Jump to content


Mrs. Peppercorns Magical Reading Room


  • Please log in to reply
45 replies to this topic

#1 Stephen Murphy

Stephen Murphy
  • Guests

Posted 07 February 2010 - 10:09 AM

I'm halfway through a 4 day night shoot on this short film and thought you might like to see some frame grabs. Shooting on RED (build 21) in 4.5K Widescreen mode. I'm using Zeiss Super Speeds with a 1/2 Black Frost, Whiskey 1 and Smoque 1 (I seem to use that filter a lot!). I'm rating the camera at 320 asa and shooting at the native 5000K. I've got a 4K Tungsten balloon as a soft toplight sitting above the exterior street which is giving me a T1.4 1/2 and I'm shooting at T1.3 for our exteriors. For the interiors looking out on the street Im using a combination of 4ft single kinotubes (daylight) wrapped in 1/2 CTO and F4 diffusion and 500 watt chinaballs wrapped again in F4 Diffusion. Im able to drop the Balloon in height to bring the exterior ambience up a stop and inside we're shooting at T2. For close up coverage I'm usually on the 50mm or 85mm with a chinaball sitting just above, or to one side of, camera as a soft front key. Skin tones in the close ups are overexposed by a half stop, sometimes a stop. We're smoking our interior sets and and adding Fog to the exteriors for a bit of atmosphere.
  • 0

#2 Stephen Murphy

Stephen Murphy
  • Guests

Posted 07 February 2010 - 10:12 AM

And Some more Frame Grabs
  • 0

#3 Satsuki Murashige

Satsuki Murashige
  • Sustaining Members
  • 3510 posts
  • Cinematographer
  • San Francisco, CA

Posted 07 February 2010 - 12:14 PM

Looking good Stephen. Never heard of a Whiskey filter, is it somewhere between Coral and Tobacco? How much stop do they lose?

So your lighting is in the 3200K-4500K range, then the warm filter on top? Pretty ballsy (not that I would expect otherwise from you)! Are you happy with what you're getting?
  • 0

#4 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19761 posts
  • Cinematographer
  • Los Angeles

Posted 07 February 2010 - 12:45 PM

You are a master at lighting, Stephen. Lovely work.
  • 0

#5 Stephen Murphy

Stephen Murphy
  • Guests

Posted 08 February 2010 - 11:13 AM

You are a master at lighting, Stephen. Lovely work.



Thank you for the lovely compliment David. Not quite sure I'm a master just yet but maybe one day:-)

Satsuki the Whiskey filter is quite light, like a light tobacco maybe - I found it in a filter sale:) I didn't allow any exposure compensation for it, I rarely do with colour filters. My lighting is all 3200K but some of the streetlights have a red spike to them so they're a bit warmer. Im really happy with the results so far thank you - the RED seems to recreate the warm colors in quite a nice way.

We finished the third of our night shoots last night/this morning after a long and bitterly cold night. Unfortunately our balloon blew a bulb as it was being setup on call, and the shattered bulb punctured a hole in the balloon and tripped out the electronics and sensors in the ballast. After spending quite some time trying to repair and/or bypass the problem we eventually had to loose the balloon and use the remains of my small package to try and replicate what i was doing with the balloon. By being careful with our staging i was able to use 2 x 5K fresnels bounced into 2 x 8ft x 8ft Ultrabounces as a soft top/frontal light. With the Ultrabounces at a height and a 45 degree downangle I was able to simulate the balloon light reasonably well giving me a stop of T2 at 320asa. By adding a book light made from a corrected 1.2K hmi cinepar and 2 x 8x4 polys we could add some depth to some of the backgrounds or shop interiors. I continued to use 500w chinaballs wrapped in F4 diffusion for our close up coverage and again I kept the skintones about a stop overexposed in the coverage. For cast and location availability reasons we'll be reconvening next month for a 2 day shoot on a soundstage and a very old library.
  • 0

#6 John Holland

John Holland
  • Basic Members
  • PipPipPipPip
  • 2248 posts
  • Cinematographer
  • London England

Posted 08 February 2010 - 01:18 PM

Stephen , Ossie Morris would be proud !!! Great images . john
  • 0

#7 Richard Vialet

Richard Vialet
  • Basic Members
  • PipPipPip
  • 133 posts
  • Cinematographer
  • Hollywood, CA

Posted 08 February 2010 - 01:53 PM

I've been following this on your blog and I think it really looks great!

I think the slightly overexposed faces on the CU's look great with the filtration!

Do you find that the Smoque filter softens skin a lot as well or does it mostly just lower contrast?

Did you use a special eye light in that POV CU of the lady (i guess that's Mrs. Peppercorn?)?

Edited by Richard Vialet, 08 February 2010 - 01:53 PM.

