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Scene 43:
-Extreme close up - 85mm Samyang Prime lens on drink - handheld. Extremely shallow depth of field. Shot develops as Ida puts it on the table and focus shifts dramatically to phone in her other hand behind it - pan up to Ida's face as she reacts with "Oh my god. He's gonna do something"

-Unstable shoulder rig shot - 55mm (potentially 35mm if too close) - in one continuous shot camera moves back and forwards onto Ida and Dallow as they exchange dialogue "What you saying?... I know he'll be. Come on."

-Another slightly unstable shoulder rig shot - 24mm this time - Ida and Darrow rush out - shot hangs on empty room for few moments.

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Scene 47:
-Wide establishing shot - Pinkie and Rose walking together - 24mm prime lens - dolly for tracking - follow from behind

-Mid shot - Pinkie and Rose stop and face each other in opposite thirds - 35mm prime lens - track mounted dialogue exchange - begins to track backwards as they carry on walking as indicated by the scene description

-Over the shoulder shot over Rose's shoulder with 35mm prime lens "Here, this'll do... seeing me and everything"

-Reverse shot over Pinkie's shoulder with 35mm prime lens "No, no Pinkie it's alright. I want to be there waiting for you."

-Extreme close up on Pinkie's hands as he pulls out gun - 85mm lens

-Over the shoulder shot on Pinkie's shoulder - 35mm - dialogue exchange "There that's it. Good girl... Yes for all the world."

-Reverse shoulder shot on Rose - 35mm - same dialogue

-Mid shot two shot - 35mm as characters stand in opposite thirds again for "and you want us to be together forever don't you?"

-Close up - 55mm - Pinkie's face for the line "Well there we are then... then we'll be together. Forever."

-Extreme close up - macro lens - Pinkie helps Rose put the gun in her mouth - light reflected on gun

-Wide angle developing shot of the two as Pinkie leaves - 24/35mm - he exits the shot by walking backwards out of focus and Rose steps forwards a couple of steps to take over as subject of the shot as she remains in focus at the end.

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A colour palette put together to assist the set designs and creation of LUTs.

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South Parade Pier, South Parade, Portsmouth
PO4 0RN
Latitude: 50.77883
Longitude: -1.076661

This location is a first potential shooting location for scene 47. Ideally this scene would take place on a pebbled beach environment in the early hours of the evening at approx. 6pm in June. I believe the beach be fitting for the romantic tone of the scene whilst the setting sun detailed in the script is complementary of the underlying theme of death as Pinkie and Rose prepare to shoot themselves to be together.

The location is local to Portsmouth and easily accessible for cast and crew, however it's main drawbacks are it's absence of power sockets for camera and lighting equipment, which would need an appropriate supply of battery packs. This is the a highly popular and well known beach in the Portsmouth too and so shooting here in the evening in June would likely be busy with public visitors. This would be costly to close off with permission from the county council. The pier does make for a welcome addition however but the other beach locations might be quieter.

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South Parade Pier, South Parade, Portsmouth
PO4 0RN
Latitude: 50.77883
Longitude: -1.076661

A second shot of the Southsea Pier location, this time facing West. This is the angle that the sun would be setting, however in this location recce the time of day was morning. This angle would feature in the reverse shots for the dialogue exchanges between Pinkie and Rose, and features less prominent scenery as it lacks the pier as seen in shot 1.

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South Parade Pier, South Parade, Portsmouth
PO4 0RN
Latitude: 50.77883
Longitude: -1.076661

The third shot taken as part of the location recce to Southsea Pier. This shot was taken around midday and hence the sun is in a more central position. When shooting this scene in the summer evening hour the sun would appear more towards the West (right of this frame). This shot demonstrates the angle I would use for the tracking shot from behind Pinkie and Rose as they walk down the beach towards the ocean.

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South Parade Pier, South Parade, Portsmouth
PO4 0RN
Latitude: 50.77883
Longitude: -1.076661

Proposed location 2 features a similar beach on the other side of the pier. Although similar geographically, the sunset would appear on the same side as the pier in this location due to the difference in camera positioning. This could give the pier a warmer glow as opposed to the other location on the other side. I feel that this may highlight the significance of a more commercial and public location with the pier lit overhead by evening light.

