Definition November 2024 - Web

In this issue, music supervisor Lucy Bright (The Iron Claw, Aftersun, Tár) reveals the secrets behind achieving a perfect needle-drop moment, we reflect on key innovations from the IBC Show, and revisit the horror classic A Nightmare on Elm Street. Our cover feature explores the transformation of Wicked into a cinematic spectacle, plus, there are behind-the-scenes looks at Horizon: An American Saga and Time Bandits and more

TURNING UP THE VOLUME ON SUSTAINABILITY VIRTUAL PRODUCTION’S ROLE IN TACKLING THE INDUSTRY’S EMISSIONS PROBLEM

NOVEMBER 2024 DEFINITIONMAGAZINE.COM

HOW lucky AM I TO WORK WITH one of the greatest filmmakers EVER?”

T IME BAND I TS

DYNAMIC TEAMWORK BRINGS FANTASTICAL WORLDS TO LIFE THE OUTRUN YUNUS ROY IMER CAPTURES A BOLD & BRUTAL JOURNEY

DOP Jimmy Muro meets his hero on the set of Horizon: An American Saga

Wicked cinematographer Alice Brooks reflects on her career and gives us an exclusive, behind-the-scenes peek inside the Emerald City WICKED Something this way comes

PLUS! INNOVATIONS SHAPING THE EVOLUTION OF BROADCAST PRODUCTION TECH

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WELCOME

EDITORIAL Editor in chief Nicola Foley nicolafoley@bright.uk.com

Senior staff writer Katie Kasperson Chief sub editor Matthew Winney Sub editors Jim Blackstock, Zanna Buckland, Minhaj Zia Editorial director Roger Payne rogerpayne@bright.uk.com Contributors Adam Duckworth, Will Lawrence, Adrian Pennington, 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 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.

E ver wondered what goes into crafting the perfect needle-drop moment? Lucy Bright, a music supervisor whose CV includes The Iron Claw , Aftersun and Tár , gives us a peek inside the process in this issue. Find out how she approaches the alchemy of music and moving image – while navigating the maze of rights clearance – on page 54. We also reflect on this year’s IBC Show, which as always, was a gold mine of new tech, tools and lively discussion around what the future holds for the M&E sector. Flip to page 64 for our top discoveries from the show floor and key takeaways from the talks. In Take Two, we revisit A Nightmare on Elm Street – a horror classic that still haunts audiences nearly 40 years on. Join us as we dive into the ingenious practical effects (featuring 500 gallons of fake blood and some unruly centipedes) that defined the film, offering a testament to what can be achieved when even a modest budget meets a brilliantly creative team. Our cover star this month is Wicked , whose cinematographer Alice Brooks shares the creative journey and collaborative effort that turned the stage sensation into a cinematic feast. There’s also BTS action from Horizon: An American Saga – the first instalment of Kevin Costner’s epic western series – and Going Greenland , a short film shot in the Arctic that aimed to be as eco-friendly as possible. Plus, we delve into Time Bandits , where cutting-edge VFX and virtual production blended seamlessly to create its unique world. You can also discover how to tap into VP to reduce the environmental impact of your next production, read expert insights on the future of broadcast tech, get tips on lighting subaquatic scenes and more. Enjoy the issue and see you next month!

Editor in chief

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CONTENTS

NOVEMBER 2024

06 WICKED Cinematographer Alice Brooks on bringing the beloved musical to screen – and the

48 ROUND TABLE A panel of experts explore the latest evolutions of broadcast tech, considering how they are enhancing storytelling,

importance of never giving up 12 SUSTAINABLE VP

audience experience and more 54 CAREER STORIES

Could virtual production be the key to a lower carbon footprint for the film industry? Adrian Pennington investigates 18 THE OUTRUN DOP Yunus Roy Imer discusses his work on this unflinching depiction of addiction, set in the wild beauty of Orkney 24 HORIZON Kevin Costner’s epic American saga has some of the finest cinematography we’ve seen this year. DOP Jimmy Munro gives us the lowdown 30 BENEATH THE SURFACE Jean-Charles Granjon shares the technical feats and specialist kit that went into capturing this stunning documentary underwater gaffer Aaron Keating offer tips on shooting and illuminating in and around water 39 IN SHORT In the spotlight this month: Going Greenland – one of this month’s Banff Mountain Film Festival selections 40 TIME BANDITS 34 RIPPLES OF LIGHT Deep-sea DOP Florian Fischer and Collaboration was key for the VP and VFX supervisors on this Taika Waititi-directed fantasy series

