At the beginning of the week, Javier and I had an online meeting with cinematographer Jack Shelbourn to discuss how to go about successfully create a Film Noir. We discussed lighting techniques such as using flags to lower light exposure and reflectors to bounce light instead of using a fill light. The visual style that I have conducted over the preceding weeks has demonstrated that lowkey and imbalanced lighting is a vital convention of film noir - a genre defined by the way it pushed visual techniques. Jack offered advice involving the camera settings, such as using S-Log 2 or S-Log 3, considering T-Stop carefully and setting the ISO at 2000 (the basic ISO for S Log 2). He also advised using Sony A7Sii in tandem with the BlackMagic Video Assist Monitor - particularly for the false colour setting.
On Monday evening, we travelled up to the Cathedral Quarter to film test shots for the opening sequence of Murder at Curtain Call. As the cinematographer, I wanted to achieve these shots using the DJI Ronan Gimbal to achieve a smooth sweeping shot through the streets of Lincoln. However, there were issues with detaching the camera from its cage in order to use the kit, so we filmed a handful of static shots instead - although it is advised against featuring shots that include no movement from characters, objects or the camera itself.
Despite the lack of productivity from our shoots on Monday evening, we carried out test shoots from 1-5pm On Tuesday 8th March to practice the cinematography for scenes with more elaborate camera movements. This included the first interrogation scene with Detective Foster and James, the ensemble sequence in the lobby of the theatre and close-up shots of Madeleine and James whilst they are talking to each other on the phone. This involved using zoom lenses along with the Fresnel and LED lights (with gels) to achieve creative shots and lighting effects. Although some time was wasted in setting up and becoming more familiar with the DJI Ronan Gimbal, I believe this will increase our efficiency when it comes to being on set. It should be noted that we focused on achieving the desired camera movements rather than focusing on lighting the scene - this will be done during later test shoots.
Following the test shoots and meeting with Jack, I compiled a definitive list of the equipment that will be needed on set so Millie could book it out in preparation for shooting in two weeks’ time. The locations for the shoot were also confirmed by Millie and Julia at the beginning of the week, meaning storyboarding could officially commence. I spent time conversing with Javier about these, specifically deciding which scenes needed mapping out the most - regarding the complexity of the camera movement, lens changes and lighting set-ups. On Thursday morning, Millie, Julia and I accompanied our production designer, Emma, to look for costumes in the various charity shops in Lincoln. This allowed me to consolidate the colour palette for the characters’ appearances, informing my lighting strategy for the film.
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