Somewhere near Vasquez Rocks (and a ditch in Santa Clarita), a camper van unleashes a group of revelers chasing a Summer Of Love. At least that’s the vibe the director, Randal Kirk II, was hoping to capture with his latest branded piece for Night:Shift Goods. With hippie-styled attire and rainbow flares galore, as well as a guest appearance from legendary folk musician and photographer Henry Diltz, I’d say he got pretty close!
Old School meets Instagram
Summer of Love is intended to showcase Night:Shift’s home goods collection, marketed towards a diehard Doors fan base. The inspiration for the piece came from watching classic Doors music videos with Director of Photography Gordon Yould; “We felt that an ‘on the road’ vibe would capture the spirit of Jim Morison”, Randal recounts.
But in a world where everything old is new again, that fan base is shifting, and so the intent was to capture a new audience of young fans, without alienating the old timers. “I wanted to cast someone influential in a younger demo that would fit this vibe, so I cast psychedelic skater Richie Jackson, a very popular skater in the social age.”
And Richie can skate, though that’s not wholly why Randal cast him for this piece: “Richie has broken away from the core skate scene and is more of an artist using his board as a brush.” That statement dovetails one of the surreal sequences, with Richie bouncing on and off a bed draped in Doors merchandise. It’s a stunt he’s performed on Instagram to an audience that Night:Shift, through Randal, is trying to reach.
This is familiar territory for Randal, who has made his living doing promos for skate and urban clothing companies, viral videos on YouTube and Vine, and genre-bending music videos.
Throw me a camera!
Gordon had some strong opinions on recreating that 60s magic: “when I heard it was for Doors material I instantly blurted out FILM! WE NEED TO SHOOT FILM!” Luckily Randal and Gordon were on the same page: “We were tired of seeing retro pieces shot digitally with Super 8 and flare effects added in post. They’re missing the textures and magic that can be done on film. Digital flare and digital film burns can work, if you augment it with actual film.”
And to get that carefree, organic texture, Gordon decided to go experimental with the film that he used; “I had some old 400′ short ends in a shoebox and figured let’s load ‘em up and see what happens! In the end the film came out a little grainy but kinda cool considering over 10 years of heat and cold fluctuations”
Alongside the two film cameras – an S16 Aaton XTR with an Angenieux 12-240mm Zoom and a S8 Canon 814 – digital coverage came courtesy of two Sony cameras – an FS7 and a A7Sii DSLR. The subject matter and the need to capture tons of B roll necessitated two small crews shooting guerilla-style. It’s debatable which material ended up the A roll and which the B roll!
Putting it all together
When it came to the cut, the services of Andrew Polich were employed, who wrangled all the footage from the various sources. The final piece moves at a good clip, but the combination of slo-mos and longer takes ensure the audience doesn’t feel they’re on a roller coaster. It’s a fine balance, and it works really well! Randal is very vocal on the style: “It might be my ADD but I’ve always cut at a fast pace. The biggest challenge filmmakers face today is keeping the audience tuned in so they won’t grab their phones and check out something else.”
There are a lot of ‘retro’ techniques on display here – sprockets and keycode punching through the left side of the frame, blending modes used to simulate double exposures, and a cute use of multicam.
Enter the Monkey
The combination of that much material from so many different sources created certain challenges, the most glaring of which was the presence of grain, or none at all. To make the visuals flow and feel like one cohesive piece, I had one of two choices: ‘clean up’ the film a little to make it match the Sony material better, or add some texture and grit to the digital pictures to make them look more like film. As a self-confessed film fanatic (my still camera of choice is a Canon AE-1 Program), there was only ever going to be one way. For this I turned to my grain plugin of choice, Film Convert by Rubber Monkey.
Most film grain plugins I’ve used do a great job in three areas: grain profile, correct tone, and controls for applying the grain as a positive or negative effect. Let’s call these the ‘post controls’ of a film grain plugin. However, because there’s no regard for the Transfer Curve or Colourspace of the underlying footage, the applied grain often ends up looking ‘superficial’. The lack of ‘transfer controls’ means the contrast and density of the resulting image is typically off, and you need to tweak the image further to get it to the right place before you can even evaluate the grain. Cumbersome, yes, but this is what we’ve had to deal with for many years.