Despite seeming like an ideal place to shoot scene 47, the popular tourist nature of the setting, especially during the summer months, may mean that it is too crowded and too expensive to clear from the public. This could result in the final choice of location going to a more closed off and private location (see location 3), which may be more beneficial for the romantic nature of the narrative detailed in the script.

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South Parade Pier, South Parade, Portsmouth
PO4 0RN
Latitude: 50.77883
Longitude: -1.076661

Attached is the reverse shot of the above location 2, shot 1. This angle features a much visually quieter backdrop with minimal buildings and obstructions, with the small beach huts lining the shore being useful in my opinion to reflect the coastal nature of this scene. Logistically a shingled beach would be more suitable for the sake of camera and lighting kit than a sandy beach would, a benefit of this setting, however as mentioned before, the absence of power sockets in these exterior locations would mean that additional power packs would need to be provided for the equipment on the shoot.

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Ferry Road, Portsmouth
PO49RJ
Latitude: 50.792345
Longitude: -1.02975

This is the third alternative location for scene 47. This beach is also shingled however its main difference from the previous two examples is its much reduced size and popularity that will make it much more viable for filming during summer months.

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Ferry Road, Portsmouth
PO49RJ
Latitude: 50.792345
Longitude: -1.02975

The reverse angle from the previous shot, showing the other direction down the beach. This will be visible during the dialogue exchange sequences between Pinkie and Rose on the beach. Again the more reserved nature of location 3 makes it not only more viable to film without disturbance but also more isolated for the narrative to occur in. A similar drawback is again the lack of power sockets for the camera and lighting equipment.

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Model sitting on the beach for location 3. This shot was taken in the afternoon, and on time of filming, the sun would be setting from behind the characters. This could be beneficial for filming as during the proposed backwards track shot from in front, the characters would be silhouetted by the sun and this may provide the dreamy feel I am looking for.

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A colour palette put together to assist the set designs and creation of LUTs.

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I have chosen the Sony FS7 for this particular shoot. This is mostly due to its 4k capabilities which I intend to take advantage of. The camera is familiar within the film and television industry and this would make it a popular choice for the Pinkie script. While some may argue in support of the Canon C300 due to its more portable design, I believe the FS7's 4k option that is not available on the C300 makes it more suitable and it can easily be mounted to a dolly and track for certain proposed shots within scene 47.

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For this shoot I intend to utilise the Samyang prime lens kit, with my shot list outlining the need for a 24mm, 35mm, 50mm and 85mm lens to achieve the full range of shot lengths required.

I feel that the prime lens set is advantageous over zoom lenses as their static length means the types of shot will be more consistent and easier to set and stick to. Many of the dialogue scenes during scene 47 require reverse shots to be taken at the same length and using a set lens for both will ensure these look as identical as possible so to appear less distracting for the viewer in the final product.

Having more practice with the Samyang Prime lens kit, I feel that this is the lens kit that I would be most comfortable working on the job with.

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This would be useful to have on set to ensure lenses are adaptable for the camera we will be utilising.

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-The scene description for scene 43 is unclear as to the time of day, interior/exterior reference and location. I have taken creative liberty of deciding this would work in a UK pub or bar location in which Ida and Darrow are drinking when they receive the news and rush out.

-In scene 47 it is mentioned that Pinkie and Rose have only just married however the scene description also states that Pinkie is wearing a hoodie. When designing costume mood boards, I have altered this to be a more formal wedding outfit.

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Casual, brown wedding suit, top buttons undone informally as if the evening after, smart trousers and belt, beach inspired.

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Casual fitting white/cream wedding dress, assortment of flowers in hair, slightly beach inspired in dress colour perhaps - reflects purity, innocence

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These scenes are adapted from a 1938 novel titled 'Brighton Rock' by Graham Greene. The story follows the sociopathic antihero, Pinkie, a 17 year old mob leader from Brighton, England, as he manipulates a naïve young woman named Rose and is investigated by detectives, Ida and Harrow, employed by an old enemy of Pinkie who once betrayed him.

