Exploring new territory through in-depth features and comment from some of the industry’s most experienced cinematographers, their collaborators and industry experts.
SMALL BUT MIGHTY From shrimps to spiders, capturing the natural world’s smaller inhabitants calls for specialist kit and knowledge. Macro cinematography demands meticulous control, with a mix of studio-based and on-location work. Veteran filmmaker Richard Kirby says most macro cinematographers build a simple set “and take that anywhere,” blending the back of the set and … Read more
INTO THE BLUE Join the cinematographers taking the plunge into our oceans as they strive to capture the world beneath the waves. It used to be that simply taking a camera to an unusual place – the top of a mountain, space, or the depths of the sea – would satisfy producers of high-end documentaries. … Read more
The concept of image-based lighting on set is relatively new, but innovations and education pioneered by Quasar Science are bringing the technique to the mainstream. The quest for realistic lighting that is emotive and immersive and that complements an actor’s physical attributes in an environment has been the goal since the first lighting technician flipped … Read more
Integrating LED walls in virtual production has brought a transformative shift in the filmmaking industry. Integrating the LED wall and managing colour rendering, accuracy, and consistency is paramount for film production. Visuals that look great on your monitor during the design process can look different on the actual LED screen, which is essential in any … Read more
Cinematographer and virtual production specialist Andreas Neo shares how he achieves final pixel images on a VP stage with Kino Flo MIMIK image-based video lighting tiles. Final pixel imaging is all about walking onto a virtual stage and being able to shoot and treat it creatively as if you were shooting on location. And while … Read more
Richard Mead, Brompton Technology CEO, on achieving better colour rendition for in-camera visual effects. One of the benefits of shooting a scene within a virtual production LED volume is the realistic reflections and lighting from the LED panels themselves. This is such an important element of achieving realistic in-camera visual effects (ICVFX) that many volumes … Read more
Exploring new realms For teams shooting virtual production with 2D assets, cinematographer, Cathy Ye gives a cursory examination of her experience shooting Osoro at Ramaz Studios in London. What is the project? Osoro is a magical realism, proof of concept short film exploring love, loss, and the pursuit of second chances, directed by Sheila Nortley, … Read more
Exploring the vast expanse of a desert for a music video holds undeniable allure, but virtual production means braving the elements was no longer a fear, as David Procter BSC explains. The allure of sweeping dunes, stark beauty and endless vistas offers an ethereal quality that seamlessly harmonises with music. However, this appeal accompanies a … Read more
Decisions about light and colour made before the virtual production shoot begins can have a big impact on a production’s success. Notwithstanding the efforts of DITs and playback specialists, the final finishing process is often the first point in the life of a production at which the images shot on an LED stage are seen … Read more
LIGHT OF THE PARTY Production name: The Afterparty S2 Production type: Television series Cinematographer: Ross Riege Gaffer/chief lighting technician: Cameron Smith Director: Various Overview of The Afterparty and your approach to lighting: The series is a ‘Rashomon’-style murder mystery, retelling the same sequence of events from a different character’s perspective on an episode-by-episode basis. Each episode has a specific … Read more
VOYAGE OF ADVENTURE Production name: One Piece Production type: TV series Cinematographer: Nicole Hirsch Whitaker ASC (episodes one and two) Gaffer: Wiseman Dinizulu Director: Marc Jobst Overview of the production and what was the visual approach you adopted in terms of lighting: Marc and I met on a previous Netflix show, Jupiter’s Legacy, where we found a really similar … Read more
Light Source Film is a beacon of transformation that has evolved far beyond its humble beginnings just over a decade ago. The brainchild of lighting technician Aaron Keating, Light Source Film was originally set up as a portal to help qualified and sometimes overlooked sparks to showcase their talents. In other words, it aimed to … Read more
A close-up look at the latest lighting trends. The first thing that gaffer Julian White brings up is that, despite the fanfare still surrounding new releases, LED lights are no longer a new technology. “The first time I used an LED battery light was probably at least 13 years ago. The Asteras were one thing, … Read more
The question of whether a virtual production stage’s videowall counts as a lighting device is still vexed, even as the technique in general becomes a comfortable part of the mainstream. One of the people who is perhaps best placed to address the issue of lighting for virtual production is Markus Förderer ASC BVK, cinematographer on … Read more
DP Hamish Doyne-Ditmas reflects on the fixtures of yore and how filmmakers can pair classic techniques with modern technology. Film and television is an unusual art form in that much of the most respected work has been done with tools which are now only in use when people make a special effort. That’s a factor … Read more
Beautiful but fleeting, natural light often presents DPs and gaffers with their greatest challenges. “Natural light is interesting because you can’t really control it,” states Roger Simonsz BSC. “You have to remain very flexible.” Simonsz prefers not to use artificial lighting for day exteriors. “I’ve always tried to work with reflectors and diffusers… for the … Read more
Sustainability must be factored into all aspects of a production from the outset, from environmentally friendly ways to light a show through to finding greener ways to travel. Some of the things a film or television production can do to improve its sustainability are popular with the production office. Less diesel burned means both less … Read more
There’s a certain subset of lighting techniques that film schools can’t teach. Cinematographer Owen McPolin ISC sheds some light on the creative thinking and resulting methods used when illuminating spaces. Even the highest-end shows will eventually present a camera team with problems which require a solution nobody has ever used before. Owen McPolin ISC has … Read more
From RGBW LEDs to traditional tungsten, from wireless consoles to simple textiles, the tools of the lighting department are many and varied. A range of working gaffers share their must-haves and go-to items with us. “Keep it simple,” is Julian White’s advice. “Less is more, because if there are less things to work with there … Read more
Pete Romano ASC explores the tech milestones and lighting kit developments that have impacted his work as a specialist in underwater shooting. Working underwater combines several tricky factors. There’s often no, or less, natural light, space fades to blue over quite short distances even when it’s spotlessly clean, and taking lighting down there is, well, … Read more