Lucy Bright – music supervisor on films including Aftersun – shares her 15-year career progression in a dream job 57 TAKE TWO We revisit iconic horror A Nightmare On Elm Street , taking a special look at its crafty special effects 59 BIOPICS SPOTLIGHT Hollywood can’t leave celeb biopics alone – but what’s driving this boom, and are audiences growing bored of the genre? 60 INDUSTRY BRIEFINGS California clamps down on deepfakes, news from BFI London Film Festival, Emmy engineering awards announced and other key updates

64 BEST IN SHOW We reflect on another IBC, sharing our favourite finds from the show floor and talks, as well as catching up with the

team behind The Green Line 70 TRIED & TESTED

We put the Canon EOS C80 and C400 through their paces, discovering versatile options for cine, live broadcast and more

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PRODUCTION WICKED

C inematographer Alice Brooks has just walked out of our interview. Thankfully, the move is motivated by kindness and she soon returns. When she does, she is clutching a black & white feather in a frame. This piece of plumage, it transpires, is at least 30 years old and – as the frame attests – holds some significance. For our purposes, its story begins on a beach in Santa Monica, California, when

Brooks was 15 years old. She was an actress at the time and, earlier that day, had completed her seventh audition for the film While You Were Sleeping . “In my heart, I knew I wasn’t getting the job,” she recalls. “To shake it off, my mum took me for a walk and I told her my dream – I didn’t want to be an actor anymore, I wanted to be a cinematographer.” As soon as she articulated her dream – to both her mother and the universe –

Brooks spotted a beautiful black & white feather nestled in the sand. “I picked it up and made the commitment,” she says, “knowing there was a long road ahead.” The road has been long but has reached lofty heights, carrying Brooks from USC’s School of Cinematic Arts to the DOP’s chair on numerous shows and movies. This includes several high-profile musicals with director and college friend Jon M Chu, such as TV show The LXD as

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WICKED PRODUCTION

Cinematographer Alice Brooks brings her passion for visual storytelling to Wicked , the much-anticipated big-screen adaptation of the beloved musical. Will Lawrence finds out more

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PRODUCTION WICKED

VISUAL ALCHEMY Alice Brooks’ (right side) work with Panavision led to the development of custom anamorphic lenses for Wicked Wizard (played by Jeff Goldblum). The story unfolds over the course of two films, shot simultaneously in the UK over nine months of principal photography. The production took place at Sky Studios in Elstree and on the expansive sets that sprang up in Ivinghoe, Buckinghamshire. always filled with Broadway tunes. And The Wizard of Oz ? Always, right? I was Dorothy for Halloween one year – it was definitely a large part of growing up: the yellow brick road, dreams, wish fulfilment and the idea of home. “Almost all the movies I’ve made in the last few years have been about finding what home is,” she continues, “as well as what your family is and who the most important people in your life are. That’s what Wicked is about; it’s the epic world of Oz, but at its heart is this relationship between Elphaba and Glinda.” Elphaba and Glinda are Wicked ’s central characters brought together at Shiz University in the Land of Oz. Elphaba (played in the movie by Cynthia Erivo) is a misunderstood young woman well as features Jem and the Holograms (2015) and the much-lauded In the Heights (2021). Most recently, it bisected with one of the most famous roads of all time: one paved with yellow bricks. Reuniting with Chu, Brooks has shot the forthcoming big-screen adaptation of stage musical Wicked , which is a loose adaptation of the 1995 Gregory Maguire novel Wicked: The Life and Times of the Wicked Witch of the West (which is in turn based on L Frank Baum’s 1900 novel The Wonderful Wizard of Oz and the much- loved movie, released in 1939). It’s a fitting project for Brooks. “My mother loved dance,” shares Brooks, who also lensed tick, tick... BOOM! (2021), the directorial debut from Hamilton creator Lin-Manuel Miranda. ”She loved music; our house was with green skin, who later becomes the Wicked Witch of the West. Meanwhile, Glinda (Ariana Grande) strives for popularity before maturing into Glinda the Good. Their metamorphoses are prompted by their interactions with the

