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'Blue Ruin'


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#1 Jamie McIntyre

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Posted 15 June 2007 - 07:08 PM

Hi guys,

I thought i would make a thread about the project i am attempting to DP, haha. It's called 'Blue Ruin'. The director, funnily enough, posts here also, his name is David Sweetman.

We have had 2 days of full shooting so far, One day was interiors in a house which i like to think went well. And another day at a restaurant and back to the house for some exteriors.

Here are some photos of my lighting of the house. Trying to foreshadow an event that occurs only minutes later, with the strip of light leading up the stairs, where a character meets his demise.

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The following photo is of the set up i used to create a daylight feel as we were shooting inside on the 7218 and had to block out all of the daylight. I tried to motivate the light coming from the right as window light around 9am in the morning. And there was a light up the staris lighting the character (sat down) motivated by the lights above the table.

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These photos are of a restaurant scene where the audience by now, should expect the female character is being disloyal to her husband, the male character. I tried to light her slightly under key to reveal a darkness about her. I hope it works out.

Does the main table lighting and ambient look feel like a restaurant?

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Finally, this is a photo of when the wife is being followed by the husband, we were shooting at night on the 7218 and the practicals street light was giving off nowhere near enough light. We put a 2k tungsten up at put some full orange CTO on there to mimic the sodium vapor light. I underexposed the scene by half a stop to keep the feel of betrayal in the scene. We framed the shot tight on the windscreen with the actress just on the right of frame. We couldn't see any bounce or reflections on the main exterior of the car.

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We are shooting on 7218 and 7245.

I'll let you guys know how it turns out.

What do you think? - This is my first ever gig as a DP. I have never implemented my ideas on someone else's work so for me, it's a nerve racking experience

Cheers, Jamie McIntyre.
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#2 David Sweetman

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Posted 15 June 2007 - 09:04 PM

Pff, nerve-racking he says! Jamie's awesome, bringing him onto this project has definitely taken it to another level. The nerve-racking part actually might come because of our style of coverage; we've been shooting several one-setup scenes, for example the restaurant scene is one 3-minute shot, we follow the couple in, sit them down, and stay on them for a conversation. So it took us maybe 3 hours to set up one shot in the restaurant, but when we got it, we had three minutes of screen time in the can. I'm going to try to stay away from dramatically motivated coverage as much as possible.

Also our actors have been awesome, of course this style of coverage is harder on them too. We're lucky enough to have Patrick Levis and Adrienne Dye playing the leads; also in the film are Shannon Halliday and the co-writer, Thomas Villarreal.
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#3 Jamie McIntyre

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Posted 15 June 2007 - 09:39 PM

I agree. The actors have been awesome! They did well yesterday and they worked hard.

Taking it to another level? Yes. A lower one hahaha
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#4 Jonathan Bowerbank

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Posted 19 June 2007 - 03:29 AM

Looks like you guys had a lot of fun! ha ha

It all looks pretty good. The only critique I'd have about the restaurant scene is that you probably should have kept a little bit of light off that wall behind them...the white window. You might find that the light's reflectance off that white window will be a bit stronger than it was to your eye, so it might have been a good idea to flag or scrim that light off the wall. Perhaps some backlight on your main actor in that same shot would have been nice as well.

Otherwise, well done!
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#5 David Sweetman

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Posted 23 June 2007 - 07:14 AM

Thanks Jon, I saw that window in the still too, but it might be okay because it's not framed so prominently in the actual shot...live and learn, at any rate. Also I didn't really want to see backlight precisely because it might have been nice...for this film I only want to see backlight when there's reason for it (dramatic reason, not just motivated reason.)

So the other day I get a call from the lab, it's a "condition report," which I've learned is never a good thing, at best it's 'okay'. Anyway there's a scratch throughout all of camera roll 5. So I scramble to my camera reports to see what was on the roll, of course it's the resolution to the entire film, and like a 2 minute shot. Went to the post house to check it out, turns out the scratch is just barely outside of the picture area, and into the super 16 area! But just seeing the images was awesome, it looks really cool, I can't wait to have it to edit. Looks great cropped to native HD widescreen, that's definitely how I'm going to do it, I think I'll transfer it all DVCPRO HD from the get-go.

Unfortunately for this production Jamie has left to return to the UK, so I'll probably try and light the remainder of the film myself. We have 6-7 pages still to shoot, most of it in an office building at night. It feels like the hardest part is over anyway. I'm going to try to get (or make?) some kino's for the office, which would probably suit us much better than the fresnels we've been using.
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#6 David Sweetman

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Posted 04 July 2007 - 10:41 PM

So I took some paint and slapped together this promo sheet (the type is still tentative):

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Tell me what you guys think...does something look wierd about the face?
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#7 Jamie McIntyre

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Posted 06 July 2007 - 02:01 PM

Hey Dave!

How is Los Angeles? And how did the rest of the shoot go? This has been my first real chance to get online. I have had an operation on my foot so I'm out of action and sat here on my computer.

Have you seen any more of the material? And my fault about the scratch, but as long as you say it's outside of the cropped are i suppose it's ok :)

I cant wait to see what it looks like. Im slightly afraid though :s
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#8 David Sweetman

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Posted 08 July 2007 - 03:20 PM

I cant wait to see what it looks like. Im slightly afraid though :s

Yeah I know that fear too...but from what I've seen, I'm very happy with it. Like "holy crap this is freakin cool" happy.

The rest of the film is yet to be shot, I just got back today from a trip to Iowa and I'm going to San Luis Obispo for another two days, so we'll shoot within the next week 1/2 to 2 weeks.
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#9 David Sweetman

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Posted 12 August 2007 - 09:38 PM

We wrap tonight, finally. ...sweet.
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#10 Nick Mulder

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Posted 12 August 2007 - 10:22 PM

'Blue Ruin'

anything to do with Eternal Sunshine of a Spotless Mind ?

;) or is there simply another gin drinker in your film ?
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#11 David Sweetman

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Posted 21 August 2007 - 11:43 AM

'Blue Ruin'

anything to do with Eternal Sunshine of a Spotless Mind ?

;) or is there simply another gin drinker in your film ?

The co-writer is a big fan of Eternal Sunshine, but the title came from a poem he wrote...that's actually a working title which will probably change because it's a phrase meaning 'utter ruin,' which is what we were going for, but it seems to just confuse everyone, especially since there's no gin...

Anyway, now I'm just saving up money for telecine, hopefully we'll have something real to show soon.
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#12 David Sweetman

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Posted 26 January 2008 - 01:23 PM

Finally got through telecine, transferred on a Spirit with a one-light to HDCam. In two days of editing I've got a rough cut finished, the runtime is just over 30 minutes, and with 1hr 50 minutes of total footage that's just under a 4:1 shooting ratio. We'll probably cut it down to about 20 minutes though.

I'll post stills soon...
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#13 David Sweetman

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Posted 05 February 2008 - 12:09 PM

Here are some stills,
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#14 David Sweetman

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Posted 05 February 2008 - 12:17 PM

And a few more,
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the one above is just practical flo's and a red wall giving us some practical bounce...so we didn't really do anything...but it's exactly the effect we were hoping for! pseudo-silhouette with some sickly opposite colors
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the above stills are pretty dark, they show up alright on my monitor but I can't make any promises for every crt out there...
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Let me know what you guys think
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