Day for Evening - 'Strike Back' 22/08/18

This was for an extended sequence shot over three days and was scripted to start at dusk and transition to night. A main feature of the location was the large courtyard pictured below. My initial idea was to silk it and net it but I knew that that would not cut down the light levels enough for the tungsten lighting in the courtyard to read as suitably eveninglike. The cost of using additional heavier nets would have been prohibitive. Trusty key grip Suri Ramasamy came up with an economical and practical solution - garden net for protecting your prize fruits from those pesky squirrels! Available at your local garden centre for next to nothing and the perfect two stops of light loss for filming purposes.

Night - 'Strike Back' 30/07/18

We've hardly done any night exteriors but this was a big one. 9kw hybrid baloon in the street and 18K Arrimax on a cherry picker at the far end. Not that much lighting actually but there was a lot of ground to cover from one end of the street to the other so the mantra of 'one big light far away' applied well in this instance.

 

Rickshaw Car PoV - 'Strike Back' 30/07/18

For the classic 'rabbit caught in the headlamps' pov shot of a person about to be run over, the rickshaw dolly with a par can mounted either side of the seat did the trick. Camera operator Steve Murray was so impressed with this rickshaw specially built for him by key grip Suri Ramasamy, that he will be shipping it back to England at the end of the job.

Lighting Through a Fan - 'Strike Back' 30/07/18

Yes I know; it's a pretty corny lighting effect but hey, in the right set and with the appropriate action, it still looks good. Always nice to be able to give a nod to Ridley Scott and Alan Parker. Arri M40 full spot through the fan blades.

Ultramini Mini - 'Strike Back' 30/07/18

Alexa Mini in its most compact configuration stripped down to its bare minimum for a hand held fight scene. Camera operator Steve Murray modeling the latest designs in battery belts.

Gobo - 'Strike Back' 30/07/18

A neat gobo effect created by joining two cukolorises side together to simulate the effect of light shining through the metal latticework.

Fomex Flexible LED Light - 'Strike Back' 30/07/18

I know that these Fomex LEDs have been around for a while but I had never used them before. Great for cars as they can be rolled up and pinched in between the sun visor and roof liner or rolled up into the instrument binnacle. They are incredibly bright; much brighter than the equivalent sized Litegear Litemat. In a low key environment I put ND 9 over them. Here's gaffer Maran Subramanian. Nice eye light...and that's a Hong Kong light under the air vent.

Strazzed! - 'Strike Back' 30/07/18

If you are familiar with this blog before you'll know the meaning of 'Strazzed'. If not, scroll down to the entry on 31/03/18 where the term is explained.

Cocout Cam - 'Strike Back' 30/07/18

One of the less successful ways of disguising a camera. Even in an 18mm super wide shot, the first thing the DIT said on viewing the footage was "Why is that Go Pro in shot and what's it doing in a coconut"?

Camera Protection - 'Strike Back' 30/07/18

This is a really nifty and simple piece of equipment designed by the Malaysian grips department courtesy of key grip Suri Ramasamy. In situations when blank rounds are being fired close to camera, it fully protects the camera and camera operator's upper body and head in a light weight, quick to rig package that leaves the operator completely unecumbered to operate the shot in any way he or she chooses. Here's Steve Murray at work.

Hong Kong Light - 'Strike Back' 30/07/18

Simple, versatile and very effective, the Hong Kong light is a self contained LED tube light with internal battery power. The favoured lighting instrument of Hong Kong based DPs it comes in daylight and tungsten, two foot and one foot and with a six stepped dimmer so you always know the output level by counting the clicks. They are lightweight and stick up anywhere with Black Tack without trailing leads, ballasts etc...

Reflectors - 'Strike Back' 30/07/18

A pleasure to get reqacquainted with the Malaysian lighting crew's set of mirrors having enjoyed using them in 2015 on 'Indian Summers'. They come in in all shapes and sizes.

Holi Festival - 'Strike Back' 30/07/18

It all started here with immaculately arranged dishes of coloured cornstarch before descending into madness. Camera operator Steve Murray and camera taking one for the team. Jorge Luengas, 2nd Unit DoP, clearly smiling at having avoided the deluge.