ALMOST all movies I’ve made IN THE LAST FEW YEARS HAVE BEEN ABOUT finding what home is ”

“I love all the interior sets of Emerald City,” enthuses Brooks, who goes on to reference the last 40 minutes of the first movie from the moment the song One Short Day ends. “It’s this long sunset scene where the sun gradually disappears,” she adds. “We call it the Hall of Grandiosity, a hallway where Elphaba and Glinda walk to meet the Wizard. “They enter the throne room – one of the most exciting places to light. It was magical and huge. People can’t believe the ceiling goes all the way to the top of our stage. Everyone assumes it’s a set extension, but it’s a real ceiling with real lights, and the Wizard’s head is there too: a 20-foot tall, real puppet.” It’s a key point in the film, leading to the moment when Elphaba is first described as the Wicked Witch. Accompanied by a giant balloon and a towering staircase over 50 feet tall, Brooks shares her insights with genuine enthusiasm. She is a woman who loves

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PRODUCTION WICKED

THE beautiful colours USED THROUGHOUT THE BOOK DEFINITELY inspired the set design ”

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WICKED PRODUCTION

her job, and this role in particular allowed her to fully express her appreciation for colour and visual tones. For instance, keen-eyed viewers will notice the correlation between Elphaba and the sunset, as well as Glinda and the sunrise. “When Jon and I talked about themes, we discussed the idea that lightness is not always light and the darkness is not always dark. Good is not simply good and evil is not always evil.” Brooks and her fellow filmmakers found inspirational cues in Baum’s poetry – which is rife with colour reference – and in W W Denslow’s original illustrations. “You can see the beautiful colours throughout the book,” she says, “and it definitely inspired the set design.” To film Wicked , Brooks chose the ALEXA 65. “The largest sensor we could use is the equivalent of 70mm film,” she adds. “We then shot with anamorphic lenses, but opted for a very subtle anamorphic effect.” Indeed, the lenses were unique, developed in collaboration with Dan Sasaki at Panavision. “As soon as I got the movie, I began working with Panavision to develop the lenses,” she explains. “Dan had this idea for a new lens and created prototypes. We’re the only movie to have shot with them.” Brooks shared her lookbook and visual references with Sasaki. “I wanted the movie to have a soft, effervescent feel with a slightly low contrast,” she describes. “Panavision lenses usually

have a blue horizontal flare, but we decided to go with an amber one. I felt blue was not the right choice for Wicked because of all the green and pink. Instead, we created a beautiful blue- amber flare that adds a touch of magic.” The magic Brooks and Chu brought to the picture is certainly palpable – its execution boosted by the filmmakers’ use of Unreal Engine. “At the very beginning, I could go into the computer using Unreal Engine and fly around a set with any lens. We could pre-light the set to see if the lighting and lamps were right. “For the incomplete sets – such as Emerald City’s exterior – we were able to establish our camera positions and rehearse the moves. I could go back to the set deck and point out, ‘These things are in the way’. Additionally, I would speak with [production designer] Nathan Crowley and say, ‘I need bigger windows here’, or ‘I need more space for the crane to get through.’ It became a great tool for communication.” As our communication draws to a close, Brooks moves her black & white feather, and I notice a crack in the frame. Brooks smiles. “I’ve often thought I should replace it, but then in Wicked – when Elphaba first meets Glinda in the dorm room – she gets so mad that their patio door cracks,” she shares. “That crack in the glass is where Elphaba begins to find her power.” She smiles at the parallel. “I think I’ll keep the broken frame.”

