al_duffield

One more oysters shot from this shoot. I know it’s flat light but it’s a great example of the best we could do in the time we had. Had I pointed the camera in any other direction we would have seen Melbourne, we had no grip or lx gear onboard and we had shots to match with. I actually really like this shot despite everything. . It was such a huge learning experience woking on a ship that was constantly moving, at the mercy of shifting wind direction and sailing in a small bay which meant we saw land on 3 of 4 sides of the ship and the ship had to constantly change direction to avoid running aground. Really was a baptism of fire but terribly fun.

Another shot below deck, something we actually got to light (a little). . If you're interested we used a redhead tucked away in the left of frame, dimmed to 80% through a 4x4 216 with a 40degree egg crate and a makeshift soft box around it with washing. We pushed an M18 through the skylight, but had to partially cover said skylight to block the ambient light from coming through and ruining the right of our frame, would have used a bigger set of lights to help deal with all the absent light leak that we couldn't control but power was limiting us. Finally we added a small LED tube above the camera to even out the hotspots that the HMI was creating. honestly most of this frame is made by the location and set design rather than the lighting.

Back at sea. I would have loved to have a MUA with us on the boat for this shoot, a healthy dose of sweat would have finished this frame off nicely, but when you're shooting on a tiny boat in the middle of the ocean you make do with what you've got!

Ok ok the obligatory running shot, this particular take was just before I tripped over trying to run backwards through the scrub without a spotter... foolish but the take was the most dynamic. . As with all of the woods shots, there was no budget to light and no space to fly neg so we just went oysters and let the lenses do the heavy lifting while we hugged thicker foliage to add a subtle bit of shape.

I was in two minds about how dark to have @tmchammer in the bushes, perhaps we left a little too much detail in the face, but either way I’m really happy with the frame.

@its.always.sunny.in.melbourne and @lghowarth power play in the opening of Falling Stars

Last few grabs from this sweet little short.

The first of another trio from Perfect Drawing. . . This frame was pretty simply lit, with a double net outside, we blacked out some skylights above the camera to give us the contrast we needed, and fired two #arri S60-C through each of the holes in the wall to camera right. The closest of which had a #dopchoice soft box & 40 degree eggcrate attached to stop it from ruining our gradient on the cabinetry while still illuminating our talent. Finally we cut some of the ambient light leaking through the corridor to the left to keep the light flowing from right to left.