wrote should hit the bookstores by fall, in time for the school season.

 

I have considered writing some other textbooks, such as one on modern style in cinematography or one on the evolution of style, taking ten or more films through history as an example. Or simply a more mundane textbook that covers digital moving image capture more (the updated "Cinematography" is still primarily about 16mm as it was before, only covering digital in terms of how it has impacted 16mm, like for post.)

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David, just wondering what films, if any did you watch or reference in preparation for this project and was "Searching For Bobby Fisher" among them?

 

Also will you be able to post frame grabs from your tests of the Tiffen Glimmer glass?

 

Thanks.

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Thank you very much, David, for taking the time to post such a thorough look at your prep, it's extremely valuable and much appreciated.

 

In terms of finding a stock to match 5229, it sounds like you felt 5212 and 5205 were both too contrasty for what you wanted? I see you decided on pulling 5212, did you also look at overexposing and pulling 5205?

 

How did 5205 and 5212 compare in terms of contrast and color saturation?

 

Good luck with everything, it sounds like you're part of a very talented team, I'm looking forward to it already!

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No, I don't have any scans of the tests.

 

The Vision-2 line-up is incredibly well-matched, color and contrast-wise. Expression 500T is a low-con stock though, so I figured that overexposing and pull-processing a normal Vision-2 stock might give me a closer match. I wanted to use a tungsten-balanced stock because I'm going to pull the 85 to make the image bluer on the negative, then print half the blue out later. So that left 5212 or 5217 for day exteriors and since I also want to use 5212 with the correct 85B filter for later day exteriors scenes, that's why I'm using that instead of 5217.

 

I could also just use 5229 for all those early scenes, day ext., int., or night -- it's actually not that grainy at 320 ASA.

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Testing is very tedious; I kept it pretty basic and it still took me all afternoon at Panavision. I shot a wide and a close shot outdoors on 5212 with the 85B normally processed, 5212 with no 85 pulled one stop, and 5229 normally processed with no 85.

 

I shot the normal 5212 with the 85B with no diffusion and then sequentially with the #1 and #2 GlimmerGlass and the #1/8 and #1/4 ProMist.

 

I shot one day interior shot in the lobby with the 5229.

 

I shot all the lenses in the big prep area (natural daylight, overhead Kino 55's, with an HMI key) just to show the director what the different scope lenses do. This was on 5205. I didn't have time to do any more testing on that stock.

 

I shot 5218 and 5218 under tungsten light, wide and close. I shot those four diffusion filters with the 5218.

 

All that took about four-to-five hours!

 

I printed everything on 2393 (Kodak Vision Premier.)

 

I basically took a guess as to how I was going to shoot this movie, based on experience, and shot the tests that way, figuring I'd learn enough to make adjustments in the approach.

 

One of the things I was reminded of is the issue of fill light with black skin tones. I shot the tests with the shadow side of the face 2 1/2 stops under key, which is normal for me, and of course, the shadow side was very dark because the skin tones were dark to begin with. But the issue for me is whether it's a good idea to use more fill than that because then the rooms start to look filled-in. I think I'd be better off making the key light softer than adding more fill, so the key wraps around more, and using soft edge lights when motivated.

 

Although I'd have to say that if I didn't mind a softer look with a hint of graininess and less color saturation, 5229 looks great with black skin tones, the same way in which the other low-con stocks do. I wish Kodak would make a 200 ASA low-con stock as a companion to Expression 500T and dropped 5277. I mean, there's no reason to use '77 anymore except for costs: Expression is faster without being any grainier. So it makes more sense to make a slower-speed companion to Expression, something in the 100 to 200 ASA range.

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David, thank you so much for your generosity!!

 

First of all, if you ever did want to publish work of your films, an interactive dvd (hd) where you could see the tests, or a scene and get exposure readouts (taken from set) would be an incredible boon. :)

 

I was curious if for your tests you try to get somebody with similar facial structure to one of the main cast members, whenever you're testing lighting I mean.

 

How many crew members usually help on the tests with you?

 

What is a typical budget for a test like the one you did if you dont mind?

 

thanks again.

 

looking forward to the film and good luck in the shoot.

 

-felipe.

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Budget-wise, I guess it was processing and printing 1,200' of 35mm stock plus paying the AC to help me. A PA showed up as well to help out.

 

Normally I just use the lights at the rental house but I ordered a few more in this case, a 575 watt HMI, two 1K's & two tweenies, plus two Chimeras. So rental for that.

 

I used a stand-in who looks similar to our lead actress for half the test, and then the lead actress was there for the rest of the tests.

 

Since we didn't take the camera out, there was no rental on that.

 

Sometimes you can get the test rolls from the film stock company.

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So instead, I'm using four stocks on this movie.  The first third of the movie will be shot on 5229 Expression 500T without the 85 filter, with some 5212 for sunny day exteriors, also without the 85 filter, overexposed and pulled one-stop to match the contrast of the Expression stock.  I'll time to the image to end up slightly cool, not overly blue.

 

The rest of the movie will use 5212 (100T) for day exteriors using the 85 filter, 5205 (250D) for day interiors, and 5218 for nights and these big indoor spelling bee events.

 

 

So in the first third of the film are you generaly going to be lighting interiors to a daylight balance without the 85? Or will you shoot under tungsten then time blue to match the exterior daylight scenes? A combination of both?

 

Also what is the plan for dalies, are you going to get any prints or just video? How will you communicate to the lab that you want "half" of the blue timed out of the prints? I assume you're using your test numbers as a baseline. Seems like it would help to simplify things if you lit everything with daylight color temp.

Edited by J. Lamar King
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