We sit down with DOP Vanja Cernjul to learn about the tricks and tools at play on the new season of House of the Dragon, as well as venturing to a galaxy far, far away with Chris Teague, DOP on Star Wars prequel The Acolyte. We also explore the UK’s most sustainable studios, offer advice for navigating equipment rental and loads more. Enjoy!
INSIDE HOUSE OF THE DRAGON S2! PYROTECHNICS, ANAMORPHICS, VFX DRAGONS & EPIC WORLDBUILDING
TURN TO PAGE 68 The content & companies not to miss at this year’s show!
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How DOP Chris Teague evoked the original trilogy’s saturated, lived-in look for Star Wars prequel series The Acolyte
PLUS! CONQUERING WATER & WAVES IN VIRTUAL PRODUCTION
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EDITORIAL Editor in chief Nicola Foley nicolafoley@bright.uk.com
Senior staff writer Katie Kasperson Chief sub editor Matthew Winney Sub editor Minhaj Zia Junior sub editor Molly Constanti Editorial director Roger Payne rogerpayne@bright.uk.com Contributors Adrian Pennington, Phil Rhodes, Oliver Webb ADVERTISING Sales director Sam Scott-Smith samscott-smith@bright.uk.com 01223 499457 Sales manager Emma Stevens emmastevens@bright.uk.com 01223 499462 | +447376665779 DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck Bright Publishing LTD Bright House, 82 High Street, Sawston, Cambridgeshire, CB22 3HJ, UK Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge, CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.
A s a die-hard Game of Thrones fan, I’m pretty excited that we’re heading to Westeros this issue, sitting down with DOP Vanja Cernjul to learn about the tricks and tools at play on the new season of House of the Dragon . As you’d expect, a show of this scale and ambition (not to mention budget) presented plenty of creative opportunities, but also a fair few challenges during production. Dive into the weather woes, mechanical bull-wrangling, pyrotechnic stunts and VFX wizardry on page 6. We’re also venturing to a galaxy far, far away with Chris Teague, DOP on the new Star Wars spin-off The Acolyte . The franchise’s other TV offerings have embraced flashy virtual production tech, but this series bucks the trend with a back-to-basics approach, paying tribute to the original films’ lived-in, gritty aesthetic. Teague talks inspirations, influences and the show’s ‘musical rhythm’ on page 18. Speaking of musical rhythm, we revisit one of the best concert films of all time in this issue: Jonathan Demme’s iconic Stop Making Sense . Capturing Talking Heads frontman David Byrne at the peak of his powers, this stylish, boundary-pushing film raised the bar in the eighties and remains a favourite to this day. We find out how it all came together in this month’s Take Two on page 59. Most filmmakers have hired equipment at one point or another – but beyond the inventory, how do you choose who to work with when renting? What support and training should be on offer to help you get to grips with your new gear? We round up a panel of rental gurus to discuss these points and many more in our round table on page 32. Enjoy the issue and see you next month!
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CONTENTS
S E P T E M B E R 2 0 2 4
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44 IN THE ARENA DOP Ayana Baraka discusses her Serena Williams docuseries 48 CAREER STORIES Colourist Natasha Leonnet on the highs and lows of the job 51 SEEING IS BELIEVING Delving into the latest developments Revisiting seminal Talking Heads concert film Stop Making Sense 60 SUSTAINABLE STUDIO SPOTLIGHTS Studios leading the way to a more sustainable future 66 INDUSTRY The latest news and stands not to miss at this year’s IBC Show 72 TOOLKIT A whistle-stop guide to the best new gear to hit shelves this month in camera monitors 59 TAKE TWO
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06 HOUSE OF THE DRAGON DOP Vanja Cernjul on his work behind House of the Dragon Season 2 12 DRY FOR WET Pros advise on simulating waves and water in virtual production 18 THE ACOLYTE Chris Teague takes us BTS on the hotly anticipated new Star Wars series 22 NAME IN LIGHTS Leading gaffer Reg Garside talks us through his stellar career 30 IN SHORT Justine Martin discusses her Oscar- shortlisted documentary Oasis 32 ROUND TABLE Rental gurus give advice and offer insights on the market
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ON THE COVER
© Lucasfilm
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N ow in its second season, Game of Thrones prequel House of the Dragon follows the dramatic fall of House Targaryen as the family fights over King Viserys I’s rightful successor. “This whole season is about the start of the big civil war, the so-called Dance of the Dragons,” begins Vanja Cernjul, DOP on episodes 6 and 7 of Season 2. “There are some epic battles, and it seems like it’s much bigger than Season 1 in terms of both the story and scope,” he claims. In his words, likely the ‘last person on Earth’ who hadn’t seen Game of Thrones , Cernjul came to the project with ‘a lot of catching up to do’. As a longtime friend of episode 6 director Andrij Parekh, Cernjul says he jumped at the opportunity to shoot on the show. “Being part of the worldbuilding process is something that I enjoy a lot – trying to find the logic of the world and how we can contribute to that logic as cinematographers,” he shares.