'Strike Back' Crew - 30/07/18

Our fantastic Malaysian crew but too many to list here. This photo will be published in the upcoming edition of British Cinematographer Magazine with a full list of everybody's names. Key personnel from left to right as follows: Jorge Luengas-2nd Unit Dop (in brown T shirt), Maran Subramanian-Gaffer, Steve Murray-A Camera Operator, Tim Palmer BSC-Director of Photography, Meg de Koenig-B Camera Focus Puller, Suri Ramasamy-Key Grip, Lim Woei Hoa-A Camera Loader (kneeling with clapper board), James Mathai-A Camera Focus Puller (kneeling beneath camera).

Wall Breaker Lighting Support - 'Strike Back' 30/07/18

The Wall Spreader made by Panther, fondly known as the Wall Breaker for it's crushing force ability to knock out a wall in the hands of the unitiated, is a far superior piece of equipment to the 'Pole Cat' and much less destructive than scaffold tube.

Movi Remote on Quad Bike - 'Strike Back' 30/07/18

Good tracking vehicle across sand and for close quarters car chase.

Strike Back - 30/07/18

Lots to report since filming began in May. Now prepping block 4 with director Mark Everest.

Strike Back - 12/05/18

Prepping now in Malaysia for the new HBO/Cinemax series of Strike Back with director Paul Wilmshurst. We are back in Penang with many of our talented and hard working Indian Summers crewmembers.

Killing Eve is a Hit - 12/05/18

Killing Eve, currently showing on BBC America, has proven itself a runaway success. Congratulations to director Jon East, with whom I collaborated on episodes 3, 4 and 5. Thank you to producer Colin Wratten and everybody at Sid Gentle Films for inviting me on board. The show has attracted very positive press so far. Vanity Fair and Vox magazine went behind the scenes on episodes directed by Jon East.

Muddy Puddles - 31/03/18

Peppa Pig would have been in her element. After a night and day of nonstop rain the sun came through for the final slate.

Vermeer - 31/03/18

I'm supposed to light scenes to look like a Vermeer not be in them. Photo courtesy of production designer Arwel Jones.

Treecam - 31/03/18

Colder than it looks - 31/03/18

The water does look inviting but don't be deceived. The Beast from the East had just blown through and the water temp was 3 degrees C. A very tidy splashbag setup.

Strazzed! - 31/03/18

Named after the great DoP Ivan Strasburg, 'strazzing' means shoving, ramming, balancing, leaning, propping up any piece of grip or lighting equipment using the natural environment and any bit of debris or such like lying around. No stands or conventional grip mounting equipment allowed!

Wacky Races - 31/03/18

B Team honing their geared heads skills. Focus puller Elhein de Wet the winner by a country mile completing the circuit in 19.5 seconds.

 

Down the Drain - 31/03/08

Neat rig for a view up through the plug hole.

Fireplace Flicker Arri Skypanels - 31/03/18

Using the built in pre-programmed flicker effect setting available with the new firmware update on Arri Skypanels. It is criminally easy and very effective.

Slider up the Stairs - 31/03/18

One way of tracking up stairs.

Recent Weather - 31/03/18

Taken five minutes apart.

Flicker Box - 31/03/18

A very elegant and naturalistic way to create a realistic flicker. PKE Lighting made up these boxes. The sparks approve - gaffer Mark 'Hutcho' Hutchings in front.

Mantis Rickshaw - 31/03/18

Steadicam operator Paul Edwards on a Mantis rickshaw dolly from Optical Supports. Steadicam attached to a Garfield mount.

Lay Flat Smoke - 'Dr Who' 02/03/18

Real SFX are doing an outstanding job laying smoke in the large woodland locations we have been filming in. Hundreds of yards of tube, hidden from the eye, surround each set. Even when the wind picks up there are enough sources spread about to provide even smoke coverage. The results are fantastic, especially when the sun comes out.

Tungsten Fill Outside - 'Dr Who' 02/03/18

It's hot, it's heavy and it draws a lot of power but there's an unquantifiable magic about tungsten light outside. No HMI can match the colour quality and broad punch of a Dino.

Periscope Lens - 'Dr Who' 02/03/18

My old favourite, the Optex Excellence, comes into its own again for a low angle shot from within a freshly dug grave. Key grip John 'Robbo' Robinson on the left and camera operator Mark McQuoid at the camera.

Arachnophobics Look Away Now! - 'Dr Who' 02/03/18

Camera operator Mark McQuoid facing up to a furry friend and getting into the swing of things with his T-shirt.