Due to the original source material's intended setting of the Brighton area and its Palace Pier, I have sourced my locations based around the similar Portsmouth area to ensure they are easily accessible without straying away from the source material. It has also influenced my costume designs (attached) which consist of formal designs that would not appear out of place in a British detective thriller.

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JesterJester Clive Grewcock
In days gone by, specific newspapers would employ a man (yes it would be a man) to go around holiday resorts and if you spotted him and challeng
In days gone by, specific newspapers would employ a man (yes it would be a man) to go around holiday resorts and if you spotted him and challenged him, you won a monetary prize. I think you had to have a copy of the correct newspaper on you when you made the challenge.
The leaving a card thing is just an extension of the competition in that if you find the card you also win but from memory finding the card was a lesser prize.
Koller Kibber is just the name the paper gave to their man.
A lot of the references in Brighton Rock are of their time.
Clive(less) ...more

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Trevor (I sometimes get notified of comments)

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JesterJester Clive Grewcock In days gone by, specific newspapers would employ a man (yes it would be a man) to go around holiday resorts and if you spotted him and challengIn days gone by, specific newspapers would employ a man (yes it would be a man) to go around holiday resorts and if you spotted him and challenged him, you won a monetary prize.

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British 60s cinema - Brighton Rock - book and films

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Graham Greene's novel Brighton Rock is an interesting example of an Irony, a story which draws its power from the classic patterns and symbology of a traditional Epic by turning those things upside down.

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Would be used to achieve camera stability with the static shots featured for the dialogue exchanges in Scene 47 as well as any other shots where handheld is not needed.

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Would be utilised for the continuous panning back and forwards shot proposed for scene 43 as well as slightly more unstable 85mm close ups on the gun prop in scene 47.

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This is an essential expenditure when it comes to ensuring the tracking shots with Pinkie and Rose in scene 47 appear as smooth and gentle as they can be. This could be cut due to budgetary reasons however I would advise against as it would potentially make the beach scenes much more dreamy, and this is something I intend to build up before subverting with the jarring lens change at the point where the gun is first revealed.

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I have chosen to utilise a set of three Kinoflow lighting fixtures. These particular lights are well known for their highly adaptable nature and flexibility with tint and temperature, making them ideal for almost any shoot. They are also the light that I am most familiar with as a cinematographer, and I feel this would be a real benefit working efficiently on set. Whilst they could have some use working on scene 47, I intend to rely more on the light from the setting sun in the summer however these could still be incorporated if lighting appears too dark. They are mostly loaned for scene 43, where they will be used to give the bar a similar warm summer tone that matches the exterior window light that may be available.

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The Hub Box, Portsmouth
PO13TR

This is the first potential location for shooting scene 43. It's warm interior and homely wooden décor would make it ideal with matching the colour palettes and mood boards outlined in the padlet. Despite being a burger restaurant, it easily doubles as a smaller scale cocktail bar/pub that I intend the scene to be based around. It's location in Gunwharf Quays makes it readily accessible, however it is an expensive option to book out, and the surrounding area will likely be busy and loud in the summer. Like all three proposed scene 43 locations, the interior setting will mean that power sockets will be available to use and additional batteries for kit will not be required.

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The Dockyard Pub, Portsmouth
PO12RY

The second possible location I sourced for scene 43 is the Dockyard bar. Again it's popularity would make it a slightly more expensive option to source, however it's larger space may ensure extras could be used to increase the atmosphere inside the bar during the scene where Ida and Darrow exchange dialogue and leave.

This is probably my least preferred option as the others have an aesthetic more in line with my mood boards and composed colour palettes, but still a strong contingency nonetheless.

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The Lady Hamilton, Portsmouth
PO13DT

This is in my opinion, the most preferable location of the three. In terms of interior design and aesthetic, it looks most like a standard English pub. It's more vintage style is more in line with the classic noir detective roots of the source material too. It's smaller size and popularity when compared to the other two means that it will likely be cheaper to come to a booking agreement whilst retaining the appropriate atmosphere.