WEATHER WOES Set approximately two centuries before Game of Thrones , House of the Dragon exists in a somewhat less-developed Westeros but features many of the same locations – including King’s Landing and Dragonstone, where King Aegon II and Queen Rhaenyra are based respectively. The King’s Landing sequences were shot in Spain, while Dragonstone is made up of various north Wales locations. “That was one of the wonderful things about the original series – all these locations they went to,” argues Cernjul, while the pandemic restricted location-based production on Season 1 of House of the Dragon . “We spent far more time on location,” he says of Season 2. “You can see it.” While filming on location can produce a greater sense of realism, there are obvious challenges too, like sticking to a schedule, shooting with a condensed crew and adapting to unexpected weather.
Cernjul shot episode 7’s opening sequence on a beach in the Isle of Anglesey. “Director Loni Peristere and I worked closely with the first AD, Toby Ford, in scheduling shots so we got the best light,” he recalls. “We came up with a solid plan, where we grouped shots according to the sun’s position. Then we discovered there were huge tidal changes. That added more complexity because not only did we have to be in a certain place according to where the sun was, but we also had to react to what the tide was doing,” he explains. “It became this complicated chart.” Ultimately, the sun’s position didn’t matter much as the weather that day was rainy and foggy (“Of course, right?” he laughs). But the show’s rigid schedule didn’t allow for changes, forcing Cernjul and his crew to press ahead. “When we showed up on the beach in the morning, we realised that it was the best possible weather for the scene.
DOP Vanja Cernjul gets immersed in House of the Dragon, explaining the intricacies involved with a series of such scope
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“Sometimes, all the planning you do just goes out the window, and you have to embrace what’s in front of you,” Cernjul continues. “We’re glad we did because it works for the scene. It looks like we were waiting for that weather.” CASTLES AND CAVES House of the Dragon firstly gets its larger-than-life feel from its epic story, though physical sets also play a major part in establishing the show’s realism. From a ‘fully functional’ castle set to a constructed ship, this season’s builds are ‘magnificent’, beams Cernjul. “It was like working on Ben-Hur or Cleopatra .” While Season 2’s sets were scaled up from Season 1, there are limitations when making a fantasy series; namely, the dragons – a necessary component of a show titled House of the Dragon – are mammoth creatures that wouldn’t realistically fit on a studio stage. “One massive scene took place in the cave where the dragons live,” recounts Cernjul. “Dragonseeds are being led to this cave so the dragons can choose potential
SOMETIMES THE DIRECTOR WOULD start breathing like a dragon TO HELP THE ACTORS VISUALISE”
new dragonriders. Such a massive cave obviously couldn’t be built, so it had to be done on a green screen.” Not only did the scene warrant a virtual background, but it also combined pyrotechnic stunts with invisible dragons, which are added in post. In other words, filming this sequence required a serious stretch of the imagination. “One of the big challenges was figuring out scale. It was a large stage, but you had to imagine it was ten times the size – and there were also these enormous creatures inside,” he says. “If the dragon turns, how quickly does the dragon’s tail go through this cave? It was something we had to
visualise because, of course, there was no dragon and no cave.” Besides having a thorough prep process, the cast and crew developed some creative solutions while filming. First of all, “the visual effects department had a blue dragon head that the puppeteers were moving around, so we would have some idea of where the dragon was in space,” recalls Cernjul. Then, Peristere employed an audio system called the Voice of God to describe the dragon’s movements ‘in real time’. “Sometimes, he would turn into the dragon; he would start breathing like the dragon to help the actors visualise what was supposed to
IN THE MIST Cernjul (top middle) and his crack production team spent much time out on location in the beautiful, but cold, north Wales countryside
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IT DOESN’T MATTER HOW MUCH MONEY YOU HAVE if you run out of time ”
be happening in front of them,” Cernjul laughs. “That was very effective.” In the same sequence, the dragon breathes fire onto 12 people at once. “We did that practically; we did as much practically as possible,” explains Cernjul. “When you see people actually on fire, it’s very uncomfortable, even when you know that it’s in a completely controlled environment. As you could imagine, you can’t keep repeating this. That scene had to be well planned – not only for visual effects, but also for the stunt people.” To film this scene as efficiently as possible, Cernjul and Peristere planned everything down to the smallest detail. What began as a shot list became a storyboard and then a previs made by the visual effects department. “You have to be mindful of the resources and you want to be as economical as possible. With visual effects, it doesn’t matter how much money you have because, if you run out of time, there is no budget that can help you,” he concludes. SOARING, FLYING Cernjul and the directors wanted the series to maintain a visual subjectivity, as House of the Dragon is a character- driven family drama at its core. They achieved an immersive storytelling style both through camera and lens choice (ARRI Rental’s ALEXA 35 and ALFA anamorphics, primarily) and composition, particularly when the characters were riding their dragons. The team developed a filming style for these sequences that made it look “almost like there’s a camera operator on the dragon filming handheld,” Cernjul continues. He claims this would have been impossible to do practically. “First, there was no room, but also it wouldn’t be safe.” The actors sit atop a device called a buck (imagine a mechanical bull, but ‘far more complicated’) that simulates
the dragon’s movements while the camera is controlled via remote head. “Achieving that,” according to Cernjul, “involved integrating handheld camera movements into a motion-control system which was coordinated with the buck. In my testing, I saw that the operators’ cameras were too stable – after a while, the whole thing started looking disconnected.” Forced to find a creative fix, Cernjul first had the operator stand on their toes. “That was interesting, but you can’t ask an operator to do that for the duration of the scene!” he says. Eventually, he introduced half-balance exercise balls to help the operators find the correct level of unsteady movement without causing too much physical strain. “It was a simple solution that worked. The operators were game to try anything.”
