BEHIND THE SHOT
ON REFLECTION Angles had been tested with scale models of the set to ensure filming success
to disappear into the reflections,” Green laughs. “We also used a high-quality two-way mirror along one side, which let us do profile tracking shots without being seen ourselves – and the quality really matters; I’ve been burned with cheaper glass that loses up to six stops of light.” Filming over the summer in Winnipeg, although great for long shooting days, also proved challenging in terms of heat and image quality. Green captured the action on an ALEXA ARRI 35 paired with Panavision T Series anamorphics and a “gorgeous, light-hungry LUT from Dave Hussey at Company 3,” he says. “That
gave us the bold, colourful, cinematic feel, while holding onto an underlying darkness that reflects Hutch’s descent into danger.” To extend the perceived depth of the set, Green and his team ran roof- mounted chase lights in opposite directions depending on who was on camera. “The goons walked against the light flow, while Hutch walked with it,” he explains. “This solved screen direction issues and let us work mostly from one end of the set.” The lighting itself was full-spectrum LED rope, DMX-controlled and mounted in front of ceiling mirrors to
add layers of depth without clutter – but midway through, disaster struck. “Our DMX lighting system completely shut down – instantly killing 30% of our shoot time,” recalls Green. “My gaffer looked like he’d aged five years in five minutes, but he worked a miracle and got us back online! It definitely introduced some BTS suspense to match the sequence…” “The film is playful, colourful and a little dangerous,” sums up Green. “And the hall of mirrors reflects that. It’s stylised and outrageous, but still belongs in Hutch’s world; standing out without feeling out of place.”
07
DEFINITIONMAGS
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