Again its interior will feature power points which will be highly useful for the camera and lighting equipment required when shooting for scene 43. This is where I can most vividly envision the scene to occur.

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This will mostly affect scene 47 due to its exterior location on the beach and the specific demand for a sunset shoot which I intend to be in May summer evening for the appropriate weather conditions.

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The attached link details the sunrise and sunset times throughout the year, and I have selected the timings for May 2022. Generally it would appear daylight hours range from 5:30am - 8:30am, extending to 5:00am - 9am by the end of the month. This would mean that shooting for scene 47 would need to be scheduled for an evening shoot of around 7:30pm-10pm and may require a couple of days to wrap if the sunset is not gradual enough.

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Sunrise and sunset times in Portsmouth, May 2022

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Calculations of sunrise and sunset in Portsmouth - England - United Kingdom for May 2022. Generic astronomy calculator to calculate times for sunrise, sunset, moonrise, moonset for many cities, with daylight saving time and time zones taken in account.

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My name is Jamie Nash. I am a freelance cinematographer with a few projects now under my belt. This padlet page outlines my proposed vision for the two Brighton Rock scenes provided in script.

I have detailed some insight into the source material which I feel was useful to me in formulating my ideas; a marked up script; script queries; shot lists; location suggestions for both scene 43 and 47 as well as mood board, colour palettes, costume designs and equipment specifications.

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Attached is my website and online portfolio for you to take a look at some of my past cinematography work and experience.

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Article detailing the use and importance of LUTs in film.

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lut Color grading * what does lut mean?

LUTs help color grade your footage

LUTs are the quickest way to grade your footage once you've color corrected. It's important to note that if your footage doesn't match from shot to shot, is not properly exposed, or is poorly color corrected, that applying a LUT will not work the way you hoped it would.

First things first, what does LUT mean?

LUT Definition

What is a LUT?

LUT (known as Lookup Table) is a term used to describe a predetermined array of numbers that provide a shortcut for a specific computation. In the context of color grading, a LUT transforms color input values (camera) to your desired output values (final footage).

Why use LUTs on footage?

Set a predetermined look for a specific visual feeling

Increase the speed at which you can color grade

Use as a reference point to develop your unique style

An even more layman LUT definition is: A preset color look for your video footage. LUTs can be directly applied to your footage. This makes the grading process go by much faster, and specific LUTs can transform footage to look like your favorite films and shows.

Here are the basics of color grading with LUTs:

What are LUTs?

Now, there are several different types of LUTs available: calibration, transform, viewing, 1D and 3D.

No matter which type you apply, you'll want to know the input level and color space intended for the LUT you wish to use.

LUTs are used through standard NLE's (Non-Linear Editor - Premiere, Final Cut, Avid) or coloring software like DaVinci Resolve or Speedgrade. You can also use them in motion graphics programs like After Effects.

LUT COLOR GRADING * 1D VERSUS 3D

1D LUTs vs. 3D LUTs

There are generally two types of LUTs out there that you can use. Both types will use both bit size and bit depth to determine the accuracy of your lookup table.

The bigger these numbers are, the better your color grade can look. Check out this LUT video that shows 1D LUTs vs 3D LUTs.

1D LUTs vs 3D LUTs

A 1D LUT is called such because it is controlled by one value setting, and can be boiled down to a gamma curve preset. While this achieves the general goal of a LUT, it does not provide you with the level of control most editors and colorists would prefer. You will most commonly find 1D LUTs that use the .lut extension.

A 3D LUT maps hue, saturation, and brightness to an individual axis, so that you have much more control over specific color values in your image. These are commonly found with .cube file extensions.

There is also color presets known as CDLs. This stands for Color Decision List, and they are less stylized, but also less destructive to your footage. All of this matters when doing LUT color grading.

Cinematic Lut COLOR GRADING examples

Make your shots more cinematic

Film LUTs can help your footage mimic 35mm film so you don't spend your entire day adjusting sliders and color wheels.

First, it's important to determine the look of your footage. Log exposure works better with Log specific film LUTs, while there are some film LUTs designed for footage with traditional digital saturation and contrast.