LOFTY LOGISTICS Cernjul worked with two directors – the only Season 2 DOP to do so. This meant
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dusk knows that there’s a seriously short window,” describes Cernjul. His scene, which appears in episode 7, shows a group of dragonseeds sneaking out of King’s Landing and heading towards Dragonstone. “It was important that the scene takes place at dusk – this was a crucial story point and we simply had to make it work,” he insists. On a nearby beach, Martínez shot the dusk sequence for episode 6. “We were so close that we could see each other,” recalls Cernjul. “It was incredible to watch these two difficult scenes being filmed simultaneously at the same location. That was an amazing experience.” Cernjul describes the shooting schedule as ‘a work of art’ and ‘incredibly logistically complicated’. “To be honest, it was intimidating,” he admits, “and there was no room for error. But, somehow, we pulled it off.” House of the Dragon is now streaming on Sky TV/Now Entertainment in the UK and Max in the US
SHOT IN THE DARK Filming twin sequences on the beaches of Anglesey at dusk proved a monumental effort
that, occasionally, he would be double- booked, slated to shoot multiple scenes in the same place, at the same time. “It was impossible of course,” he says, but had to be done, so he asked fellow DOP Alejandro Martínez to help. “We had two scenes on the beaches of Anglesey that took place at dusk, and anybody who has ever shot a scene at
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VIRTUAL PRODUCTION WATER SCENES
ICVFX developments have made shooting in and around water a more fluid process, with real-time effects now standard practice. Find out how studios are maintaining naturalism
BUILD SUSPENSE On-set with the cast and crew of No Way Up, a survival thriller set in the dark depths of the Pacific Ocean following a plane crash
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WATER SCENES VIRTUAL PRODUCTION
W ater simulation in CGI has advanced massively over the last 30 years, from James Cameron’s Titanic through to the amazing VFX in Avatar : The Way of Water . The technology has matured and rendering power is at the point where many effects can be run in real time. “The number one benefit of shooting on LED over green screen in a water- based environment is the reflections and refractions,” says Dan Hall, head of ICVFX at VP studio 80six. “We all know that no VP shoot will look correct without a good relationship between the VAD (virtual art department) and AD. When you have water in the foreground, you get an accurate representation of how it reacts to the light that’s emitted from the background. This helps sell the realism of what you are shooting.” Hall supervised a high-speed test that involved pouring drinks on a beach against an exotic beach background. “We were shooting at over 200fps when I noticed that the virtual sea elements were essentially stationary throughout the pouring. To add more movement to the sea, we did something that wouldn’t have been possible on location – we increased the speed of the waves. “To the eye, the waves appeared to be moving quickly, but on reviewing the shot they looked like they were rolling up the beach at only a slightly slower than normal speed while the drinks poured very slowly.” The way lighting from an LED volume penetrates practical fog on-set lends itself to underwater work. Craig Stiff, lead real-time artist and VAD operator at Dimension, explains: “Green screens cause green spill and would penetrate the fog, so practical fog would likely not be used and instead would be added in post-production. With LED volumes, the light is coming from visible structures which don’t have to be too out of focus. Reflections and out-of-focus edges are also accurate, meaning no painting out or rotoscoping/keying.” Having said that, it’s important to consider how the effect will be layered or composited as part of the final image.
For example, in survival thriller No Way Up , directed by Claudio Fäh, Dimension and DNEG 360 used SFX elements like fog and haze to give the impression of being deep under the ocean. This, combined with a virtual moon casting light through the fog, sold the idea of it being underwater. “On-set, we used two haze machines to add atmosphere to the practical set,” Stiff adds. “When used correctly, haze is a great tool for blending the LED wall with the practical set. We then composited VFX elements like ripples, bubbles and fluid simulations in post-production to blend the shots.” are caveats to the way you do things. When working with water, you need to take time to ensure everything has been set up correctly. For example, according to Hall, moiré patterns may become an issue, especially if you want to focus on a highly reflective object like water inside the volume.” “Any wire work (such as for PLAN THE DIVE, DIVE THE PLAN Like anything in virtual production, there swimming), has to be well planned and executed,” advises Stiff. “Hair and floating materials need to be considered because they won’t behave like they are underwater. Therefore, tight clothing, tied-back hair or head coverings are the best option, unless you can account for it in post-production.” PRACTICAL EFFECTS It is not only possible to augment video backgrounds with practical water effects but it’s encouraged for a more realistic final image as if you were on location.