Film Convert takes a different approach; it gives you direct access to the ‘transfer controls’, allowing you to select both the camera and the profile used during the shoot. Once selected, the film grain is applied, and the default results are great! You can use additional controls – de facto 3-way joyballs, lift/gamma/gain and saturation – to tweak the final result. Film Convert comes in both stand-alone edition (the image above), as well as a plugin for your colour corrector or editor. I use both versions for my work.
With the grain out of the way and the blend effects in place, it was time to have some fun. In my mind, The Doors is all about experimentation, freedom and psychedelia. I wanted the grade to reflect this.
I already had a head start with some of the tricks Andrew pulled in the edit, namely using film burns and black & white flips as transitions. I loved the organic effect this had on the footage, and worked towards accentuating that.
For my base grade, I didn’t want the piece to have too much contrast, which would have given it a more ‘modern’ look. So I floated the blacks more than I usually would, and kept the mid tones and highlights a little lighter. The flash frames and film edges gave me the contrast I wanted without having to put that in the image. I also let the exposure ride, sometimes wildly, between shots, which felt more natural to me.
To push the psychedelic look, I relied on key shots and techniques; skies were given a teal, slightly electric treatment, which added to the ethereal quality. Offsetting the teal shadows and skies, I added some warm vignettes; this gives the picture a ‘faded’ look, like old photographs, and also creates colour tension between the warmth and the cooler shadows and skies.
The rainbow flares, which were achieved using practical prism and rainbow filters, were pushed further. Also with the flares, because I was pushing the mids and the highlights just that little bit more, magenta started to wring around the hot spots. Normally I would correct this, but I kept it in, sometimes even accentuating it, to get some interesting, almost cross-processed looks.
Finally for the skate scene, it was gold all the way! This was largely a matter of embracing all the variance in the native photography: the expired super 16mm film, the erratic grain, the layered film and digital effects, all as the sun was setting. I pushed tons more warmth into the shadows, flatlined the blue gain for the digital shots to get that strong yellow highlight, and added more contrast compared to the previous scenes, which gave me those strong, iconic silhouettes.
I think for this job, Gordon sums it up just perfectly: “on the day it was amazing to film with our talents and the legendary [Henry] Diltz. Randal is always great to work with and his visions are a blast to bring to life through cinematography.”
You can check out more stills by going to the Summer Of Love Gallery.
Shot and directed by photographer Tony Kelly, this latest commercial for American Apparel pits the superb talents of two break dancers – Lil Demon and Jalen – against each other in this high-rise dance off.
Tony was searching YouTube one day for break dancers and came across these two world champions separately. He had the idea of bringing them together for the first time, and having them battle it out against a glamorous backdrop, instead of the grimy surroundings usually associated with the breakdancing scene. The commercial is shot on the rooftop of American Apparel’s HQ in downtown LA to showcase the company’s new kid collection.
For this shoot, Tony paired a Red One camera (MX sensor) with an Angenieux 25-250 zoom lens. The entire commercial was shot at 120 fps for a slow motion effect that is cut to classical music – a strong contrast to the breakdance performances. Tony wanted a colourful, youthful look with glowing, bright faces full of life.
A Softer Approach
This was easier said than done. Since it was overcast on the day of the shoot, only the dancers in the foreground had any colour in them; the background was almost completely grey. In this situation, it becomes very difficult to pull an accurate key because you are missing the Hue component for an HSL (Hue, Saturation, Luminance) qualification. A different approach is needed.
I began by adding contrast and increasing saturation a little. You need to be careful though: cranking up the saturation in a desaturated image will introduce noise – the opposite of the clean, youthful look we a going for. Instead, I decided to pull a couple of ‘loose’ keys on the background buildings and then the skyline, adding some warmth in the former and some blue to the latter, creating an almost duotone effect. Because we are introducing colour instead of saturating what is already there, we end up with crisper, more uniform colours. For the sky I further restricted my qualification with a feathered ellipse, essentially graduating the amount the blue added. Now with a much ‘cleaner’ set of colours I applied overall saturation before bringing out the faces a little that were now buried in the contrast.
