It is so sad saying goodbye to Montreal. I love this amazing city. The crew was the best I have ever worked with and I will miss them all. Thank you so much to each and every one of you for giving 150%. “Deadfall” was a challenging film to make, and your positronics attitude combined with a commitment to excellence made it so rewarding. Thank you from the bottom of my heart.
The last week was a very exciting one; steamy love scenes with Olivia Wilde and Charlie Hunnam, falling in love in a dive bar in upper Michigan, and VFX shots that involved spinning a Lincoln Town Car on a BBQ rotisserie rig. Check out the little treat below.
Many of you have asked what types of lights I prefer. If there is one light that I use more than any other, and it is a Kino Flo. Call me classic but I am still using the units that started it all. I know that Frieder Hocheim has made some incredibly powerful and compact Diva lights and ParaBeams that out perform HMI Par lights, but I go for 2′ and 4′ singles. 2′ 4- Banks and 4′ 4-Banks, and Image 80’s. These are my go-to Kinos that bring my images to life and they are 6 different lights in one. They are the gag light, the key light, the edge light, the back light, the effects light and the bring the background to life light. You name it; they deliver it.
When the Director Stefan Ruzowitzky and I discussed the palette of this film, de-saturation was one of the words we used to describe our colors. However, when Charlie and Olivia walked into this upper Michigan dive bar that we called the Stag Horn Saloon, we wanted the colors to pop. It would be a color oasis in the middle of a white snow covered world.
One light came to my mind to be able to deliver this concept and that was Kino Flo’s. I used all different colored Kinos to motivate beer neon signs, juke boxes and pinball machines that surrounded the perimeter of the bar.
When it came to lighting bar maids and bottles at the bar, once again there is not another light that can deliver the ease and dimming power of a Kino behind liquor bottles, beer glasses, you name it they make it glow and look fantastic. I lobbed these single Kinos in everywhere. When it came to lighting Olivia Wilde’s close-up I turned once again to the 4′ 4-Bank Kino to illuminate Olivia’s beautiful aqua eyes.
On the ECO/ GREEN side of things, Kino Flo has been leading the march for lower power consumption with higher output since the mid 90’s. On my first film that I ever photographed, “The Rat Pack,” Kino Flos were there and Frieder was right along side me – building whatever I needed to help me shape, control and color the light. When I was not happy with the color of his 3200 degree tubes and kept on renting these yellow flo’s from him, he made the 2900 Kino. When I wanted to control the Kinos for a contrasty look on The Rat Pack, he designed honeycomb crates that clamp onto the font of the Kino so that it only falls on the area you want. He is such an innovator. I aspire to be as cutting edge as this man. Take a look at Kino Flo’s line of lights and accessories. They fit any budget and any story that you want to create.
Saying goodbye images to my crew in Montreal:
What I think about when I am blocking a scene and my preferences on how to work from...
Lighting day exteriors is as much about choosing the right time as it is about your manipulation of...
How to read a color temp meter and why it is important. I have always loved understanding the color...
When Stefan Ruzowitzky and I sat down to talk about the look and feel of this film he immediately...
One of the most popular requests was for lighting instruction. In the HD world and film, lighting is...
A few weeks ago, I wrote a blog post about my lighting package that looked like an aisle inside
The light meter is essential for matching and to get your head around light ratios as a young cinematographer.
21 months ago I never could have predicted the direction of my life. With the invention of the...