Hello 'Dr Who' - 02/03/18

It's an honour to be part of the new Dr Who team with the new Doctor. Thank you to director Sallie Aprahamian, producer Alex Mercer, creator Chris Chibnall and everybody at BBC Wales.

Farewell 'Lucky Man' 01/03/18

A big thank you to director Phil John, producer Ken Horn and everybody at Carnival for inviting me on board the good ship 'Lucky Man'.

Solid Track - 'Lucky Man' 01/03/18

Now that's what I call a well laid track. From left to right: Nonchalant director Phil John with his back to camera, 1st Ad Mark Hedges, DoP Tim Palmer BSC, grip Dave Rankin beavering away in the background.

Improv Gripping - 'Lucky Man' 01/03/18

As is always the case with a small guerilla splinter unit, the director will tell us that he only needs sticks and a slider for the shot. I asked Dave Rankin to throw on the 6' slider just in case there's a longer move but all the gear had to be walked down from a fair distance away. At the location the director requested a very low track. Poor old Dave; no pags, no wedges, no appleboxes. Being the ever resourceful grip he improvised with Costa cups and bits of masonry. Congratulations to Dave for his handiwork but he was most embarrassed.

The Mighty Thames - 'Lucky Man' 01/03/18

What a wonderful opportunity this has been to enjoy our great river in some of the most beautiful dusk and dawn light, not to mention the fabulous views when catching up on script amendments after lunch.

Steadicam on Quad Bike - 'Lucky Man' 01/03/18

Camera operator John Piggott in full Hannibal Lecter mode flying his rig off a quad bike for fast tracking shots over rough ground. Note the Wave horizon leveller to keep rock solid horizontals.

Skypanels - 'Lucky Man' 01/03/18

Arri Skypanels, judiciously used, are all you need for a day interior. Here used with Chimeras and Lee 216 frames.

LED Light Sticks - 'Lucky Man' 01/03/18

For a set that was lit entirely with practicals, the characters around the table required a little fill light. LiteGear LED light sticks worked well hidden behind the floral arrangement.

Royal Naval College - 'Lucky Man' 01/03/18

A crisp winter's day at the Royal Naval College, Greenwich. On the split-level dolly from left to right: B camera operator Martin Foley, A camera operator John Piggott, Key Grip Dave Rankin.

Probe Rides Again - 'Lucky Man' 01/03/18

The Optex Excellence. Good for roulette wheels. Camera operator John Piggott in control.

Boat Rig - 'Lucky Man' 01/03/18

Chapman G3 Stabilised Remote Head for speedboat chase rigged by key grip Dave Rankin.

Clear Glass 5K - 'Lucky Man' 01/03/18

Replace the fresnel lens with clear glass to get hard shadows and the pattern of rain on window panes.

Culinary Treats - 'Killing Eve' 01/12/17

Farewell 'Killing Eve'. Thanks to producer Colin Wratten, director Jon East, first block DoP Julian Court BSC and everybody at Sid Gentle for an amazing shooting experience. What a final day! Sushi for lunch and my all time favourite breakfast: Poached eggs, smoked haddock, grilled tomatoes, buttered toast and marmalade.

Celebration Slates - 'Killing Eve' 01/12/17

2nd AC Lawrence Watson's famous celebration slates. More to come!

Periscope Very Low Angle - 'Killing Eve' 01/12/17

Optex Excellence gets the shot without digging a hole for the camera.

Barrow Cam - 'Killing Eve' 01/12/17

Camera Operator Joe Russell and Key Grip Warwick Drucker settled on this particular mode of transport for an improvised tracking shot across rough ground. A big thank you to the sparks for lending us their barrow.

Wave on Steadicam - 'Killing Eve' 01/12/17

Excellent use of the Wave to keep the horizon level on lateral steadicam moves especially when not following any action.

Russian Arm - 'Killing Eve' 01/12/17

Director Jon East always hard at work planning his shots. Camera operator Joe Russell at the controls.

Horizontal Periscope - 'Killing Eve' 01/12/17

For those really small spaces where it simply isn't possible to fit the camera, the Optex Excellence in horizontal periscope mode will get the shot.

Quick Getaway - 'Killing Eve' 01/12/17

Camera operator Joe Russell setting the controls for a rapid pan. A superb combined effort between key grip Warwick Drucker, Joe Russell and the Movi to execute a tricky shot with one rehearsal and one take.

