Day for night - in snow

[Tony Brown]

Can anyone point me to a reference where day for night in snow actually worked

 

I wont hold my breath

[Adam Frisch FSF]

Where Eagles Dare? I wouldn't say it's perfect, but it kinda works in that 60's way.

[Jaan Shenberger]

yikes. i think by today's audiences' standards, the only way to really pull that off would be by shooting in early morn/late day lateral sunlight, maybe with some augmented source on the actors (to really punctuate the night look), and try not to have them overlap with actual snow too much. i'd suggest getting a compositor involved in post-- as long as the snow doesn't blow out and the actors don't overlap too much with the snow, then it shouldn't be too hard for a decent compositor. for static wide shots, shoot bracketed plates and your compositor can easily make a good-looking sell.

 

hope this helps,

jaan

[Glenn Hanns]

Can anyone point me to a reference where day for night in snow actually worked

 

I wont hold my breath

<{POST_SNAPBACK}>

 

I'd try to shoot in overcast conditions. Use allot of ND on the lens to sell the low light effect. Avoid the skyline. Shooting daylight stock add some tungsten with 1/2 CTB to the actors keeping the skylight as a back light, then in post correct the image to look neutral for the principals but blue for ambient daylight. The hard thing is having enough light on the actors compared to the snow around them.

Cheers.

[Adam Frisch FSF]

Day for night is ripe for a revival. I think it looks good again. Besides, there isn't much else one can do to light a huge snowscape or a mountain. Not even Spielberg or Bay could do that.

 

There was some nice DFN in the Bond with Halle Berry (the swat surfing scene) and a friend of mine just shot a spy thriller in the mountains, with lots of snow, and it looked great. The french anamorphic thriller Crimson Rivers also had some nice DFN in snow.

 

Day for night is cool, it's hip, it's in. Get on the bandwagon.

 

:D :D

[Guest fstop]

To answer your question Tony, what about Dr, Zhivago? All you need is a tungsten balanced filmstock/85 blue filter and you've nailed the "night time" colour motif (i.e: blue) along with the ice cold colour motif (i.e. blue). If Freddie Young could do it with marble dust snow and get an Oscar out of it in the process, it's good enough to do another tired run! :D

 

There was some nice DFN in the Bond with Halle Berry (the swat surfing scene)

<{POST_SNAPBACK}>

 

I think now we have the DI, the sky's the limit for DFN!

[Ignacio Aguilar]

Freddie used DFN in snow again near the end of Nicholas and Alexandra.

 

The Fearless Vampire Killers also had some DFN in snow, but it was mostly 2nd Unit (I believe) or was used as rear plates.

[Adam Frisch FSF]

I think now we have the DI, the sky's the limit for DFN!

<{POST_SNAPBACK}>

 

Quite literally, Tim.

:P

 

I had forgotten about that one: The Fearless Vampire Killers - it's like one of my favorite Polanski movies. It's hilarious! Nice work by Douglas Slocombe and a fantastic score.

 

BTW, Tim, that film was shot in 'MGM British Studios, Borehamwood, Hert.' according to IMDb. Is that studio still around today under another name?

[Greg Gross]

The Shining(1980)?

Try a day for night filter. Deep blue will transform a daylight,early evening scene

into what appears to be a nighttime setting. Have you thought about using fog or

mist filter although its possible it doesn't fit your story. I just thought about poss-

ibility of using 80A or a graduated ND with a color filter also.

 

Greg Gross

[Guest fstop]

BTW, Tim, that film was shot in 'MGM  British Studios, Borehamwood, Hert.' according to IMDb. Is that studio still around today under another name?

<{POST_SNAPBACK}>

 

Nope. Long gone.

 

1970 saw the end of MGM Borehamwood and MGM moved to EMI elstree (formerly the property of the Associated British Picture Corporation). This is why in the 1970s movies it's credited as "EMI-MGM Elstree Studios". Then in the 80s it was Thorn EMI elstree, and then from 1986 to it's closure in 1989, CANNON Elstree studios (Goldcrest had it for a bit too but mainly for post). Now with Brent Walker having played his part, the backlot turned into a Tesco, it's modestly named Elstree Film and TV studios and houses Big Brother.

 

There is a beautifully tragic song you (and many here) would be interested in, Adam. It's from The Buggles album THE AGE OF PLASTIC and it's called ELSTREE. Trevor Horn didn't just sum up the end of the golden era of the 50s and 60s, but he also saw the complete demise coming!

Edited September 20, 2005 by fstop

[Adam Frisch FSF]

Too bad, nothing saddens me as much as old studios being turned into supermarkets. I've heard Bray is still hanging on by a thin thread, but might go any second now.

[Tony Brown]

Too bad, nothing saddens me as much as old studios being turned into supermarkets. I've heard Bray is still hanging on by a thin thread, but might go any second now.

<{POST_SNAPBACK}>

 

Who needs purpose built sound stages when we have all of these overpriced industrial units to shoot in with concrete floors and no gantry. Usually under the Heathrow flight path or next to a railway line.

 

And they wonder why nobody shoots in the UK anymore.... :blink:

[Guest fstop]

Whatever happened to Eon Studios in St Albans? That supermarket warehouse was home to the bulk of Tomorrow Never Dies studio work.

 

Yeah, we are great in this country- we let the Elstree village fall to pieces, and then we let the Americans turn Rolls Royce Factories (GoldenEye/Phantom Menace: Leavesden), supermarkets (Eon: Tomorrow Never Dies), aerospace factories (Hertfordshire: Saving Private Ryan) and Zeppelin Hangars (Cardington: Batman Begins) into fully functioning multi-million dollar filmmaking facilities for Hollywood productions!

 

Boy, we've sure made Korda and Rank proud with our limitless vision! :unsure:

[Dimitrios Koukas]

Can anyone point me to a reference where day for night in snow actually worked

 

I wont hold my breath

<{POST_SNAPBACK}>

 

 

Latest movie with big scenes of Day for night is ''the phoenix fly'',or ''fly of the phoenix'' or something....

It's in the desert, but it's a good reference.

Dimitrios Koukas

Edited September 22, 2005 by Dimitrios Koukas

[Ignacio Aguilar]

I've just seen the second part (out of four) of the Soviet film War and Peace ("Voyna i mir", Sergei Bondarchuk, 1965-1967) and there are lots DNF shots in snow, probably more than in any other film mentioned in this thread to date. They're pretty good too.

Edited October 7, 2005 by Ignacio Aguilar

[Tony Brown]

Thanks all. Never found any decent reference that I thought was any good, shot the job anyway, looked better than I feared, in fact, though I say so myself.....

 

:) B)

[Tim J Durham]

Thanks all. Never found any decent reference that I thought was any good, shot the job anyway, looked better than I feared, in fact, though I say so myself.....

 

:) B)

Any chance you'll post some stills and describe your solution? I realise it's proprietary info...

[Tony Brown]

Any chance you'll post some stills and describe your solution? I realise it's proprietary info...

 

 

It'll take a month or so for the spot to be finished up and put on air, as soon as it is then I'll post some.

 

It was for Saab, 'Eyes in the forest'

[Tim J Durham]

It'll take a month or so for the spot to be finished up and put on air, as soon as it is then I'll post some.

 

It was for Saab, 'Eyes in the forest'

Great, I look forward to seeing it. Thanks