Images © No Way Up | Dimension, DNEG 360 & Altitude Film Entertainment
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SMOOTH SAILING Filming water in VP requires various considerations, from keeping the set safe to blending real and virtual elements
For example, says Hall, when working with rain or particle effects, you want to ensure that the physical properties of the virtual rain – including spawn frequency, droplet size, wind direction and material – match those of the physical rain. “If there’s rain falling on a subject, it should also be in the virtual environment. Though it’s not always necessary; if you have a shallow depth-of-field in a large volume with physical rain, it may not be needed. This can save on GPU resources. “The VP supervisor will also be able to advise you on the capability of practical AS HARDWARE IMPROVES, WE CAN DO MORE IN REAL TIME, FOR more accurate and realistic VIRTUAL WATER”
water effects on the volume: LED panels have varying tolerances to humidity.” However, as we all know, water and electronics do not mix well. The environment has to be very controlled. “If shooting using a water tank and the LED volume as a backdrop, whether that is for underwater or above, the main thing to worry about is safety,” says Stiff. “These are large electronic devices next to a pool of water with actors. Keeping a decent distance between the water tank and the volume is wise, but this creates a gap between the practical and digital water. To allow the blend between real and digital, camera angles should be kept low to the water surface or high to obscure the edge of the water tank.” Tim Doubleday, head of on-set VP, Dimension and DNEG 360, claims that the main challenge is limiting practical water to a single area. “When done right, the two elements work brilliantly together since you get all the natural reflections and refractions from the LED wall in the practical water.” CATCH THE NEXT WAVE Water simulations have advanced to the point where they can now run in real time, including waves, crashing surf and complex water movements.
“The Fluid Flux plug-in for Unreal Engine seems to be widely used in the community and has produced great results,” says Hall. “I also know there has been impressive use of ICVFX for underwater scenes, so I’m interested to see how that progresses. ”As hardware improves, we can do more in real time, which will only lead to more accurate and realistic virtual water elements,” he adds. The way light interacts with water can also be rendered with a high degree of realism. Doubleday thinks we will see further advancements in how objects interact with water, such as a boat carving through water leaving a trail in its wake, or how a heavy object disperses water when dropped from a height. “These situations can be simulated using complex offline processes, but I can’t wait to see them running in real time on a giant LED wall!”
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DEEPER DIVE: SHARK ATTACK 360, SEASON 2 Diving into the factual landscape of shark behaviour, the second instalment of Disney+ show When Sharks Attack 360 investigates why sharks bite humans. As the evidence mounts, the international team of experts analyse data in a VFX shark lab, all in order to understand in forensic detail why sharks attack. For the docuseries, animation studio Little Shadow developed a hybrid VP workflow. Instead of using a traditional LED volume, it used a mix of custom- built systems and off-the-shelf tools to facilitate live green-screen keying, camera tracking and live monitoring. “We blended live-action footage with CGI, allowing us to transform an underground theatre in Islington into a virtual 360 shark lab,” explains Simon Percy, director at Little Shadow. “Initially, we used a LiDAR scan to create a 3D model of the venue, which we then employed to plan and scale the project. Due to the venue’s layout and lack of sound proofing, we ran a 4K signal across 110m and four floors using BNC cable, which allowed us to keep most of the equipment separate from the set.” The creation and integration of CGI assets, such as the shark models and virtual marine environments, were key for building the immersive underwater settings, which were then played back on-set using the VP box, providing immediate visual feedback. Percy continues: “We built the flight case around a custom PC for Unreal Engine, a pair of Blackmagic HyperDeck
THE ULTIMATTE ALLOWED US TO INTEGRATE virtual 3D elements INTO THE SCENES USING AR”
Studio recorders, the Ultimatte 12 4K for keying and a Videohub 20x20 for signal management. We also frame synced our cameras to Unreal using the DeckLink 4K Pro. This approach proved both mobile and flexible, ensuring quick playback with real-time asset generation and comping adjustments on shoot days.” A private Wi-Fi network connected the flight case to an on-set laptop, allowing them to control it remotely, including live switching via ATEM 1 M/E Constellation 4K.
“To bring the underwater scenes to life, we used a green screen and the Ultimatte, which allowed us to integrate the virtual 3D elements into the scenes using AR. This enabled the presenter to have a precise real-time interaction with the sharks. In combination with DaVinci Resolve’s AI functions such as Magic Mask for rotoscoping, we were able to blur the lines of where real and virtual production meet,” Percy adds. Looking ahead, technological advancements in water and fluid physics simulations are moving quickly. “With the advent of powerful RTX GPUs from NVIDIA and tools like JangaFX's Elemental suite, we can now simulate water dynamics in closer to real time – a process that would have previously taken days to complete. Blender’s capabilities for large ocean simulations, augmented by plug- ins like Physical Open Waters, hint at the possibilities for increasingly realistic and cost-effective water effects in the future of television production.”