This approach can work when you are going for a more ‘fluid’ look, where you really don’t care about colours spilling into each other. The pastel feel of the background helps the break dancers in the foreground stand out. Overall, the client was thrilled with the way we managed to transform the overcast photography into the colorful images you can see in the Gallery.
You can see the full commercial on Vimeo.
You can see more of Tony Kelly’s amazing work here.
It’s hard to believe that the sweeping fields in The Smell Of Success are nothing more than soundstages at Melody Ranch Studios in Santa Clarita! Expertly lensed by David Mullen, ASC, the story is about a manure salesman in 1960s heartland America, and even though the gags are overdone at times, the images ooze quality. Pun intended ;)
Timing this movie was challenging, especially because the DP was not available during the DI. As a starting point David had sent me a handful of stills, which evoked the overall ‘feel’ of the picture. A further challenge was the fact that the movie had already gone through a lengthy preview process, which left it with a lifeless sepia look and little colour separation. This was far from the painterly look both the DP and the Production Design department had planned for.
After untangling what had already been done, I started with a clean slate. This movie was shot on the Red One camera long before the upgraded MX sensor became available, and as such before Red’s FLUT colour science offerings. I picked RedLog for my gamma curve, giving me maximum detail in the highlights. The Zeiss Ultra Primes and Angenieux zooms David used gave me crisp images with excellent definition – a good starting point.
I started by discovering what was in the image, playing mostly with contrast and density and pulling out all the nuances that I knew existed in the ‘negative’; I was right – David had captured some remarkable, ‘filmic’ images, tempering the sharpness of digital cinematography with Classic Soft Blacks and Smoque filters. Through his lighting he created a soft overhead skylight for the outdoor farm scenes, using a combination of daylight Kinos, HMI lighting balloons or Lumapanels, the effects of which can be seen in the ‘Midday’ and ‘Afternoon’ images below.
Even though the gorgeous images had a well designed earthen palette, I still felt that some subtle accents could be used to signify the different times of day.
Seeing the same colour tint over the course of an entire movie soon nulls the effect, and so to keep the eye ‘entertained’ I experimented by adding graduated pinks into the dramatic skies earlier on in the day. This combined well with the hard sunlight being simulated by the 18K HMI. I qualified the clouds and pulled back on the luminance so that I wouldn’t tint the brightest parts. I then brought the gamma down to expose a little more detail in the clouds, and offset the colour by adding a hint of orange. This created a nice transition between the horizon and the clouds.
For later on in the day, I followed the same technique but used less pink. I also wanted to make the clouds feel heavy, almost like they’re engulfing the foreground. I turned to S-curves for this, giving me contrast in the ‘body’ of the clouds while snapping the highlights and deepening the blacks. At times the clouds almost look like they’re touching the ground!
For the afternoon I replaced the pink with orange, especially in the mids and the blacks, giving the ground a sweltering and humid feel. This worked well with David’s afternoon setup – a tungsten 12-light HPL MaxiBrute to simulate the warmer sunlight late in the day. By the time we reach ‘golden hour’, the sky is on fire, with the dipping sun blasting through the trees. For this I actually composited two identical layers over each other, blew out the base layer and blurred the whites. I then used a Soft Light blending mode on the top layer, which I also keyed through to reveal the base. The blending mode provides a nice transition between the two layers.
The whole treatment is in keeping with the whimsical nature of the story, and despite the added ‘texture’, I feel remains true to the cinematography.
I also had a little fun with the ‘high-on-mushrooms’ night scene, where I played with a stylized violet-blue wash and stark contrast. I also kept the blacks a little cooler than I normally would. This is one example of where you can use saturation to really fill in an image in the absence of mid tones. Overall, the movie has a very painterly quality.
For more stills from The Smell Of Success, click here.
To see more of David Mullen’s work, check out his website.
Hybrid was my first opportunity to collaborate with John Leonetti, ASC, a great cinematographer and good friend! Looking at the images you’d never guess that half of this feature was shot in almost complete darkness, and with an early build of the Red One camera. John nailed the exposure, and gave us some great images to work with.
