Lightning struck twice and the day 2 footage looks fantastic. We had a bright cold day, so lighting inside was easy. Arthur Cooper did some lovely things with available light, giving soft shadows and deep texture to some intimate closeups of the leads, Kate Todd and Karan Oberoi.
We also reproduced a mosque in the party room of the condo we were filming in, thanks to some high walls and a tasty angle on the extras we had come out. Add the voice of an imam, slightly echoing and the illusion will be complete.
The most fun was filming with the car. Not having a vast crew or tons of light, I decided to film a fight scene in front of a car, using the car headlights as the sole lighting source. It was really effective--proving again that sometimes the simplest solutions are the most effective. Coming out wide gave the moment a real scary feel, rather than using typical hand held close shots to mask the stage combat. The fake blood Karan spit out of his mouth when Saad Siddiqui appeared to punch him, sprang gloriously forth, lit through by the headlight, virtually glowing in the night.
The Canon 60D enabled Arthur to get a 3shot of the actors in the car just by holding the camera against the windshield and aimed backwards. Impossible if the camera was larger.
Can hardly wait to see how it looks cut together and with some music.
We also reproduced a mosque in the party room of the condo we were filming in, thanks to some high walls and a tasty angle on the extras we had come out. Add the voice of an imam, slightly echoing and the illusion will be complete.
The most fun was filming with the car. Not having a vast crew or tons of light, I decided to film a fight scene in front of a car, using the car headlights as the sole lighting source. It was really effective--proving again that sometimes the simplest solutions are the most effective. Coming out wide gave the moment a real scary feel, rather than using typical hand held close shots to mask the stage combat. The fake blood Karan spit out of his mouth when Saad Siddiqui appeared to punch him, sprang gloriously forth, lit through by the headlight, virtually glowing in the night.
The Canon 60D enabled Arthur to get a 3shot of the actors in the car just by holding the camera against the windshield and aimed backwards. Impossible if the camera was larger.
Can hardly wait to see how it looks cut together and with some music.
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