MAKE A SPLASH Using live-action footage with CGI for the virtual 360 shark lab allowed the presenter to interact with the sharks in real time
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WORDS Katie Kasperson IMAGES Lucasfilm
DOP Chris Teague explores new Star Wars series The Acolyte, blending nostalgia from the original trilogy with its distinctive identity
S et in the High Republic era – around a century before The Phantom Menace ( Star Wars: Episode I ) – The Acolyte follows sisters Osha and Mae, and their rocky relationships with the Jedi Order. Made by Leslye Headland, the series combines a character-driven plot with a lived-in production design, evoking a similar vibe to the original Star Wars trilogy. Having worked together on Russian Doll , Headland and DOP Chris Teague developed the show’s look from the outset. “Leslye knows the [ Star Wars ] universe inside and out,” shares Teague. “She’s talented in many respects when it comes to being a great writer, she’s good with actors and understands the
THE SITH ELEMENT Headland drew the inspiration of an acolyte from a concept which originated in the Legends continuity
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visual side of filmmaking; it’s rare to find somebody who excels in all those ways.” During his initial research phase, Teague began by rewatching every Star Wars movie. “I connected with how the original films looked – the way the sets, spaces and costumes all felt weathered and worn. There was this texture and grittiness to it,” he describes. “At the same time, the original series did not shy away from bright pops of colour. Those were elements we all strove to bring into The Acolyte . We wanted it to feel akin to the original films without necessarily feeling retro.” Teague and his crew searched for a balance between paying homage and flat-out copying. “We took some of the
elements we liked – an image that wasn’t pristine and perfectly sharp, for example – these deep oranges and bright blues where it felt appropriate. We were going for something which feels colourful but still grounded.” PRACTICAL MAGIC To achieve that smoother image, Teague employed ARRI ALFA anamorphic lenses. “ARRI gave them this beautiful character – I wouldn’t describe it as a vintage feel, but they had a softer feel which I found pleasing on faces. You can be close to an actor, and they look amazing. The sets also look fantastic; you get a great balance between being able to see the
world behind them and them feeling larger than life,” Teague explains. Aside from selecting The Acolyte ’s optics, Teague worked with the VFX team, who agreed to do as many practical and in-camera effects as possible – such as using CO2 smoke, handcrafted clouds, atmospheric haze and snow on the planet Carlac. “Everybody was on board with this handmade aesthetic across all departments,” he recounts. “Our art department built these incredible backdrops, so rather than doing a big blue-screen wash in the background, you get these beautifully detailed paintings which we would light in a way so you could integrate them with the structural foreground
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elements,” continues Teague. “With the forest set in episode 4 – there is a massive painted backdrop behind most of that set.” Because Star Wars is a world entirely its own, “there are elements you won’t be able to recreate on-set,” admits Teague. “We found a way to work with visual effects which was mutually beneficial,” he adds. “Whenever we came up with a problem to solve, our first approach was: how can we do this in camera? If we can’t, how can we do most of it in camera, then have visual effects help us out with the rest?” WE FOUND A WAY TO WORK WITH visual effects WHICH WAS mutually beneficial ”
ACTION-PACKED Unlike most Star Wars films and spin- offs, The Acolyte doesn’t include a major war, with the action mostly contained in one-to-one fight sequences. “We looked at martial arts films such as Come Drink with Me and Lady Snowblood ,” Teague reveals, also citing Kill Bill and Crouching Tiger, Hidden Dragon as key influences. “The camera moved with a sense of
intention; it didn’t move any more than it needed to. This tied in nicely with the classic aesthetic we were after.” Chris Cowan served as the series’ action designer, but also doubled as an additional camera operator, filming certain segments himself. “As we worked well in our planning, his moves would cut seamlessly with many of the moves we were doing in our unit,” shares Teague. “There was a real harmony in that.” Akin to the original trilogy, The Acolyte follows a more leisurely tempo. “It’s not just non-stop fighting,” claims Teague. “There’s a musical rhythm where there’s a slow build and then a burst of action. Things settle for a moment, then there’s another burst of action. It’s what draws you and keeps you engaged.” the world, Teague feels ‘fortunate’ to have contributed to such a ‘massive piece of IP’. “I believe the show reflects an exceptional collaboration between all departments,” he beams. “That is something you can’t take for granted on any show; you have various people coming from diverse backgrounds and experiences. It’s incredible that on a show of this scale, everyone gelled beautifully and there was a consistency of vision.” Star Wars: The Acolyte is now streaming on Disney+ A SERIES OF SCALE Now that The Acolyte is out in
USE THE SOURCE Teague (top right) honoured the original films while adding a fresh visual slant
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With a career spanning multiple continents and iconic films, gaffer Reg Garside reveals what sparked his journey in cinematic lighting
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I t was by pure chance that Reg moved to New Zealand at the age of 14 with his family, where he worked as an electrical fitter. “Friends and I then travelled around Europe in a van,” begins Garside. “When I got back to London, we were involved in exhibitions like Ideal Home Show ; the guys we collaborated with also worked in the film industry.” Spotting an advert in the Evening Standard one day for sparkies looking to work in the film industry, he landed the gig and started work within a few days. “It was mostly with the BBC, where I worked for a few years. Then, I went back to New Zealand where I applied for a job Garside found his way into the film industry. Born in England, he later as a gaffer,” he explains. “I worked for the National Film Unit as their key gaffer, where I did my first film in 1979 (Sam Neill’s On the Road with Red Mole ). In the meantime, I’d been asked by a friend of mine – Mick Morris, who worked for the same company as me in London – to give him a ring if I was ever in Australia. Mick was the first film gaffer I worked with; you could say he was a bit of a mentor. So, I decided to move to Australia initially for six months, but decided to stay.”
