Shooting night scenes nearly always requires at least a passing sense of moonlight. The wash of soft overhead ‘blue’/daylight light at night has long been the staple of Hollywood night scenes. A remarkable 239 000 miles from earth, this planet offers a source of bounced light at night. It catches the daylight of the sun and bounces it back into our darkness. For tungsten balanced eyes at night this appears blue.Read More
Filtering by Tag: 16oz studio
A recent shoot took me on a monumental photographic journey across the States with maestro director Chris Holt. From North West to South East… a deep zig zag cut through the American landscape as we traced the dark journey of our infamous protagonist.Read More
A shoot recently took me to the North of Namibia to film with the nomadic Himba tribe.
Conditions were as hot and dusty as you might expect from the harsh desert environment and dust devils plagued our equipment daily. And then into this dry, arid, almost monochromatic landscape the Himba people emerged, bringing a sense of colour and costumed majesty that I found mesmerising, and a joy to photograph.Read More
Handheld camera work is probably the most pervasive form of motion photography... from news gathering, to 'observational documentaries, to iPhone footage: the camera in the hand is everywhere. And its visual signature is strong, unambiguous, human... we somehow know that it is closer to the 'truth' … to the un-augmented reality of life.Read More
A beauty commercial for Finnish brand Cutrin called for a meeting of landscape with the soul of Finnish femininity. Maestro director Michael Lindsay aimed to collide the change of seasons and landscapes with a feminine Finnish 'Sisu'... to explore the beauty and resilience that is built through this drama. The shoot was to begin in the Arctic North and then finish in the South, in the beautiful rocky coastline of the Finnish Baltic.Read More
For a promo for Tigi the brief from the creative team was to find the sympathetic movement of lighting, camera and subject... as if all in moved in sync to the same score.
We wanted the lighting to go from bold silhouettes to full light, together with a dolly move towards the subjects. The silhouette backgrounds were to roll and pulse with the same sense of pace and motion across the colour spectrum.Read More
In pre-production for the Elizabeth I series, starring Lily Cole, I discussed using a small degree of 'base layer' diffusion with maestro director Chris Holt. After extensive testing I settled on one of the Kipper Tie diffused Optical Low Pass Filters. These replace the existing Red OLPF and sit directly in front of the sensor for a light touch of softness and some highlight halation.Read More
For shooting a music video in Cornwall with director Stuart Brennan, we employed a 2 camera package. The A camera was a Red Weapon Magnesium and the B camera was a Scarlet W, this permanently mounted in a DJI Ronin Gimbal. While the A camera utilised a set of Arri Zeiss Ultraprimes (16-135mm) this my first outing with the P + S Technic 18-35mm T2 zoom which was mounted in the DJI Ronin Gimbal.Read More
'The Number', directed by Manuela Gray, focuses on South Africa's 'Number' prison gangs. As the shoot required the delivery of both motion and stills we opted to shoot with a Red Epic Dragon favouring its higher resolutions, as these would give us the most useable results for stills extraction.Read More
Shooting in the States is visually exhilarating. It's a landscape and culture so deeply ingrained in our cinema, literature and music that everywhere I turn feels ecstatically familiar.Read More
Shooting with a Phantom 4K camera at Sunbeam studios. 925 fps at 4096 x 2304. The resolution aside, its the 'look' and latitude of the new sensor that is so striking. We were shooting at 800 ISO and the picture looked very clean, with a shadow detail and a highlight roll-off unlike earlier Phantom incarnations.Read More
Shooting macro inserts for a commercial at the 16oz Studio and realising that I often underestimate the amount of light that this takes. Shooting at 240fps, T8, 320 ISO meant that a hard 4K HMI was placed only a couple of feet away from our small targets. Fill was provided by 3 Cineo HS units, again only a couple of feet away.
Just taken delivery of a GFM dolly and jib at the 16oz studios. Beautifully engineered for uncomplicated, fast and incredibly smooth movement, both freewheeling on the polyurethane floor and on track.Read More
Testing the CRI, intensity, throw and angle of projection of a range of daylight high frequency sources. K5600's 'Joker' HMI, Kinoflo flourescent, Litepanel LED and TruColor's HS Remote Phosphor unit. For raw power the 1600watt K5600 Joker takes a lot of beating!Read More
A corner-less cove to create the photographic illusion of infinite space.
Work begins at the 16OZ studio.Read More
Images from the much anticipated 16OZ studio build in North London.
Finding the right combination of space, rigging and light made us look to build a space that we felt didn't currently exist. And so the 16OZ studio, one thought backwards from the film makers' perspective... still building.Read More