A BIG BOLD BEAUTIFUL JOURNEY PRODUCTION
borrowing some lessons from After Yang . “We used a mixture of HMI bounce and tungsten direct sources for our daytime scenes, utilising a 20K Molebeam for our sun where we could,” he explains. “Easily one of my favourite lamps of all time, but just not so happy to be sitting in the rain. For the nighttime scenes in our ‘present time’, we wanted to give our spaces a little baseline exposure from the moon and so utilised ARRI SkyPanel S360-Cs on Pettibones with movers hanging underneath, so that we could line the mountain ridges and trees with some texture. “For the actors we built softboxes with a number of vortex units and had the pleasure of having the UFO-X for a few of the night exterior days,” he continues. “Within the doors and our interior nighttime spaces we let the rooms and practicals dictate our approach using smaller LED sources and tungsten units. I even managed to get Norwegian representation in there with the Kelvin Epos 600.” One of the elements that Loeb enjoyed most about being a part of A Big Bold Beautiful Journey ’s production was collaborating with the Los Angeles crew. “I really enjoyed working with them, they were so amazing,” he concludes. “I also loved being able to give back to the city and the people that I have worked alongside for so long now, as well as my conversations with Koganada about love, life and films.”
characters with the sun moving through the day and the rain we needed. So, it was logistical more than creative.” Capturing the high school theatre sequence proved challenging, however, due to the limited number of shooting days. “With our shooting budget we had to capture it all in two to three days at the high school. So, we had to be strategic about how to get through script pages in a way that fit the movie. A lot came down to planning, blocking, rehearsing and, since we could only afford to fill the audience for one day, figuring out how to maximise that time. Generally, we needed one objective and one slightly more subjective view, so we had both a camera that could easily move and pick up pieces and a main camera on a Technocrane for ease and mobility.” The film was shot across 35 days, with three pick-up days later in post. “Damien Vandercruyssen and I both spent time building a LUT (lookup table) that would pull the colours of Shinkai out of the sensor – so that greens would pop, blues would separate from them and the general palette would not feel too over the top,” Loeb explains. “We built just one LUT that was applied on day one and was then adjusted, but other than that it was a one-and-done deal. We used it throughout and ended up building on this in our colour grade.” Loeb’s lighting approach was put together alongside gaffer Alex Gaynor,
DREAM TEAM Kogonada and Farrell had previously worked together on After Yang
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DEFINITIONMAGS
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