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Pre Production

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To start the project we discussed within our departments each others strengths and experiences before we indulged into a tech meeting with the primary technicians at Salford.

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The whole camera crew had an induction / refresher appointment on the Blackmagic 6K camera. By doing this it allows us to go straight into shooting when production week starts without the uncertainty of the appropriate settings that we'd like.

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We had a full crew meeting in which the camera and lighting crew discussed what shots we would like to attempt and which equipment would be needed in order for us to achieve this.

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Looked over script for what we were filming on Monday.

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Full Crew Meeting - Rehearsals and a Camera stabilising equipment induction. We also discussed Monday's scene which led us to research on filming through a window as a possible shot.

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Within the tech meeting, lightning was discussed between the director on how the majority of the scenes and characters would be lit within the shot.

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Gimble with the briefcase attachment hold

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Rehearsals

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The gimble induction showed how much prep we would need to do prior to the shot as the whole appliance needs to be balanced according to the camera and the lens that is on it during that shot. Each shot and change of lens would require a new configuration on the balancing settings. The briefcase hold was a nice attacthment that could allow our movements to go from a tracking shot to a medium shot of the actors face.

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2 Rayzor Lights (Battery and Mains)

1 Falcon Eye Light (Battery and Mains)

4 Apertures (Chargeable via USB-C, booked an extra one out so that we can rotate the charging incase they died quickly on a full shoot day.)

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2 Black Magics (One ready for a gimble the other for primary shots)

8 Batteries if possible

Camera Lens': 14, 25, 34, 50, 85 and a zoom lens

Focus Puller

Tripod

Dolly Track

Battery Charger

Clapperboard

External Monitor

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When the actors were blocking out the first scene we were going to shoot on Monday, as the camera department, we began to discuss possible outlooks for the shot. This discussion allowed us to think on what equipment would be best to book out.

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After the induction with the easy rig, we initialy thought that tripod shots would be more ideal, however after use and review we found that as the rig took a lot of the weight off, it would be a good method to record outdoor shots the shot is moving rather than delaying shooting with altering the dolly tracks.

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Production

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To emulate the TV effect lightly on the actors faces, we set the SFX setting on the aperture to around 60% as the lights so there was slight light movement on the actors faces. The magnetic feature on the device allowed us to connect to in front of the actors without having someone to hold it.

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We connected the camera tripod to the dolly track wheel set to create a smooth moving shot, so the editors had more to play with we did a take moving into the door and moving away from the door. When we ended the shot closer to the door we had a trial run before shooting so the dolly operator knew when to stop going along the tracks so the camera didn't fall off. Although it took a while to assemble and take down the shot was worth it as it was smoother than what an easy rig could achieve. As we were inside, the ground was flat for us to have a level shot.

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As the shoot was in a small space, we used one rayzor light with a warm white reflecting on ceiling as our reflector instead of manually having to hold one. We then set the falcon eye light to a cooler tone in order to light up the actors face with a blue tone that the TV would give off. For consistency we took a photo of white balance settings etc, iso etc to be consistent whilst shooting in the same space.

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With having the monitor we were able to see the cameras' main screen clearer which aided us when it came to focusing up the shot. This was a good tool for us to show the shot to the director / 1st A.d without having to move the camera around. Having a bluetooth monitor would've be better to pass around the crew though.

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As the easy rig was hand held some shots were shaky if you didn't let the contraption take the weight off of you. It was always an easy/quick transition between shots due to it being one camera operator and sometimes no motor as connected.

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We filmed the Party Scene's (7 + 9 ). We turned the main house light turned off, with only one rayzor lights set to party mode. The other razor reflected a warm white light from the ceiling onto the actors. With the alternating colours we white balanced with just the white rayzor on and then turned the party effect on for filmed so that the colours weren't altered via the white balance.

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As we had some outdoor scenes later, we consciously chose to exclusively use the mains to power all the equipment when we could.

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When filming the close up of the pill and cup, angled the white light razor down to highlight the cup.

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The camera was in the corner to get all of the shot. As the shots aim was a medium close up, the height difference in the actors meant we couldn't have too wide of a lens as it would look disproportionate. As we were filminging the 'villains' we had the camera in a slight worms eye view to convey their overarching power subtly. The monitor was helpful in allowing the other camera op’s and director to see the shot.

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We added movement into the shot which not only queued the actor for their line but also the camera operator to pulling the focus whilst making the scene seem fuller too.

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Even though we had batteries for the rayzors and falcon lights we used the reflector and apertures whilst outside for easier movement to follow on screen. We used a warm lighting outside and held it high up to emulate a street lamp. This was very acessible with no cables and a small set up.

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As we had one camera we couldn’t set up the gimble when they were filming due to having to balance it. We opted for the easy rig as it would've been really time consuming if we kept having to change the lens' and then rebalnce it each time. The easy rig was more accesable and looked bettter when performing the pov shots. With the fall shot, we had someone spotting over the camera so the operator could focus on the shot and not worry about what was behind them.

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easy rig

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The reflector allowed us to angle where the light would face. In hindsight I think it would've been more effective to have two of the reflectors or a rayzor in a set position outside and a reflector.

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As this was a POV shot, the gimble provided us with the realistic walking that someone may do whilst allowing the camera to fall like they were the character too but safely. As the fall was different each time the focussing for the actors at the end required numerous takes until we got one the director was happy with.