Garside’s first gaffer job in Australia came in 1981 on the set of Doctors and Nurses , which also marked his first-ever collaboration with DOP John Seale. Seale won an Academy Award for The English Patient and was also Oscar-nominated for Witness , Rain Man , Cold Mountain and Mad Max: Fury Road . “I’ve had the pleasure of working with John for 11 films – one of those was The Mosquito Coast , which we shot in Belize,” reveals Garside. “That was my first big feature film overseas. I learnt much from him, as well as through making mistakes and inventing things myself. I relied on instincts, the knowledge gained as an on-set electrician and through working with Mick as best boy; it was a lot of trial and error, although that’s how I have learnt my trade.” When it comes to the dynamics between gaffer and DOP, Garside notes the relationship is almost like a marriage. “Their job is to bring a picture to life, so you have to understand how they want to light the picture,” he muses. “It’s a very personal relationship because you are anticipating their needs and what they are thinking. Sometimes, it’s hard because DOPs are under a lot of
ALL ACTION The use of LED and HMI lights in Godzilla x Kong: The New Empire was pivotal when crafting the film’s larger-than- life action scenes
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pressure. You’ll need to absorb pressures and not pass it along to your crew since they support the gaffer, and the gaffer is part of a team. They are not up there by themselves on a pedestal; their whole team should be there to make it happen for the DOP. I’ve been lucky with my crews – they have all been great. I would like to say that there aren’t enough women in lighting, though it’s getting better, and I fully support having more women as part of lighting crews.” SEEING THE LIGHT Staying ahead of the curve is vital for a gaffer, especially with technological advancements in the industry. “It’s about being able to utilise the tools available now, to light things knowing they are capable of many different things and having a grasp of what those are,” Garside explains. “In the end, you are still doing what you’ve always done; you’re just given tools that offer much more versatility. You still use some older technologies because the LED systems we have don’t yet match the output of some of our HMI sources. It’s technology that’s still evolving. I have been through three different changes during my time as a gaffer. The first time, we were working
THERE AREN’T ENOUGH women in lighting ; I FULLY SUPPORT HAVING MORE AS part of lighting crews ”
EPIC GLOW-UP Shang-Chi and the Legend of the Ten Rings (right) benefited from extensive gear – including Kino Flo fixtures and more
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CAREERS
with Brutes, which are arc lights. There was plenty of tungsten around at that time. Then came the HMIs, up until the 18Ks, and then, most recently, we’ve had LEDs. LED lighting has been my biggest learning curve because everything is electronic. It’s technology with which you had to start from scratch, learning colour techniques and terminology. It’s a whole new ball game.” Garside’s preferred piece of gear is the Creamsource Vortex. “I also have Astera tubes and a number of lamps,” he elaborates. “What I have usually fits the bill, but I’ll use new technology for niche areas. I’m quite happy with the tech I have at the moment. Maybe in a couple of years’ time, something will come out which has moved on enough for me to warrant owning. You can still use older technology, but it’s important to understand the limitations and where it fits in. Unfortunately, much of it isn’t kept any more as it doesn’t perform efficiently or offer the flexibility your DOP needs.” One of Garside’s most challenging recent projects was The Hobbit trilogy, with production lasting for around two years. “It was demanding because we were jumping around several stages and sets,” he admits. “But it’s all about organisation, especially on something of this scale. Once you’ve finished pre- production and start shooting a film, all your energy goes into being on-set. This is where your rigging gaffer and off-set crew really come into their own. They are your eyes and ears off-set. ”The film is ever-evolving, therefore information must be relayed to you,” he continues. “It never stops and various things keep getting thrown at you, so you have to be able to react to them. It comes with experience and training; the more you do it, the more you understand what needs thinking about. As soon as you get your plans, it’s important to talk to your DOP about how sets should be lit.
TWO FOR ONE Both The Mosquito Coast (above) and The Bluff (left) demonstrate Garside’s ability to light for various types of location
After you get to know your DOP, you can second-guess them but always maintain a dialogue with them. A good relationship is a balance between ideas and what-ifs. What I say to my lads on-set is: ‘If I ask you to do something but you think of something better, then by all means let me know.’ That creative thinking from your entire crew is critical. I include all of them and they feel part of what’s going on, and that’s what’s important.” Garside is proud of all his projects, although one he frequently revisits is The
Mosquito Coast . “It’s one of my favourites purely because it was my first major one overseas,” he muses. “ The Mosquito Coast taught me a lot and I have utilised that knowledge on all my other films. You have to enjoy what you are doing, always put 100% into it and be there for your DOP to help them out. “Ask questions. Never assume you know everything because the day you think you know everything is the day you should walk away. You learn every single day, and every day is a new challenge. As I say to my guys, just enjoy what you are doing. It’s hard work and you will see the effort you put into the project when you watch the film.” Garside concludes: “There have been many ups and downs during my time in the film industry, but we have always come out of it stronger and wiser. It’s all part of the learning curve and has been very rewarding.”