DREAMY DEPTH Brooks opted for the ALEXA 65 to achieve a soft, ethereal quality, perfect for the magical essence of Wicked

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VIRTUAL PRODUCTION SUSTAINABILITY

WORDS Adrian Pennington

As well as opening up creative possibilities, virtual production offers a way to significantly reduce a shoot’s environmental impact

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SUSTAINABILITY VIRTUAL PRODUCTION

O ne of the chief motivations for productions to be based locally in a volume is the reduction in polluting international air and road travel for dozens of crew members. The BFI and Disruptive LIVE have attributed more than half of total CO2 emissions from blockbuster film productions to transportation. Using an LED volume to change set locations can significantly reduce the carbon footprint, according to Ben Lumsden, executive producer, Dimension Studio and DNEG 360. “There is a growing awareness of addressing these issues and, as virtual production technologies mature, we can expect these developments to be further integrated into workflows,” he comments. “When we first opened, we saw a lot of productions state that sustainability was important to them. However, in reality, it took quite a secondary role,” explains Joanna Alpe, chief commercial officer at MARS Volume. “In recent months, we’ve seen a shift in this approach.” She attributes this to agencies taking bold moves such as banning travel for productions, producers requiring specific measurements of power usage for the shoot to generate environmental reports and a real increase in productions shooting in VP to replicate multiple locations around the world. “Data suggests the tide has turned, and this

provides a perfect opportunity for VP and ICVFX to shine as sustainable options for reducing carbon emissions in film and TV production,” she says. Cutting down on travel is the biggest win for sustainability, but more can be done. VP also streamlines the production process, allowing for creative decisions to be made on-set, which reduces the need for reshoots. Alpe states: “Clever use of minimal props and highly skilled virtual art departments create believable scenes and sets, where it’s nearly impossible to distinguish where the physical art department ends and the virtual takes over. By reducing the reliance on large-scale set builds (which ultimately get torn down and create a disposal issue), carbon emissions per shoot can be massively reduced.” The LiveStitch system, designed and developed by CineArray, offers several ways to reduce emissions. The system provides a live stitched image of every camera feed from an array and records this onto a removable SSD. Laura Tinsley, operations manager at CineAero, says the system is a first of its kind. She explains: “Previously, all footage would have to be sent with a driver, then immense processing power and servers were used to stitch and store the images before even being able to view daily footage. The LiveStitch system removes this step and means stitched preview footage can be sent securely via a laptop for review. “A unique way that LiveStitch further reduces the need for being on a set is its ability to provide a fully stitched live feed of the array from anywhere in the world. The LiveStitch has its own built-in uplink, allowing a whole VFX team at a studio to view a live feed and provide commentary. Only a skeleton crew needs to work at the location, which reduces emissions across the board.” Reducing the reliance on post- production workflows is another gain for sustainability. “By capturing VFX mostly in-camera, the post-production workflow is reduced and sometimes eliminated altogether,” points out Alpe. Current post-production workflows rely

VOLUME DISCOUNT Sustainability

can be improved by shooting in a volume or reusing materials in the community

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SUSTAINABILITY VIRTUAL PRODUCTION

upon huge render farms working 24/7, requiring significant energy supplies. Some reports suggest there could be as much as a 30% reduction in shooting final-pixel VP versus green screen and post-production workflows. Research by Filmakademie Baden- Württemberg and IFC on behalf of Sony has shown that the carbon emissions savings of VP go beyond travel and accommodation. As much as a 60 to 80% reduction in energy consumption has been recorded within like-for-like productions comparing VP with offline- rendered productions. The largest savings result from spending less time on post-production, fewer shooting days and reduced waste. Using renewable energy can further reduce the carbon emissions of the energy consumed. According to AdGreen, the average commercial generates ten tonnes of carbon. Since the majority of the 100 productions hosted at Garden Studios have been commercials, Julie Hoegh, head of sustainability, comments that in-studio shooting has resulted in net carbon savings of roughly 600 to 800 tonnes. “This shows real potential.”

