Cruising down the Sunset Strip in a Rock-N-Roll speedboat are punk band We The Kings. This music video was shot by prolific cinematographer Salvador Lleo over the course of two gloomy days in LA.
For this music video, Salvador used no less than three types of cameras – a vanilla Red One, an upgraded Red One and two Canons, a 5D and 7D. In terms of lenses, Salvador shot the band on the boat using anamorphic lenses, before switching to spherical lenses for the night party scene. The Canons were used for pick-ups.
When you think of anamorphic lenses, Panavision’s Primos or Hawk lenses usually come to mind. How about a set of High Speed 1.4 Lomo Anamorphic lenses, with markings in metres instead of feet? Enough said. “American ACs really love them”, Salvador jokes. He decided to go anamorphic for the exteriors out of practicality – two words you usually don’t find in the same sentence. “They work out great for a small boat crammed full of people!” Indeed.
It figures that in a city known for its perpetual sunlight, both days of the shoot were completely overcast, but then again everyone round here knows that ‘June Gloom’ really starts in May. Nevertheless, the pictures needed to feel sun-drenched and pop!
For all the ‘speedboat driving’ scenes, I started my base grade by adjusting contrast and density, slightly clipping the boat and keeping it white, then bumping the saturation to see where the colours fell. Saturating an image quickly exposes its temperature, and you can use this information as a guide to achieving your look with the joyballs. In my case I wanted hot and sunny, so I pushed a lot of yellow into the blacks and red into the mid tones, which turned the skin tones golden and gave the trees some life. I then added blue in the gain to counter some of the red contamination I was getting in the road. Because I had clipped the boat with my contrast, I didn’t have to worry about my whites going blue – a risky technique that can work with some careful planning.
To erase any remnants of an overcast day, I qualified the sky and added some blue, and then saturated the greens and the blues to further bring out the trees and the sky. I then qualified the model’s bikini and warmed it up to match her skin tones. Overall, a straight-forward look that instantly transforms the grey raw images into sunny LA, June Gloom or not!
Salvador chased the speedboat from the streets of Culver City to Downtown LA, up to Hollywood Boulevard and the Sunset Strip and all the way to the ocean, then back to Culver City for the Party scene. As he lost light, he switched from the anamorphic Lomos to the spherical Zeiss lenses, shooting wide open while bumping up the ISO from 320 to 800 (Red One MX) and 500 (Red One) to compensate for the critical low light.
For the ocean drive (above), I spent most of my time re-distributing the light. You can see from the Before image in the Gallery that the band are pretty dark, and overall the image lacks contrast. A quick application of an S-curve snaps the blacks and brings out the boat nicely, while a healthy dose of blue printer lights floods the image with ‘twilight’. A soft inside/outside vignette is used to burn off the left edge and bring out the band. Finally, a skin tone qualification brings back some warmth in the band’s faces.
To visit We The Kings official website, click here.
Salvador Lleo’s website can be found here.
“What is the future of mobility?”
That is the question BMW poses in its four-part webisode series entitled “Wherever You Want To Go: Four Films About the Future of Mobility”. Influential academics, pioneers, and entrepreneurs stir the imagination with their unique visions of the past, present and future of technology, cities and transportation.
The four webisodes are directed by Kurt Mattila of Prologue Pictures. Each episode has a running time of almost 6 mins, and focuses on a particular subject.
Activate The Future was shot on the Canon 5D, a regular in many of todays documentaries. As I have stated before, this lightweight camera offers compelling HD images at an unbeatable price. As the post production tools have improved over the past two years, we have seen the images coming out of this game-changing camera gradually improve. Practically, this means that the bottom end has improved to the point were we are able to capture subtle details without having to expose for the darker areas. You can see this in the image above, where Buzz Aldrin’s suit jacket still has a lot fine detail in the shadows.
Blending Film, VHS & HD
Many times with documentaries, the basic role of the colourist is to ‘even things out’. This is because the material can come from so many different sources: film archives, old TV VHS recordings, and then modern HD video and graphics. Making all of this feel cohesive relies on picking the right approach.
For all the 1970s flying car infomercials, I was dealing with badly deteriorated VHS tapes, with severe white balance problems, interlacing and sharpness issues. Colour balancing and then sharpening the shots made a dramatic difference. At the same time, I applied subtle blurs to the backgrounds in the graphics and models (above) to blend the surrounding shots better with the stock footage. Most times matching saturation and contrast is enough to bring the images closer.
Each other scene had its own treatment depending on the subject matter, and generally I tried to retain a lot of the mid tone in the image and keep the saturation up. With the right lenses, the Canon 5D already produces some very photographic images, so it was just a matter of giving each scene that little bit extra. For example, in the image below of Mike Musto, Editor-In-Chief of ridelust.com, I decided on a cooler look, a nod towards the steely blue BMW commercials we have all seen over the years. I used printer lights to add an overall blue tint, and then desaturated my blacks a touch. I then qualified the skin tones separately to bring back some of the warmth that I had lost. I finally saturated the blue jeans and the red brakes to give a little extra punch.
Working on mixed format jobs is always a challenge, especially documentaries. Filmmaker’s expectations of what a documentary should look like have changed, and with a job as high a profile as this, the clients were every bit as interested in ‘the look’ as they were in the narrative. As cameras continue to improve, those expectations slowly begin to align with what is possible under a constrained budget, and that’s where the colourist can really make a difference.
To watch all four webisodes in this series, visit the website BMW: Activate The Future.
For more stills from this project, click here.