  • 0

#8 Stephen Murphy

Stephen Murphy
  • Guests

Posted 08 February 2010 - 02:33 PM

I've been following this on your blog and I think it really looks great!

Do you find that the Smoque filter softens skin a lot as well or does it mostly just lower contrast?

Did you use a special eye light in that POV CU of the lady (i guess that's Mrs. Peppercorn?)?


Hi Richard,
Thanks for following. I suppose the smoque softens faces slightly, Ive never really considered it in that way. I use it more to add some texture to the images and because i love the way it blooms highlights. No special eyelights just a lovely chinaball!

S
  • 0

#9 XiaoSu Han

XiaoSu Han
  • Basic Members
  • PipPipPip
  • 162 posts
  • Cinematographer

Posted 08 February 2010 - 06:21 PM

Looks great!

That last MCU of the girl, is that lit with the two 5Ks bounced? Very beautiful quality light.

What a location, is that in London? Fake or real snow? :)
  • 0

#10 Stephen Murphy

Stephen Murphy
  • Guests

Posted 08 February 2010 - 06:54 PM

That last MCU of the girl, is that lit with the two 5Ks bounced? Very beautiful quality light.

What a location, is that in London? Fake or real snow? :)


That last shot of the Girl is lit with a 1.2K HMI Cinepar bounced into 2 x 8ft x 4ft polyboards, arranged as a booklight (the poly is joined on one end to form a V shape) to the right of camera. The Cinepar is corrected to Tungsten with full CTO and wrapped with blackwrap to prevent spill. The background is augmented with a 500 watt chinaball and the actress is kit with another 500w chinaball, wrapped in F4 diffusion, sitting above and slightly to the right of the camera lens. Very simple lighting thats easy to turn around for coverage. The snow is all fake paper snow and the location is outside Manchester in Northern England!
  • 0

#11 XiaoSu Han

XiaoSu Han
  • Basic Members
  • PipPipPip
  • 162 posts
  • Cinematographer

Posted 08 February 2010 - 08:03 PM

Nice one on the booklight. I've used a variation of that on our last film, bouncing a lamp into a 8x4 poly and then attaching a full diff frame in v-shape to it. Quite similar I guess.

It would've been interesting to see it without the second Chinaball on her face. Did it take her one stop over set-stop?

Good stuff, let us know if we can see it moving somewhere! :)

One more question though, how did you get the eyelight onto the mature lady that looks into the camera?

Edited by XiaoSu Han, 08 February 2010 - 08:05 PM.

  • 0

#12 Stephen Murphy

Stephen Murphy
  • Guests

Posted 09 February 2010 - 04:57 AM

It would've been interesting to see it without the second Chinaball on her face. Did it take her one stop over set-stop?
One more question though, how did you get the eyelight onto the mature lady that looks into the camera?


Yes the extra chinaball brought her a stop over key. The eyelight in that other grab was from a chinaball just above camera.
  • 0

#13 Ram Shani

Ram Shani
  • Basic Members
  • PipPipPipPip
  • 735 posts
  • Cinematographer
  • isreal

Posted 14 February 2010 - 03:39 PM

great work
very beautiful and elegant lighting
seems very cinematic in term of story telling

I have 2 Q:
1- what is F4 diffusion? never heard of it:(
2- can you please upload pic of the book light you using

thanks
  • 0

#14 Ram Shani

Ram Shani
  • Basic Members
  • PipPipPipPip
  • 735 posts
  • Cinematographer
  • isreal

Posted 14 February 2010 - 03:46 PM

p.s
it looks like you used jean pierre jeunet work
like The City of Lost Children and delicatessen
  • 0

#15 Freya Black

Freya Black
  • Basic Members
  • PipPipPipPip
  • 4161 posts
  • Other
  • Went over the edge... Central Europe

Posted 15 February 2010 - 06:56 AM

Thank you for the lovely compliment David. Not quite sure I'm a master just yet but maybe one day:-)

Satsuki the Whiskey filter is quite light, like a light tobacco maybe - I found it in a filter sale:) I didn't allow any exposure compensation for it, I rarely do with colour filters. My lighting is all 3200K but some of the streetlights have a red spike to them so they're a bit warmer. Im really happy with the results so far thank you - the RED seems to recreate the warm colors in quite a nice way.


Is that the filter sale I was at? I'm loving the whiskey filter! Fabulous! I still regret not buying some choclate filters at the sale but now I wish I'd found a whisky filter! Looks like there is some overlap in our filter tastes as I've been trying to pick up a cheap smoque filter for a long time now! I assume that didn't come from the sale as it's a tiffen filter?

