| 01
Workman (Gary Greasley) changing bulbs on the beach. |
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Opening
Beach Shot DoP Thierry Arbogast AFC Lighting: This combines daylight at
dusk (no sun; very high colour temperature) with very low colour temperature
ordinary tungsten lamps (some coloured). Used 2K Blonde with diffusion
& ND to fill workman's face. Camera: Moviecam Compact Lens: 32mm Cooke
S4 Exposure: T2.2 |
| 02
Mother (Natalie Ogle) finds David (Jack Blumenau) surfing the net. |
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David's
Bedroom DoP Thierry Arbogast AFC Lighting: The objective of this tracking
shot was to combine as many types of light source as possible. Thus we
have various practical lamps in shot including blue/orange lava lamp,
a fibre-optic lamp, daylight through the window (ND filtered on the window
to make it like dusk), a computer LCD screen, fluorescent (through desktop),
HMI in room and tungsten on stairs. The shot was graded to the LCD computer
screen. Camera: Moviecam Compact Lens: 25mm Cooke S4 + 1/4 black Promist
filter |
| 03
David (Jack Blumenau) and his Mother (Natalie Ogle) at computer. |
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| 04
Lift operator (Tyrone Wildman). |
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| 05
David (Jack Blumenau) rides the sodium lit underground railway. |
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| 06
Victorian funicular railway. |
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Exposure:
T4.0 Underground Funicular Railway DoP: John de Borman BSC Lighting: The
only light in these shots was a little natural daylight spilling in at
the top and bottom of the tunnel together with sodium uplights at intervals
along the tunnel. Thus we have a mixture of daylight and near monochromatic
light and extreme lighting contrast. Camera: Arri 435 Lens: 50mm and 100mm
Cooke S4 Exposure: T3.1 |
| 07
David (Jack Blumenau) cycling along covered promenade. |
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Tracking
Shot of David cycling along covered way DoP: John de Borman BSC Lighting:
Backlit sunlight with 1.2K HMI fill on tracking vehicle. Again we were
testing the film in a very High Contrast situation. In practice the fill
light had very little effect. Camera: Moviecam Compact on Steadicam rig.
Lens: 18mm Cooke S4 + Pola Screen + ND0.6 filters Exposure: T4.8 |
| 08
David (Jack Blumenau) passes Dave's Fish Shop. |
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David
pushes his bicycle past fish shop DoP: John de Borman BSC Lighting: Exterior
daylight and interior Kino-Flo (fluorescent). This was to see how the
subtle colours on the fishmonger's slab reproduced in mixed fluorescent
light. Camera: Moviecam Compact Lens: 25mm Cooke S4 prime + ND 0.6 filter
Exposure: T3.2 |
| 09
Mr Swann's Family Home (Herstmonceux Castle). |
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Wide
shot of Mr Swann's house (castle) DoP: Tony Pierce-Roberts BSC Lighting:
Backlit daylight designed to show a variety of natural greens from trees
in background to variegated shrubs deliberately placed left foreground.
This includes a few blue/purple flowers. Camera: Moviecam Compact Lens:
18mm Cooke S4 prime + 0.6ND Exposure: T11.0 |
| 10
David (Jack Blumenau) tentatively touches the plasma bulb. |
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David
peers round door to Plasma Lamp DoP: Tony Pierce-Roberts BSC Lighting:
Daylight through doorway. HMI reflected fill from inside. Arri 575 HMI
lamp with 3 X Pale Salmon filter to illuminate David's face as he approaches
the Plasma Lamp. This shot was designed to mix daylight with filtered
HMI and to see the effect of a discharge (Plasma) lamp. Lens: 40mm Cooke
S4 Prime. Exposure: T2.0 3 |
| 11
The antique bulbs are closely examined (over-shoulder). |
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David
in Mr Swann's lamp room DoP: Tony Pierce-Roberts BSC Lighting: Daylight
HMI and Practicals, fluorescent in lightbox; various subtle colours selected
in the lamps and boxes scattered around the scene. Camera: Moviecam Compact
Lens: 40mm Cooke S4 prime. Exposure: T2.0 |
| 12
The Butler (Bradley Walsh) menaces David with a dustpan and brush. |
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George
(the butler) appears from the shadows DoP: Tony Pierce-Roberts BSC Lighting:
A little daylight (through window), HMI and Kino-flo (fluorescent). The
shot was set-up so that the butler wearing a black coat appears from a
completely dark doorway (no illumination at all) so we can see how the
fimstock performs in deep shadow areas. Camera: Moviecam Compact Lens:
50mm Cooke S4 prime + ND0.3 filter Exposure: T4.0 |
| 13
Mr. Swann (John Quentin) reads the bulb's provenance. |
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Mr
Swann's Study DoP: Tony Pierce-Roberts BSC Lighting: Main Lighting 12K
HMI on tower outside window with 1/4 CTO orange filter to warm the light
a little. 2 X 2.5K HMI inside for fill. Natural daylight through window
in background. This was the main lighting set-up for all the shots in
Mr Swann's study. The set was chosen for subtle and various browns in
the woodwork and to show the difference between Mr Swann's coat (very
dark blue) and the butler's coat (black). Camera: Moviecam Compact Lens:
25mm Cooke S4 prime + 0.3ND filter Exposure: T2.8 4 |
| 14
George (Bradley Walsh) is asked to get "some juice". |
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| 15
The adoration of the glowing bulb (Bradley Walsh (left) & John Quentin
(right)). |
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Turning
on the Lamp (Digital Effects shot) DoP: Tony Pierce-Roberts BSC Lighting:
Main Lighting as previous shot + additional Arri 1200 HMI spot with full
CTO orange filter to give a warm glow to the faces when the lamp filament
is glowing. Camera: Moviecam Compact Lens: 40mm Cooke S4 prime + 0.3ND
+ half Black Pro-mist filters. Exposure: T2.8 Remarks: The negative was
digitally scanned at 1080 X 1920 pixels (2K resolution), and digitally
composited effects added in "Inferno" to enhance the glow of the filament
and improve the effect of it being suddenly extinguished. The composited
data was read out to FCI 8502 in an Arri Laser machine at the same (2K)
resolution. |
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