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Found 3 results

  1. How did Roger Deakins keep the scene and the characters so organized and easy to follow during the chase scene in the last act of 1917? The chase begins just after George MacKay strangles the German soldier (about page 91 in the script). It seems like an impossible cinematographic challenge—low, shadowy lighting, constantly moving camera, all the characters about the same size and shape; yet it's clear the whole time who is doing what. Were there any particular techniques used? You can watch the sequence here: https://www.youtube.com/embed/wlbJZQQJ528
  2. Hi, First time posting on the site and really looking forward to getting some insight on this challenge. I'm shooting a very low budget short film and we have an exterior night cemetery scene to do. I'll be working with a 3 ton grip truck with an assortment of tungsten lights and some HMI's that I'm renting from a friend. I'm hoping to be able to rent two 6500watt generators, but might only be able to rent 1 and a couple of 2000watt Honda generators. I lucked out in that the location is great and the producer was able to locked in a friend who has an exterior hazer with hoses. The main location where we're shooting is a very small mausoleum with a big tree that creates a canopy right over the front of it. Attached is a photo of the mausoleum. I'd love to create an ambient moonlight feel but also with streaks of moonlight spilling through the tree and onto the mausoleum. I'm attaching some references from "Seven Psychopaths" that show the kind of vibe I'm going for. I'm assuming that they were in a studio for this work, and obviously they had a lot more money and man power than I do, but any suggestions or traps to look out for when working with the haze would be greatly appreciated. I've never worked with an exterior hazer before, I know that it will raise my ambient exposure/levels, that it has to be backlit to play and that it'll probably give my sources away, but that's about the extent of it. I'm also attaching a diagram created over a google map image of the area of what I think might be a good approach to lighting this. Basically, trying to get the biggest LED Fresnel lamp that I can plug into a 6500 putt putt generator pushing through the tree right over the mausoleum from a scissor lift/cherry picker if I can get one. I want to haze the area surrounding the mausoleum then I thought I would back light the haze and tombstones in the background with M18's or Jokers that would be positioned on the ground. Not in the diagram is my idea for keying the characters (who are the red dots in front of the mausoleum, which is the grey square under the tree). I'm thinking of putting one of those new 6x battery operated LitePanels in a cylinder of muslin (sort of like a poor-man's space light chimera) and hanging that over whichever characters we're shooting at the moment. Trying to save my geni power for the ambient light. I've also been thinking that creating a base light with a 12x12 ultra bounce might be a good idea, but I'm worried about washing the scene out and front-lighting the haze out of existence. I'm I totally off base here?
  3. Hey guys, So as most of these post start out, my budget is slim to none. Now that that aspect is out there. Im DPing a short that takes place in a car at night. the two characters in the car are being followed because of something they have and they are trying to get away from whoever is following them. Thats where the "chase" aspect comes into play. Its no James Bond chase scene but need to feel like they are trying to ditch the car following them. The short is only 5 mins long and will take place half in urban/city area but they head to a more deserted beach area. The picture attcahed is the tunnels location we will shoot EXT shots of the cars driving out of the city. So for all the shots of the two actors in the hero car we would have to mimic the lighting to match what our location offers, multiple sodium vapor lights overhead. My biggest question is how I could go about shooting this section of the film to achieve the following... 1. See the actual tunnel when we have shots looking out windows (rear window, side windows, and front windows) 2. Match the lighting of the tunnel as they pass through. Theres the green screen option where we could shoot the scene. Then take those camera setting (lens, focal length, height etc) and then shoot plates. I feel there is alot of room for error with this option We rent a car trailer from uhaul and rig everything and shoot it practically that way. (cant afford a process trailer) Only issue here is the budget is so small i dont think they could get the permits for such a thing, feel like they could get in trouble having actors in a car on a trailer without proper permission, permits, police escorts, etc Lastly we have the actors actually drive the car through this area rig cameras to the car and have them drive safe and we sell the chase part in the edit. Sounds the easiest but biggest worry is safety. There are alot of factors with shooting car stuff. I appreciate you guys taking the time to read this and help out!! Cheers!!
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