As general best practice, we suggest you record your footage in Log whenever you can.

log profile Definition

what is camera log?

Log (also known as S-Log) is a shooting profile to provide wide dynamic and tonal range, to provide more latitude when you're ready to color grade your footage with LUTs. At first, the image may appear flat (or "washed out"), but it retains shadow and highlight detail that would have been otherwise lost. The feature is mostly used in filmmaking and videography.

After you've determined the look of your footage, practice color grading with LUT packs. Here's an excellent LUT tutorial to get you started:

Color Grading LUT Master Guide

LUTs can help emulate 35mm film, but it can also provide a way to mimic the cinematic looks of your favorite films and shows, and give you a jumping off point for your own style, but know that any adjustment you make won't affect the LUT values.

In the video below, you can see how David Fincher's directing style often includes using a neo-noir color scheme for his films.

Fincher's best movies are dark, and call attention to eerie colors by washing over the video with sickly greens or haunting blues.

How to master movie color palettes like David Fincher

Color grade your film correctly, and it can amplify the feel of your film, submerging your viewer into a world dominated by your color scheme.

Color grade your film incorrectly, and it can undermine your intentions, throwing off the viewer in some very unsettling ways. You may intend to apply different color grades to different scenes.

This is a situation where LUTs are extremely useful because they will give you the option to create preset looks that can be strategically applied to specific scenes.

A good example of this is the film Traffic.

You can see here how each story is supported by the color schemes, and this not only helps from an artistic and emotional standpoint but we also gain some visual organization that is helpful for the viewer.

Different color grading schemes in the same film

Color is such a wonderful tool for the artist, but color coding is an age-old method for organizing practically anything.

The same way you know where to dispose of your recycling versus trash, or whether you're allowed to drive through an intersection is used to orient the viewer throughout Traffic.

As another example of color grading, take a look at the color theory video which shows you how everything boils down to hue, saturation, and brightness.

A light and desaturated red will evoke a different feeling from a dark and deep red, so just imagine how much more complicated your color schemes can become when you add different hues into the mix.

FREE LUT PACK DOWNLOAD

Emulate the Ridley Scott look

Now that we know the quickest way to color grade your footage would be with a free cinematic LUT pack; we're providing free LUTs inspired by Ridley Scott films. They can be used as Premiere Pro LUTs, Da Vinci Resolve LUTs, Final Cuts LUTs, or Speedgrade and After Effects LUTs.

Take a look at the video below for an example of Ridley Scott's movie color palette:

Mastering the Movie Color Palette: Ridley Scott

Our LUT pack was created with 4K footage that was shot with a flat image profile (Log).

If you apply a LUT like these to footage that was shot with boosted contrast or more color, the corresponding values of your footage may end up being pushed beyond the acceptable range.

If you want to achieve a desert look for your footage, consider using our The Martian LUT:

If you want to achieve a Sci-Fi look for your footage, consider using our Blade Runner LUT:

If you want to achieve a grungy, hyper-contrasty look for your footage, consider using our Black Hawk Down LUT:

You can use these free LUTs to color grade your footage, and gain an even more cinematic look.

How to apply LUTs to Log footage

As mentioned before, most LUTs are meant to be applied to Log footage since you'll have the most dynamic range and latitude when you're color grading your video.

Once you download our free LUT pack from above, here's how to apply LUTs using Adobe Premiere Pro CC:

Apply LUT in Premiere Pro

If you're ever unsure about the value levels, you can check the histograms or meter to make sure levels aren't clipping or too low.

UP NEXT

Color grading vs. color correction

Now you know what LUTs are and how to apply them to your footage, it's time to get deeper on the color grading process. Our next article will help you identify the key differences between color grading and color correction. There's a time and place for both, but which comes first?

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What are LUTs? The Ultimate Guide to Color Grading

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LUTs are the quickest way to grade your footage once you've color corrected. It's important to note that if your footage doesn't match from shot to shot, is not properly exposed, or is poorly color corrected, that applying a LUT will not work the way you hoped it would.