Inspired by Hoyte - 'Killing Eve' 01/12/17

Ever since seeing this setup from 'Spectre' in American Cinematographer magazine, I've been wanting to try out Hoyte van Hoytema's ND frame technique for day exterior driving scenes. I finally got my chance. Thank you Hoyte. It worked brilliantly! Not sure what lighting you used but the Arri Skypanel 120 worked a treat for us.

 

More Big Tungsten - 'Killing Eve' 01/12/17

Dinos for that late afternoon low evening sun look.

Big Tungsten - 'Killing Eve' 01/12/17

Gaffer Tony Wilcock got me onto a tungsten roll on this job, gently reminding me of how we used to do things on 'Bob and Rose'. Tony was absolutely right as always and his ability to think big delivers all kinds of wonderful surprises. It was an inspired choice to run eight light mini brutes along the upper gallery. They're small, light, more than punchy enough even with 1/2 CTB and very quick to drop out of the way when the camera is looking up. St John's Parish Church on Church Row in Hampstead is surprisingly large inside. The eight lights combined with Dinos coming through the lower windows produced a lovely overall look; gentle hardness with a punch that was evenly spread across the entire space.

 

Sausage Cam - 'Killing Eve' 01/12/17

The pictures pretty much speak for themselves. Optex Excellence in periscope mode and 10mm optic. Camera operator Joe Russell talks Kielbasa with standby props man Graham Robinson.

Disco Probe - 'Killing Eve' 01/12/17

A neat way to skim across the turntable and stylus and reveal the club night beyond. Director Jon East at left, looking on.

New Greensman - 'Killing Eve' 01/12/17

B Camera Operator Justin Hawkins assuming alternative duties as a greens person. Green fingered Justin was actually constructing a very elaborate bit of foreground to shoot through.

How the Mighty Fall - 'Killing Eve' 01/12/17

There's clearly a message here. Someone probably thought I was gettting too big for my boots and stuck me somewhere where I would know my place. There's a significance to the loo brush too but you'll have to watch the show to find out what.

Camera Crew Berlin - 'Killing Eve' 01/12/17

A happy crew. From left to right: Director of Photography - Tim Palmer BSC, A Focus Puller - Richard Bradbury, A Camera Operator - Joe Russell, A Clapper Loader - Lawrence Watson, Key Grip - Warwick Drucker, B Camera Trainee - Georgina Cook, Grip Trainee - Jack Jackson, Grip Assistant - Sean Kelly, B Grip - Ed Lancaster, A Camera Trainee - Liam Rough, B Camera Operator - Justin Hawkins, B Focus Puller - Kriss Dallimore.

Fierce Concentration - 'Killing Eve' 01/12/17

Focus puller Richard Bradbury and camera operator Joe Russell, doing what they do best.

How Did it Fit? - 'Killing Eve' 01/12/17

Ever resourceful grip Warwick Drucker can shoehorn his GF crane into literally any spot. Pictured from left to right: Grip Warwick Drucker, Camera Operator Joe Russell, Focus Puller Richard Bradbury.

Custom Ring Light - 'Killing Eve' 01/12/17

Gaffer Tony Wilcock pictured on the right, designed this custom ring light to fit perfectly over the lens barrel of the Optex 14mm lens. The shot required a circular highlight in the eyes but because of what the camera was doing, the light and the lens had to be locked together. There couldn't be any space between the lip of the lens and the lamp housing.

Tricky Dancefloor Shot - 'Killing Eve' 01/12/17

The Movi Remote was the best way to achieve a 270 deg track around the actresses face with the camera only inches away. A simple soft top light with an LED panel providing fill from below and kept just out of frame.

Lucky Location Berlin - 'Killing Eve' 01/12/17

For an extensive night exterior chase at a major intersection in Berlin there was an apartment building overlooking both streets with a fortuituously placed wraparound roof terrace. It provided an ideal platform to rig lights especially as there was nowhere to position a cherry picker without severly compromising the coverage.

Wall Breaker - 'Killing Eve' 01/12/17

Panther's 'Wall Spreader' working well for an exterior lighting rig.

Big Lighting Berlin - 'Killing Eve' 01/12/17

Cassiopeia in Berlin is a huge area of derelict warehouses and open ground. We had to light an area of about a quarter mile by a hundred yards. Single source lamps would have been hopeless here and thanks as always to gaffer Tony Wilcock thinking BIG, we went with two half Wendys and a full Dino on the cherrypicker. It was exactly the right decision. The spread was perfectly even from end to end.