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During this shoot I Held the aperture and lighting for the outdoor shoot to emulate street light we used warm apertures and silver reflection held up high above the actors. When shooting we tracked them to stay lit with this warm hue as the lampposts were out/poor for lighting.

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Longest shoot day: 10:00 - 18:00

We were down a camera/lighting operator due to illness and the other one was within the performance. Due to this we had one person on camera and the other on lights / lens changes and monitor checking for obscurities.

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With the traffic moving up and down the road, the easy rig was a safer set up to use rather than the dolly tracks.

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4 N.D filters and the zebra to help assess the sun.

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As we filmed out outdoor I had to use 4 N.D filters and tried to use the sun as the key light source for scenes, we had to be efficient in filming for continuity and consistency in shot due to the sun. We shot on the easy rig as it was easier to change lens’ within the scenes for closer parts etc. I think the walking scenes would’ve been better with the gimble or dolly tracks as it naturally had a shake to it with the walk but editing could always add a stabilisation feature in post to help too. In terms of crew work and comfort the easy rig was best. Our other camera operator was using the reflector incase sun didn’t catch actor in the shots.

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Due to lack of past experience with using lighting, I researched into the main lighting set ups that are used in filming. I found the Rembrandt lighting to be the more cinematic / striking approach to it where as the three point could have a softer approach to the shot if needed.

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With the monitor we were able to see more clearly the focus assist and where it was aiming at as the black magic screen was small to get an accurate depiction from. With the screen we could also show the director the shot without moving the camera.

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A small number of us filmed the establishing shots done without sound and actors of the house due to the weather so everyone could warm back up. With the cold batteries kept dying so we were turning the camera off when not shooting, as we could only power the batteries via mains when inside.

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The more takes we did the smoother the shots became as I began to trust the easy rig wire to take more of the weight rather than holding it. Due to continuity we had to reshoot some bits as the revised clips showed people in shot who shouldn't be. When shooting we merged some close ups and 2 person shots into 1 as the 2 person shot became a 3 person shot due to the other members of the group being larger than expected. This Made the shoot faster which was good for battery life and making sure the sun was the same.

we turned the ISO down as the clip was so exposed and also used the zebra function when outside to see if the sun was affecting the shots exposure more than I could tell on the monitor from the naked eye.

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For the next shots we had to wait for it to be dark. We had camera up against window, we then marked up at what point u could see the actor in shot to act towards the other character before commencing with the scene so they were both in focus and also in shot for the main performance.

The director wanted a wider lens for these characters shots so that their faces were contorted however, we then had to put the tripod lower and then raise it up to look at them (worms eye), giving them a power stance in the shot.

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We set up 2 Rayzors indoors but filmed from outside of the people inside. Even at a low percentage the lighting was too intense and created harsh shadows so bounced the rayzor light off the wall and onto them to emulate the same strength of light on the actors. We wanted to emulate the same main landing light (motivated light) within the house scenes when the ‘friends’ enter the house. We decieded to use the one razor with the diffuser from the falcon on it and angled it off the main wall that could reflect it onto the actors to cast a mild shadow with the light source being from the same similar place each time.

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When filming Sarah's pacing scene we followed her with the light and camera but the motivation for the loght didn't make sense so we stayed with the static lighting from further away to fill the whole scene more and not be too intense on Sarah's face.

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For the police light effect we had 2 appetures outside of window and shot inside. Whilst outside I saw another operators hand and when they waved I shone the police light effect on the appetures at the window so the colour would seep through. To create the effect of numerous police cars I set one appeture to a higher intensity so that there owuld be more flashing and changes of light.

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Focus Assist

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When opened a warm glow would then be present on the actors faces'

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The tighter lens allowed us to not have the glare of the window shining within the shot.

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Couch Close Ups

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Light Settings

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We had the actors on their marks so that we could practice the angle or focus so that less shots were needed.

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If the tripod couldn't reach the angle we would free hand or easy rig it from the postion wanted.

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As we had to re-shoot after wrapping, it meant some key actors weren't able to make the shoot. Due to this we altered the orignal shot angle to cut off the stand in for the actor so that they would look similar to previously shot clips

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The appetures allowed for a gentle lighting on the actors as if they were naturally outside they wouldn't be lit to that extent. The appetures were also ideal as they were less likely to be obtrusive to the shot at hand.

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I found that having a documentation of the lighting settings we used in each room, allowed us to keep continuity wihtin each take / day that we shot. With the settings for the party effects it allowed us to sync up the pattern they would change in so that the shot looked natural.

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With time of setting up and down and the use of the equipment, as a department we became more efficent in changing/ getting the shot that the director wanted as we could function as a unit together and understand the equipment better also

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Through the Window Transition Inspiration

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Through the Window Transition Inspiration

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After rehearsals we looked at the floor plan of the room provided by the director to plan out where the lights and camera could go for the shoot, this led us to the window shot to which we drew inspirtation from a clip such as this. We realised to achieve this we would have to liaise with the editors and match up the shots perfectly from either side of the pane.

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Photos of the set like this were a great way of keeping continuity within scenes in case we couldn't look on the camera playback.

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From the last video project I took away from it a lot about the rule of thirds: where your main focus should be, eye lines on the lines - creating head space and also moving action along the thirds. I watched films I love and began to point out examples and the way in which they used the grid themselves and how i could implement it.