Hybrid was shot in the days before the MX upgrade to the Red One camera, a time when every DP was trying to get the most light onto the sensor. The lenses John picked for Hybrid were the Cooke S4s as well as the Angenieux Optimo zooms, both great lenses with very high optical qualities. The camera was rated at ISO 320.
Most of Hybrid takes place in a five-story car park. In the first half of the movie we cut between the various levels, including the office, the mechanics’ workshop and the ramps connecting each level. For these setups John combined different types of lighting: “I mixed kelvins in the practical lighting intentionally to give color separation. We mixed 3200k, incandescent with 5600, daylight and fluorescents which were cool white, blue and green.”
In the second part of the movie, a car crash that takes out the building transformer, emergency lights are triggered, and hence we called this setup ’emergency mode’. John and I decided that as we descended through the levels, the picture would get darker. This required planning, for example knowing how dark we could go on level 2 so that we still had a picture by the time we reached level 5! “You always need somewhere to go,” John would often tell me if he felt we were going too dark.
This setup meant that we ended up grading ‘hero’ shots when John was available, establishing a look for key moments in the story, and then filling in the shots around them when John had left for the day. Using this approach, we knew how dark we should be in each section before committing to grading the entire scene. You always want to use the time with the DP wisely, which is why this technique is quite common with DPs who have a busy schedule.
John is one of those DPs who really gets stuck into a project, colouring his own stills and laying them out to a Pink Floyd soundtrack! The stills were pulls from the original R3D files and coloured onset. He went further than most DPs in that he gave the stills a real punchy, saturated look. After talking about the movie, we definitely felt that we wanted to go for a strong ‘industrial’, gritty look, with rich cyans and blues creeping into the blacks, but not at the expense of the actors’ skin tones. We also wanted to bring out the ‘distressed’ look in the walls, the furniture and the cement floors.
A strong look doesn’t have to mean an overpowering look devoid of detail; I like to retain the subtleties from the original ‘negative’, and for this type of job I opted to use curves to establish a new ‘base’ instead of using the joyballs. Curves are a very powerful tool but can also be tricky, because unlike the joyballs that are compensating all three primaries at the same time (add red and you take away green/blue at the same time), curves are additive unless you manually compensate. However, this also makes them ideal for making sweeping changes to an image. For example, take the Blue → Blue curve, crash down the black point and you end up with golden blacks, just like that!
In the case of Hybrid, I played mostly with the Red → Red channel, bringing down the black point and then balancing that with the Green → Green channel to push my blacks and mids more towards blue. This is where it pays to know your colour wheel and your additive vs. subtractive way of colouring.
Now with a strongly biased base, anything you build on top will inherit those characteristics. This is when I will switch to the joyballs and master controls and add density and contrast, as well as push the mid tones to a warmer place. This teases apart the picture, giving you that colour separation that keeps the image interesting and ‘real’. I used this approach on most of the movie, except for the darkest scenes where I was trying to conserve as much of the picture as possible!
Dealing with Black
When the majority of your frame is made up of black, there is a tendency to really pull up the gain in an image to bring out anything that constitutes a picture. There are two problems with this: firstly, by pulling the highlights away from the blacks, you are exacerbating the noise level in the blacks, and that’s not a good thing. Secondly, if you push the gain hard enough your skin tones will start to ‘posterize’. Both of these are not good scenarios. What’s else can you do then?
The approach I use is a tiered one. I use the gamma to bring up whatever is visible in the picture up to a comfortable point, ie. before the noise becomes excessive. It’s important to set your pivot points so that the gamma has a minimal effect on your blacks, otherwise you’ll be lifting the noise! Then I’ll use a luminance map to select the brightest areas, and use the gain to pull out any remaining highlights.
It’s important to remember that the goal with these kinds of shots is not to create a perfectly distributed bell-shaped histogram, with lots of body and good highlights. We are merely trying to get a pleasant picture, and as long as the eye catches those highlights and a little bit of mid tone, you should be fine.
You can find more stills of Hybrid here.