 

Camera Traps - 'Killing Eve' 01/12/17

Every inch matters. Focus puller Richard Bradbury clearly happy not to be in the cupboard with camera operator Joe Russell.

Bend Ze Knees - 'Killing Eve' 01/12/17

Camera operator Joe Russell's mountaineering strength proves its worth on shots like these. Director Jon East demonstrating how to offer the phone to camera for best effect.

The Best Low Loader Ever - 'Killing Eve' 01/12/17  

Supplied by The Moving Cine Company in Berlin, it comes with narrow gauge track around three sides with a remote control dolly. I've never seen anything like it before. It worked brilliantly and was the first time in twenty years filming that I (and I can speak for everyone else on the crew) actually enjoyed a day on a low loader.

Optex Excellence Day 1 - 'Killing Eve' 01/12/17

Camera operator Joe Russell's first day with the Optex and clearly enjoying the experience.

Century, T-Rex, Optex Excellence Shootout - 'Killing Eve'

Due to availability issues we used three different borescope/periscope lens relay systems in the first week before being able to keep the Optex Excellence. The Century system uses traditional cine lenses on the extension tube so there is a choice of optic. This provides a speed advantage as the lens is a true T4 - fast by borescope standards - and the film lenses impart the most cinematic look. We did experience problems with dust particles inside the optic that could not be remedied at short notice and the near focus is not as close as that of a completely integrated system. The T-Rex came along next. It definitely lives up to its name and is defined by its monstrous size. Optically it is faultless but is hampered by the T8.0 maximum stop. Finally our old friend the Optex Excellence. It is the most perfectly designed system: quick to set up, very few moving parts, well balanced and a true T4.5.

Zed Plate - 'Killing Eve' 01/12/17

Normally just utilised to offset the camera but is very useful when needing to be lower on a slider.

Carpetlight Uses - 'Killing Eve' 01/12/17

You'll never notice camera operator Joe Russell blending in with the scenery; promise... Note the Optex Excellence in periscope mode getting the widest field of view in a minute changing cubicle.

Carpetlight - 'Killing Eve' 01/12/17

The Carpetlight flexible LED panels are an excellent design and proved very versatile in cars and small spaces. Only seem to be available in Germany at present. Any UK/US distributors?

Wave 1 Horizon Leveller - 'Killing Eve' 01/12/17

Creative use of the Wave1 Horizon Leveller in a very small location. There was not enough room for the dolly but the director wanted to track with the actor who starts the scene with dialogue in a seated position then gets up and delivers lines on the move, finishing his speech in a standing position. The director did not want the camera to tilt up too much at the end, which necessitated some kind or rise. Camera operator Joe Russell and key grip Warwick Drucker rigged the 6' slider higher at one end and mounted the Wave1 on the head to keep the horizon level for the length of the move.

Hexatron Crane Base - 'Killing Eve' 01/12/17

Hexatron Crane Positioning Vehicle with Super Technocrane and Movi wireless remote head. Nifty footwork by Warwick Drucker!

'Killing Eve' - Movi Remote on Tracking Vehicle

Where old Citroens go to die - or get a new lease of life as a tracking vehicle. The smart proprietors at The Moving Cine Company in Berlin understood that Citroen's 1970s state of the art suspension system would provide the smoothest ride. No overblown gaz guzzling Silverados here. In the top picture key grip Warwick Drucker is attending to the Movi. In the second picture camera operator Joe Russell looking to camera and focus puller Richard Bradbury on the left.

 

Killing Eve' - Movi Remote on 'Black Arm' Pt 2

Flowcine Black Arm on low angle track across cobbles. 2nd grip, Ed Lancaster, at the helm.

'Killing Eve' - Movi Remote on 'Black Arm' Pt 1

Flowcine Black Arm used on a walk and talk when too gusty for steadicam.

'Killing Eve' - Movi Wireless Remote 01/12/12

Coming in to shoot the middle three episodes of new drama series 'Killing Eve', I inherited a fantastic remote system devised by first block cinematographer Julian Court BSC alongside camera operator Joe Russell, focus puller Richard Bradbury and key grip Warwick Drucker and supplied by Fava Rental Ltd. The Alexa Mini is mounted on a Movi which in turn is fixed to a wireless remote head controlled by wheels. It's a completely stabilised system and works effortlessly in every situation that a stabilised head is commonly used. The small physical size of the system demands primes or an ultra light weight zoom. That is the only restriction. The remote Movi proved as invaluable on a dolly in small spaces -  shown below - as it did on a Technocrane.

