It always comes at once doesn’t it? 3 days, 3 different comercials and promos, and now a nice few days to recover before Easter. First was the BBC trail for the worldwide sales of ‘Secret Millionaire’. It was a good shoot, but full on, with hardly a moment to stop and look back at what had gone on. It sort of dawned on me that at least 50% of my job is communication now. It’s always been important to communicate but there is an extra level that has grown since the drop off of film. On film you can always speak to the lab at the end of the day, or start of the next if you have any grading notes, but now as we transcode during the shoot day you always have to keep one eye on the look being applied to the transcodes. These are, after all what the director will see first and get used to during the edit. I also have to be sure of the whole workflow before we shoot, for instance on the last BBC shoot they were grading off the 2K transcodes rather than going to the original 5K rushes so any grade applied has to be very subtle. I’m not complaining, I love all the amazing tools we have to work with at the moment, but it is definitely creating a shift in how we manage the look of a shoot. There’s a couple of stills here from the camera rig. We spent most of the day looking straight down which was the creative style choosen by the director and I think will work really well. We shot on my RED Epic using a lovely smooth set of Nikon primes from the 1980’s. Hard work for my focus puller but a lovely look. I’ll put the trail up when allowed.

Next day we went on to a fashion spot for Accessorize. Again a lot to do, but a nice relaxed atmosphere with a small crew. The spot will feature one model in six different outfits against different coloured backgrounds. We used the same camera package as the BBC shoot and shot at Big Sky Studios, a stills studio which was lovely to work in. Nice space, very helpful assistants and amazing food! The challenge on this one was to keep the background shadow free, whilst allowing the model to move around and keep some form of modeling in the light on her. This was made more tricky by the fact that we were limited to a colourama as a backdrop so could only keep her at best 2 meters away from the back wall. Our strategy was to light the background with a low level of light as evenly as possible so that any light we put on the model would read without it having to have too much punch. I have to say this worked amazingly well, although we were definitely helped by having a very co-operative model with beautifully reflective skin. The still at the top is a framegrab from the rushes but that’s all I can show for the moment, when I can show more, I will. Lastly was the Sky shoot which was my first for Sky (hopefully there will be more?!). I can’t talk about it yet but will in my next post. It was shot on the Lomo anamorphic lenses with an Alexa XT which was fun.