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Blood River


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#1 Stuart Brereton

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Posted 24 October 2007 - 01:03 PM

I've just wrapped on my first US feature, Blood River. Shot in Nevada & California in 19 days. It's a kind of supernatural thriller, with a whole lot of Western thrown in too.

There was no budget for film, so we shot HD on an F900R, framed for 2.35:1. Lighting package was 6 & 4KW HMIs, Kinos and some tungsten.

Although we had some lit interiors to do, most of the film was day exterior in the desert, so bounce boards and white sheets were the order of the day.

I had intended to do a shoot diary as we went, but patchy internet connections put paid to that idea.

Here's some screengrabs. Hope you like.

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#2 Stephen Murphy

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Posted 24 October 2007 - 03:09 PM

That looks absolutely gorgeous Stuart.
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#3 Chris Keth

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Posted 24 October 2007 - 04:20 PM

I wondered if any stills would make it up here. Nice work.
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#4 Xavier Plaza

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Posted 24 October 2007 - 05:03 PM

Beautiful work delightful especially the fifth frame (at the bar) wow, amazing... great work Stuart.


Xavier Plaza
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#5 Stuart Brereton

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Posted 24 October 2007 - 05:34 PM

Here's a few more.

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#6 Andrew Brinkhaus

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Posted 24 October 2007 - 10:38 PM

Absolutely gorgeous! What processes did you use to achieve such a soft, gritty feel? Very film like in terms of how HD generally looks (overly sharp.)
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#7 David Mullen ASC

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Posted 25 October 2007 - 10:23 AM

Looks great -- just shows what HD can do in the hands of someone who knows how to light a scene...
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#8 freddie bonfanti

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Posted 25 October 2007 - 10:33 AM

love it, Stuart...well done mate
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#9 John Holland

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Posted 25 October 2007 - 11:31 AM

Beautiful images Stuart i agree with Mr Mullen shows what you can get when you are good and know what you are doing .
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#10 Matthew Buick

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Posted 25 October 2007 - 04:13 PM

You are some cinematographer, Stuart.

10/10. :)

Edited by Matthew Buick, 25 October 2007 - 04:15 PM.

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#11 Ignacio Aguilar

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Posted 25 October 2007 - 04:29 PM

You should be proud of yourself, Stuart.

I love dark silhouettes and underexposed faces in the foreground against a brighter background. The great Gordon Willis used to shoot this way, but your work seems to be more stylized with smoke and gels. Congratulations. It looks great.
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#12 Toby L Edwards

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Posted 25 October 2007 - 04:37 PM

Wow' Those are some nice looking stills. I will have to put this on my list of movies to look out for.
Excellent work.

Toby
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#13 Stuart Brereton

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Posted 25 October 2007 - 10:20 PM

What processes did you use to achieve such a soft, gritty feel? Very film like in terms of how HD generally looks (overly sharp.)


The camera was set up for a low contrast look. I switched the detail off, the ITU709 off, used one of the film gammas. I also lowered the saturation to -20. I had a 1/4 Black Promist on the lens all the time, switching to a 1/2 occasionally for closeups. All the interiors were hazed, which helped soften the image too.
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#14 pascal Boyer

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Posted 26 October 2007 - 08:58 AM

The camera was set up for a low contrast look. I switched the detail off, the ITU709 off, used one of the film gammas. I also lowered the saturation to -20. I had a 1/4 Black Promist on the lens all the time, switching to a 1/2 occasionally for closeups. All the interiors were hazed, which helped soften the image too.



Hello ,

great work! It proves that even with a lack of budget solutions can be found on set and with creativity. I am very curious about how you lit the bar scene.. could you explain us a little?
thank you !!
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#15 Stuart Brereton

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Posted 26 October 2007 - 11:19 AM

The bar was lit with two 4k HMI fresnels from outside the windows. The windows were gelled with full CTO, as the scene was set at sunset. The room was hazed, and that was it, except for a single 2ft Kino tube which hidden below the bar top which gave a subtle fill to the bartender. There was another scene in the same room which was lit with kinos and a china ball, but the scene at the bar was deliberately kept dark & contrasty.
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#16 Gary McClurg

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Posted 26 October 2007 - 12:46 PM

Some nice grabs...

If and when you can post a trailer or clip from the film...
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#17 Kieran Scannell

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Posted 26 October 2007 - 12:54 PM

Those stills look amazing Stuart, real craftsmanship! 2 questions.

What lenses did you use?

If you had shot this on film which stocks would you have considered and what differences would you expect to see in the end result?

I'm asking because when i try to convince people to go for film they see work like yours and say"i can't see the difference! except in lab costs!

Kieran.
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#18 pascal Boyer

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Posted 26 October 2007 - 01:19 PM

The bar was lit with two 4k HMI fresnels from outside the windows. The windows were gelled with full CTO, as the scene was set at sunset. The room was hazed, and that was it, except for a single 2ft Kino tube which hidden below the bar top which gave a subtle fill to the bartender. There was another scene in the same room which was lit with kinos and a china ball, but the scene at the bar was deliberately kept dark & contrasty.


Thank you very much! Very usefull ! :lol:
cheers
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#19 Stuart Brereton

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Posted 26 October 2007 - 03:41 PM

What lenses did you use?

If you had shot this on film which stocks would you have considered and what differences would you expect to see in the end result?


We used Fujinon HD Compact zooms. Nice lenses, very sharp, but prone to breathing on focus pulls.

If we'd shot film....well, probably Kodak 50D & 250D, with some 500T for our night scenes. The were a number of scenes in cars and under porches where I really struggled to build the lighting up to a exposure level where the sunlit areas wouldn't just burn out. On the whole I succeeded, I think, but it would have been a whole lot easier with film. I had my doubts about HD for a project like this with so much DAY/EXT (particularly in a desert), but it held up remarkably well.

I've just been given a copy of a trailer for the film. Click Here to see it
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#20 Rolfe Klement

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Posted 27 October 2007 - 12:12 PM

Very nice - what did you use for the aerials?

I assume a RC heli from the lack of hair blowing on the fly overs

thanks

Rolfe
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