I'm such a filter fiend! ;)

The locations are looking great too! Have you guys been heavily redressing the locations or are they somewhat like that normally?
These are real locations right, not like a set in Manchester!?

love

Freya
  • 0

#16 Stephen Murphy

Stephen Murphy
  • Guests

Posted 15 February 2010 - 12:47 PM

I have 2 Q:
1- what is F4 diffusion? never heard of it:(
2- can you please upload pic of the book light you using

thanks


Hi Ram, F4 is just a type of heavy diffusion common here in the UK. I didnt take any photo's of the book light setup sorry i was under too much time pressure at that point in the shoot!:-)
  • 0

#17 Stephen Murphy

Stephen Murphy
  • Guests

Posted 15 February 2010 - 12:49 PM

Is that the filter sale I was at? I assume that didn't come from the sale as it's a tiffen filter?

Have you guys been heavily redressing the locations or are they somewhat like that normally?
These are real locations right, not like a set in Manchester!?


Hi Freya,

Th very same filter sale:-) The Smoque is indeed a tiffen filter, one ive grown very fond of for HD shoots. That was a real location but very heavily redressed by the Art Department - they did a great job dont you think?
S
  • 0

#18 Freya Black

Freya Black
  • Basic Members
  • PipPipPipPip
  • 4161 posts
  • Other
  • Went over the edge... Central Europe

Posted 15 February 2010 - 02:41 PM

Hi Freya,

Th very same filter sale:-) The Smoque is indeed a tiffen filter, one ive grown very fond of for HD shoots. That was a real location but very heavily redressed by the Art Department - they did a great job dont you think?
S


Thought so! Did you pick it up cheap somewhere? I've fought over a couple of screw on smoque filters on ebay in the past! Why for HD shoots? Do you find it's not right for SD or film for some reason?

I've been impressed by the previous stuff you have posted here but I LOVE this. I'm VERY into magical and otherworldly be it Terry Gilliam, David Lynch, Jeunet and Caro, Jean Cocteau or Kenneth Anger. I'm liking Mrs Peppercorn too, does she get cheap rent by any chance?

The art department did a FANTASTIC job. It looks both old and new at the same time and also magical and hyperrealistic. The filters of course add to the magical effect. :) Great, this is really my kind of thing. I'm assuming this was not a big budget production so I'm kind of blown away!

I'm wondering if you have seen a film I saw recently. It's called The Illusionist and the cinematography is by a guy called Dick Pope. I think you might like it. It has some interesting scenes that are sort of subtle and in your face at the same time. They feature vignetting and a strange flickery effect. I think it is supposed to look like old movie film in colour but it sort of just looks kind of magical. Might be slightly too in your face in some ways but worth checking out.

The movie was fun too. I guessed the entire plot a short ways in but still really enjoyed it, worth watching just for the cinematography tho!

love

Freya
  • 0

#19 Stephen Murphy

Stephen Murphy
  • Guests

Posted 15 February 2010 - 03:33 PM

Thought so! Did you pick it up cheap somewhere? I've fought over a couple of screw on smoque filters on ebay in the past! Why for HD shoots? Do you find it's not right for SD or film for some reason?

The art department did a FANTASTIC job. It looks both old and new at the same time and also magical and hyperrealistic. The filters of course add to the magical effect. :) Great, this is really my kind of thing. I'm assuming this was not a big budget production


got the smoque from London filters. Not cheap! I find It helps add a texture to the oversharp HD images, and adds a little softness. I haven't shot sd in years but I'm sure I'd use it on that too. I'd use it on film for a different effect.
Budget was tiny - 10k sterling cash everything else was favours.
  • 0

#20 Ravi Kiran

Ravi Kiran
  • Basic Members
  • PipPipPip
  • 139 posts
  • Other
  • Los Angeles

Posted 16 February 2010 - 02:04 PM

Gorgeous shots!

They say daylight is better to use with the RED, but since you're creating a warm look look anyways, I presume tungsten works fine?
  • 0


Visual Products

CineLab

Broadcast Solutions Inc

Tai Audio

CineTape

Rig Wheels Passport

Paralinx LLC

Aerial Filmworks

Technodolly

Wooden Camera

The Slider

FJS International, LLC

rebotnix Technologies

Willys Widgets

Abel Cine

Ritter Battery

Opal

Metropolis Post

Media Blackout - Custom Cables and AKS

Glidecam

Gamma Ray Digital Inc

The Slider

rebotnix Technologies

Media Blackout - Custom Cables and AKS

Broadcast Solutions Inc

Tai Audio

Abel Cine

Opal

Willys Widgets

Glidecam

Aerial Filmworks

Gamma Ray Digital Inc

Paralinx LLC

Technodolly

Visual Products

Metropolis Post

Ritter Battery

CineLab

FJS International, LLC

Rig Wheels Passport

Wooden Camera

CineTape