'Killing Eve' - Studio Rig 01/12/17

Gaffer Tony Wilcock's rig in the studio on 'Killing Eve'. Space lights are Arri Lightflos diffused with a belly of Depron. Proper use of 'hospital corners' for gelling the key lights correctly. Good work!

'Living The Dream' 9.00pm Sky One 02/11/17

Principal Photography Begins - 'Killing Eve' 28/08/17

Filming has started on the new BBC America series 'Killing Eve' starring Sandra Oh and produced by Sid Gentle. It's a treat to be teamed up again  with director Jon East, 1st AD Marcus Caitlin, camera operator Joe Russell and gaffer Tony Wilcock.

The Last Slate - 'Living The Dream' 23/07/17

Farewell Savannah and an enormous thank you to my incredibly hard working, talented and passionate crew. I hope we all meet again on series two.

Demob Happy - 'LTD' 23/07/17

Penultimate day of filming and we're all looking very cheery. On the dolly, Director of Photography Tim Palmer at camera with B Camera focus puller Alan Newcomb. Under the flag, camera operator John C. Lehman with director Philippa Langdale.

Tough Spots - 'LTD' 23/07/17

Spread those legs wider John! Dolly grip Chris Koch was definitely trying to stitch you up here. Another ignominious camera position for camera operator John C. Lehman as he finds himself in the only place he really doesn't want to be. Finally, gaffer Steven Thompson dives in to find the centre of the beam.

League of Nations - 'LTD' 23/07/17

It's always like that with flags and nets. Once you get going there's no stopping. The camo net stretched over a 4x4 frame was a good starting point.

Tango Head - 'LTD' 23/07/17

Good use of the Tango Head when there is not enough room to spread the tripod legs sufficiently to get the top plate level.

Transporting the Crane - 'LTD' 23/07/17

One way to get the crane from A to B. Saves having to pack it up and rebuild it. Teamsters don't only drive the big trucks!

Green Screen Poor Man's Process - 'LTD' 23/07/17

A few lighting gags here.

Burying a Mini - 'LTD' 23/07/17

For the the old favourite driving over the camera gag.

Alexa Mini on Dashboard - 'LTD' 23/07/17

Quick 'get you out of trouble' rig if you have to get a bit more onto the eye line of the person driving and wish to avoid car mounts. Camera operator John C. Lehman operates the shot with ease.

The Lorax - 'LTD' 23/07/17

Christened the Lorax after the Dr. Seuss character, this is a prototype LED designed and built by gaffer Steve Thompson. This version is only daylight but a bi-colour model is in the works. It is  fully dimmable and at its brightest the ouput is easily equivalent to a Maxi Brute's, yet being LED, the Lorax will run comfortably off a domestic household supply. A miracle lamp!

Top Shot - 'LTD' 23/07/17

Our remote head developed a fault so we were unable to use the jib arm. Dolly grip Chris Koch improvised with this impressive Ubangi rig off the Chapman Hustler dolly running laterally on two pieces of speed rail.

Smoke at Night - 'LTD' 23/07/17

Blessed with calm conditions for a night shoot, the special effects smoke brought out the shafts of light in all their glory. Special effects wizard, Raymond Talley hid a good quarter mile of perforated smoke tubes around the set. The live oaks dripping with Spanish moss produced a wonderfully gothic gobo effect - clearly of no interest to anyone in video village.

Flying Silks - 'LTD' 23/07/17

Key Grip Dave Spencer had an innovative way of rigging large silks in the tree canopy. Use a crossbow to fire the shotbags and line over the high branches and then haul up the rags. A matter of minutes.

 

Umbrella Ball - 'LTD' 23/07/17

Gaffer Steve Thompson's 4kw tungsten umbrella ball with the interior fabric painted daylight blue.

Visitor - 'LTD' 23/07/17

Even the cicadas want to look at the monitors these days. She's beautifully lit, if I don't say so myself.

