On To The Next One - "Murdoch's Other Eye"
I begin prep on my next short which is shooting a week from now. The film is being directed by Katherine Fitzgerald, who I know through Humber College - she teaches 2nd year sound and taught me. Originally I was asked to Gaff for Cinematographer Marcus Elliot but he's tied up on another job so Katherine asked me to shoot for her.
The script is set in an office environment and revolves around 2 main characters - Murdoch and Johnson. Johnson and Murdoch neither like looking at each other but because of this end up looking at each other more often. Johnson has also become obsessed with Murdoch, or rather what's under Murdoch's eye-patch, which he fixates himself on all day pondering the contents underneath the patch.
The film will shoot in 2 1/2 days next weekend and we're going for a film noir/pyscho-noir kind of style. We're shooting on a DVX100A with a P+S Technik Mini35 adapter and Zeiss Hi-speed 35mm primes. This is the first time I'm shooting with this system as a cinematographer. Katherine wants to do some nice moves with the camera, which I'm excited about, and we have a doorway dolly and small jib to help us accomplish this.
My lighting package is fairly small but complete. There are scenes in a boardroom, washroom, office coffee room, white infinite space (dream sequence) and a bedroom. All scenes except the bedroom will be shot at Humber. I have a team of 2 assistants and 3-4 lighting grip tech's, including my regular gaffer Angie, which will be a welcome change from "A Short Film".
I don't have a firm lighting strategy so far. I'm concerned about the apparent 2-stop light loss that you get from using the mini35 system. I normally work at fairly low-light levels that mimic the levels you'd get in real life - if it's darker I normally work at darker levels instead of lighting for "dark". My thoughts are to pop an open face 1K into the ceilings to build some ambience but I always find you have to do a lot of flagging to get it to look right. I'm going to take advantage as much as I can of what's already available to me. For example the overhead fluorescents that are in the office spaces. I have these Phillips Colortone 50 bulbs I'm probably going to switch in and skirt the lights to get some gradient on the adjacent walls. I see a lot of use of negative fill also. Angie and I will bat around ideas...
The script is set in an office environment and revolves around 2 main characters - Murdoch and Johnson. Johnson and Murdoch neither like looking at each other but because of this end up looking at each other more often. Johnson has also become obsessed with Murdoch, or rather what's under Murdoch's eye-patch, which he fixates himself on all day pondering the contents underneath the patch.
The film will shoot in 2 1/2 days next weekend and we're going for a film noir/pyscho-noir kind of style. We're shooting on a DVX100A with a P+S Technik Mini35 adapter and Zeiss Hi-speed 35mm primes. This is the first time I'm shooting with this system as a cinematographer. Katherine wants to do some nice moves with the camera, which I'm excited about, and we have a doorway dolly and small jib to help us accomplish this.
My lighting package is fairly small but complete. There are scenes in a boardroom, washroom, office coffee room, white infinite space (dream sequence) and a bedroom. All scenes except the bedroom will be shot at Humber. I have a team of 2 assistants and 3-4 lighting grip tech's, including my regular gaffer Angie, which will be a welcome change from "A Short Film".
I don't have a firm lighting strategy so far. I'm concerned about the apparent 2-stop light loss that you get from using the mini35 system. I normally work at fairly low-light levels that mimic the levels you'd get in real life - if it's darker I normally work at darker levels instead of lighting for "dark". My thoughts are to pop an open face 1K into the ceilings to build some ambience but I always find you have to do a lot of flagging to get it to look right. I'm going to take advantage as much as I can of what's already available to me. For example the overhead fluorescents that are in the office spaces. I have these Phillips Colortone 50 bulbs I'm probably going to switch in and skirt the lights to get some gradient on the adjacent walls. I see a lot of use of negative fill also. Angie and I will bat around ideas...
posted by Barry Cheong at 10:22 a.m.
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