A good relationship IS A BALANCE BETWEEN ideas and what-ifs ”
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WATCH THE FULL SIDUS LINK PRO USER GUIDE SERIES
Master your lighting universe
Ben Dynice, director of product (UX/UI) at Aputure, reveals how the company’s new tools are changing the game A s a gaffer, you don’t often face the hurdle of creating a simple light switch gag, followed by a
isn’t completely latency-free”, explains Dynice, a 15-year IATSE local 728 lighting programmer and ICLS member who worked on projects like Suicide Squad , Thor 2 , Jungle Book and more. “That’s why two years ago, the team at Aputure made a promise to expand the power of our existing Sidus Link app. With Sidus Link Pro, we made good on that promise.” What started with a simple mandate to make lighting control simpler, faster and more powerful became a goal to level up the Sidus Link ecosystem in terms of wireless control, marrying the best of both worlds. “We realised additional hardware is required, as iPads cannot directly send
out DMX. While developing the Sidus Link Pro app, we had to create the tools to make wireless DMX control easier and more accessible.” This led the team to create Sidus One – a wireless CRMX transceiver with a built-in wireless router and Bluetooth Mesh Extender. “In other words, the ultimate transceiver, fitting three separate tools into one tiny box.” When combining Sidus Link Pro – featuring an easy-to-use UX/UI which automatically networks for you – with Sidus One’s instantaneous CRMX control, the possibilities to control your fixtures are limitless. Dynice continues: “You can create favourites, groups and even
campfire effect and lighting a full-scale alien invasion. If you did, it’s reassuring to know that Sidus Link Pro, in combination with Sidus One, is up to the task. We spoke with Ben Dynice, director of product (UX/ UI) at Aputure, about the wireless lighting ecosystem that gives full control on-set. “Until now, there were just two options to choose from when wirelessly controlling your lighting: either via wireless DMX console or Bluetooth. While the first is as impressive as it is complicated, the latter can suffer from connectivity issues and
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THE SIDUS LINK PRO OPENS UP SO MANY creative possibilities ”
program-cueing sequences that allow for fading and seamless transitions, for example. Plus, those sequences don’t have to be linear in time. It opens up so many creative possibilities.” Sidus One gets its name from its ability to control a single universe, but as this is often not enough on bigger sets, you can link up to four together, giving you control over four universes at the same time. “We also released Sidus Four,” Dynice reveals, “which extends this number to
eight universes: four wireless and four wired. It will simultaneously support your fixtures – whether they’re Aputure or any other brand – over CRMX and DMX, with both Art-Net and sACN supported. It creates the complete Sidus solution – with Sidus Link Pro as the control system, Sidus Four as the primary data distributor and Sidus One as the receiver for lights without built-in CRMX.” With the Sidus One’s 18- hour battery life, IP54 weather protection and 800m long-range antennas, there are very few places you cannot use it. Whether your scene calls for a transition from day to night or a lightning strike with a power surge, you want to ensure it happens at the right time and exactly to your specifications. “Intensity, colour temperature, hue, saturation and on-board effects – you’re in full control”, concludes Dynice. “You can create a set of string lights with a pulsing fade and a sign that blinks on and off. This makes scenes more dynamic, unlocking the full potential of storytelling capabilities.” Download Sidus Link Pro sidus.link For more information about Sidus Link Pro and Sidus One, visit aputure.com
BRIGHT IDEAS The Sidus One (above middle) and Sidus Link Pro combine to create a single system for complete lighting integration
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IN SHORT OASIS
We connect with Montreal-based director Justine Martin to discuss her Oscar-shortlisted, coming-of-age documentary short
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OASIS IN SHORT
A n oasis is a preserved place, a refuge from one’s surroundings. For Raphaël and Rémi Cormier – 13-year-old twin boys and stars of Justine Martin’s documentary short Oasis – this haven is synonymous with their relationship, devoid of any external distractions, and of childhood, a time which is quickly coming to an end. It’s implied that Raphaël has a developmental disorder and Rémi acts as his protector, but while they slip into young adulthood there’s a noticeable rift between them. “The first question I asked myself before making this film was: ‘What is left in the relationship when there are no external factors – no phones, no friends, no family? How can I capture the essence and the beauty of their relationship in a tangible way?’” shares Martin, who used to babysit the boys. “I’ve watched them grow up since they were maybe five years old. In the film, they are 13, and it was the first time I’d witnessed a distance between them,” she explains. “For the first time, one was growing up at a different pace than the other.” Martin’s first project post-film school, Oasis allowed her to explore an interest in childhood while building a portfolio from the ground up. She assembled a team of other recent grads, including DOP Myriam Payette and editor Félix Bouffard-Dumas. Thanks to Martin’s special relationship with the twins, the cast and crew felt more like family. “We tried to make it as natural as possible so that, on-set, they would know everybody and know what we were doing with the camera to make them comfortable,” she describes. “In a sense, I was still the babysitter.” FACT VERSUS FICTION Although Oasis is a documentary, it reads almost like fiction. Martin made a purposeful decision to blend the genres, ‘building a universe’ that’s frozen in time. “Yes, it’s reality, but it’s my vision of reality, and I wanted to take the viewer on this emotional journey rather than a factual journey,” she explains. “For me, it was important that it was not about talking heads, it was about the relationship. I went for an immersive approach.” Martin instructed the boys to do various physical activities – including paddleboarding, swimming, skating and