Tight Fit - 'LTD' 21/06/17

Director Saul Metzstein looking a little dubious about the crane's ability to extricate itself from its contorted starting point. The bucket had millimetres of clearance as it exited the doorway. Of course the shot worked a treat as you can see with the end frame of standby props cleaning the sunroof. You wouldn't do this to your Previa would you?

'LED' Light Mats - 'LTD' 21/06/17

The supersized yank tank picture car makes it a breeze to hide the Litegear LiteMats. They even work in a golf buggy. Focus puller Richard H Lacy on the left and camera operator John C Lehman behind camera.

'Setting up for Night' - 'LTD' 08/06/17

A simple night light setup. 10K at the end of the dock. One of gaffer Steve Thompson's versatile umbrella balls on a Blackbird stand to the right. Who needs cherry pickers and balloons?

'Esther Williams Routine' - 'LTD' 08/06/17

'Sunset Control' - 'LTD' 08/06/17

'Which is Which' - 'LTD' 08/06/17

Lovely old LTM 6K on the left. The fresnel is almost as large as the 18K's on the right. These 6's are as rare as hen's teeth apparently. This was the only one in the southern USA and came from Texas. The Blackbird 220 lighting stands handle the weight and any terrain effortlessly.

'Babs' - Coming Soon 30/04/17

Big Flag and Bounce - 'Living The Dream' 28/04/17

The grips are ready for anything here. For an unscheduled improvised dialogue scene in a car, my impoverished notion of rigging a 12x12 on stands either side of the car to cut reflections was pooh-poohed by key grip Dave Spencer. "Look what I've got instead", he says and in comes the 'fly swatter'. It delivered a fantastic bounce for a scene at the end of the day too.

Prism on Jib Arm - 'Living The Dream' 27/04/17

Great work from the grips and camera department building this rig in record time for an ultra low angle track forward. Our HotHead has certainly been round the block. It works perfectly but must be one of Richard Loncraine and Peter Hannan's (see last entry at bottom of page on link) earliest incarnations of the device judging by the design and lettering. From right to left, dolly grip Chris Koch manning the dolly, key grip Dave Spencer behind the crane keeping an eagle eye on proceedings and gaffer Steve Thompson in conversation with his chief electrician Kevin.

Not so Fast - 'Living The Dream' 26/04/17

Hang on a minute. We were promised sunshine all day long. Might as well have shot this scene at Wentworth. Note the Arri Skypanel S30-C hand basher.

 

'Living The Dream' - For real!

First shot of the day as the sun rises over Skidaway Island, GA. Dolly grip Chris Koch putting the finishing touches to the track while camera operator John C Lehman looks out at the dolphins gamboling lazily in the creek.

'Living The Dream' - Principal photography begins 24/04/17

Filming has now started in Savannah, Georgia on 'Living the Dream' for Big Talk/Sky. Saul Metzstein is directing episodes 1-3 and Philippa Langdale, episodes 4-6.

Lighting Techniques - Dedolight Octodome Panaura

Dedolight kindly invited me to present a workshop on drama based lighting techniques using the Dedolight Octodome Panaura soft light. The program was skilfully filmed and edited by Dedo stalwart, Rick Young. Dave Morphy at Cirrolite generously provided crew, additional lighting equipment and use of the company's state-of-the-art studio facilities. Click on the following links to view Part 1 and Part 2.

Final Shot 'Hamlet Revenant' - 15/03/17

Emma clearly doing all the work, now assuming operating duties under Ken's guidance. I'm just being an idle bystander enjoying the panoramic feature of the iphone.

The Long Walk Home 'Hamlet Revenant' - 15/03/17

Emma Friend carrying the camera back to the van after catching the last glorious rays of a west coast sunset.

Director Stand-In 'Hamlet Revenant' - 15/03/17

I did say it was a skeleton crew. Director Ken McMullen standing in to set the shot. It was a long walk back around the lake to check the frame!
 

'Hamlet Revenant' - 15/03/17

As a precursor to principal photography, director Ken McMullen took a small crew to a secret location on the west coast of Ireland to film scenes for the upcoming feature, 'Hamlet Revenant', a retelling of Shakespeare's 'Hamlet', starring Ian McKellen and Gabriel Byrne. The camera department consisted of myself, focus puller Emma Friend and a Sony FSW-7.

'Tina and Bobby' Airs Tonight - 13/01/17

'Tina and Bobby' begins its three part run on ITV1 tonight, 13th January, at 9.00pm.