catching frogs – to give the film a bit of structure. “After that,” she says, “what they’re doing is up to them. It was never scripted, never staged, it was only them being themselves.” Martin went into the project with certain expectations; for instance, she thought it would be simple to get the boys talking. “I thought that the twins would talk to me about their childhood memories and they would talk together and it would be so touching,” she admits. “But I quickly understood that 13-year- old boys don’t especially care and just want to play.” Although an unplanned obstacle – “I was like ‘oh my god, do I have a film?’” she laughs – Martin made it work. “Instead of forcing it, I decided to adapt to their physicality because their relationship is expressed more in movement, so we embraced that.” A SENSE OF PURPOSE After completing the film and finding a distributor – Travelling Distribution – Martin took Oasis on her first-ever festival circuit. “We had a big run,” she recounts. “I didn’t expect it because I made the film for myself first.” Oasis elicited a strong emotional reaction from audiences, who shared various experiences with Martin. “Instead of commenting ‘you have such a beautiful film’, it was more like ‘I have a twin too’ or ‘I have children like that’. I found the sense of my practice, why I want to make films in the festival circuit.” In 2023, Oasis was shortlisted for best documentary short film at the 96th Academy Awards, won the best documentary short at RiverRun International Film Festival and the Grand Prize at Indy Shorts International Film Festival. The New York Times added Oasis to its Op-Docs, a series of documentary shorts from ‘renowned and emerging filmmakers’. Despite these recognitions, “the most important thing for me was to reach my audience,” Martin assures. Among other projects, Martin wants to expand on Oasis by following Raphaël and Rémi into their adult lives. “That’s going to be a long-term documentary, but I want to make a feature-length film out of their relationship and how it changes over time,” she says. “Seeing somebody change physically on screen is such a rare and special experience.”
SIBLING LOVE Connecting
through play, the short follows twins Raphaël and Rémi Cormier as they navigate growing up together
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ROUND TABLE
Expert insights on maximising relationships with rental companies, embracing industry trends and advancing sustainability initiatives
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ROUND TABLE
Definition: What are some key factors filmmakers should consider when selecting a rental company, beyond just the availability of equipment? Melanie Georgieva: Knowing your budget and what you’ve got to work with is crucial. Filmmakers should look for companies that offer flexibility in their rental packages, and have the technical knowledge to understand their needs and adapt the package accordingly. Rental companies with bases local to your shooting location can significantly reduce transport and logistics costs – especially if something’s needed last minute. And perhaps one of the most considerable factors is the company’s reputation for reliability and customer support. Rental companies that are ready and willing to advise and provide help in the event of any problem - no matter the time or location - will stand you in good stead. Barry Bassett: Last year was hard, and 2024 is proving to be equally hard. Independent rental companies are finding it tough, so it’s important for cinematographers and producers to consider additional factors when comparing rental companies, such as sustainability and business ethics, rather than price alone. All rental companies have to be competitive, but at VMI, we also place importance in our role as an investor into our collective community, so we can train and empower the next generation of filmmakers. Cameras used to be fairly standard, but the modular design of modern ones means rental cameras are not identical across different rental companies, since the level of accessorisation can make a huge difference to usability and compatibility. As an example, we only use ARRI camera accessories, which offer the greatest standardisation across all equipment, but they are also the most expensive. Not everyone does this, but our clients like it. It means that, if you need to use a big lens and 19mm bars, you will have the confidence that all ARRI 19mm bridge plate kits will work with any of our cameras. Not all companies customise their kits to suit individuals’ needs to the same extent, and this is crucial when
people are travelling and need bespoke, compact and lightweight kits. The range of lenses and equipment available today is huge, so consider whether the rental company will be able to offer a spare in the event of equipment failure: having one of everything isn’t always the most reliable approach. Also, the availability of cameras and lenses for test shoots with multiple prime sets is a regular request to help design a look for a feature or drama, so make sure this is available without cost to you. Finally, consider the quality of the personnel on the camera floor: who is capable of setting your kit up the way you want to use it? Ours is a difficult industry – and filmmakers shouldn’t compromise on the way that the kit is presented or configured. Jacob Alatise: It’s important that you develop a relationship with the company you are considering, but the availability of equipment does sometimes supersede everything else. At CameraOne, we’ve always been a people business. Yes, we have lots of equipment and a deep inventory, but our ethos has always been to service the customer to the highest level, no matter how big or small the project. Mike Pollard: Filmmakers need a company that prioritises exceptional customer service from initial discussion through to the completion of production. Having a team of in-house experts is key, since they have industry and product knowledge. They can support with addressing enquiries and equipment specifications to enable filmmakers to make the most informed decision ahead of production. A rental company which offers a consolidated and managed service option could significantly streamline the production and delivery process, freeing up filmmakers’ time to focus on creativity rather than logistical concerns. Additionally, choosing a company that offers low-carbon solutions is essential. Matt Collis: Right at the top of any filmmaker’s list of considerations should be the level of support the rental company offers, not just for those with equipment already in use
Matt Beard Sales director, Hireacamera
Melanie Georgieva Long form sales director, Panalux
Jacob Alatise Partner, CameraOne
Matt Collis Camera operations manager, Panavision
Mike Pollard Managing director for film and TV, Sunbelt Rentals
Barry Bassett Managing director, VMI
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