WE’RE SEEING slower traction in TV and film THAN IN ADS”

She says that the advertising side of the industry is pushing VP more than any other. This is, in part, because the entirety of a commercial can be shot in volume and also because of AdGreen’s initiative to help productions be less wasteful. “Sustainability is now taken as a serious consideration for ad productions,” she notes. “We’re seeing slower traction in TV and film, likely due to issues with the scale of their production, and because cost and efficiency are being prioritised.” MEASURING UP THE ISSUE There are still some unknowns around the sustainability of VP. For example, no one has yet undertaken a life cycle analysis of LED volumes. “We also don’t

fully understand the carbon impact of extensive data storage, rendering and cloud computing,” says Hoegh. “Furthermore, the lifespan of LED walls and the ability to update existing walls will be crucial in maintaining the sustainability of VP, as well as how frequently they are being used.” The use of VP aims to reduce the amount of crew travelling to a given location. Definition wondered whether an equivalent number of crew members would still be required on-site and if this would impact sustainability. “Imagine filming a large crowd scene set in ancient Egypt,” responds Lumsden. “A traditional shoot would require a large number of people on location. In contrast, the number of people required for the ICVFX version of this would be

LIFE IN MARS MARS Volume has seen an increase in virtual production as travel is scaled back

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VIRTUAL PRODUCTION SUSTAINABILITY

far smaller than filming it all for real. For a successful VP shoot, you must tie in real physical elements, therefore you always need a traditional crew. However, the physical crowds and scale of on-location shooting are reduced, contributing to a more sustainable production,” he describes. GLOBAL SUSTAINABILITY STANDARDS While there is a Studio Sustainability Standard delivered by BAFTA albert (with technical partner Arup), there are differences in how sustainability is measured and accounted for from country to country. For example, the benefit of choosing VP varies depending on the fuel mix of the grid. A VP in Sweden will be more sustainable than an identical one in Poland or Romania, for instance, due to the higher proportion of renewables on the grid in Sweden. “I believe BAFTA albert is working on ways to create a carbon calculator for VP, and that’s something we would welcome,” highlights Hoegh. “Carbon calculators, sustainability certifications and other frameworks and tools are being worked on by organisations like albert and the Producers Guild of America,” she adds. “These standards must consider the entire life cycle of production equipment.” Dimension says it carefully tracks employee travel and carbon

consumption. The company has partnered with Treeapp and, since working together, it has planted 12,330 trees, absorbed 2279 tonnes of CO2 and reforested 2.47 hectares of land. Alpe thinks there is exciting potential for a global standard that encourages productions to consider the sustainability benefits of VP: “I see this as being a compelling report to put in front of directors, clients and brands to gain internal buy-in and champion the sustainability gains available when utilising VP as a solid part of the production mix. By producing quantifiable numbers, this would make the case for VP over other methods (location shooting, green screen, post-

production-heavy workflows) that would be hard to ignore.” Having reliable third-party calculators that enable producers to understand the impact of various production methods would help them make informed decisions on scheduling and running their productions. Looking ahead, more research is needed to fully understand the carbon costs associated with the manufacture and disposal of LED panels. There are also calls for more funding for recycling and reuse of digital assets. “Training for producers and crew is the best way to drive awareness of the potential positive impact of VP,” says Hoegh. “Previs and techvis could be utilised alongside a carbon calculator to demonstrate how the time and efficiency savings could translate into greener production.” Garden Studios actively donates props and set materials for reuse. The organisation recognises that – since one of the goals of VP is to reduce sets and props – the overall impact may be limited, but there are still items that could benefit from a new life. Hoegh would love to see consistent engagement with the donation programme. “We’re here to make the process easier and more efficient, as we know how stressful strike time can be,” she concludes.

STITCH UP The LiveStitch system from CineArray makes stitched previews accessible by laptop, reducing transport needs

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PRODUCTION THE OUTRUN

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THE OUTRUN PRODUCTION

DOP Yunus Roy Imer discusses lensing a heart-wrenching journey of addiction and redemption in The Outrun

R ona (Saoirse Ronan) returns home from her life in London to the Orkney Islands, where she learns to reconnect with herself and recover from her troubled past. Beautifully captured by DOP Yunus Roy Imer, The Outrun is a raw, honest depiction of addiction with a commanding central performance. Imer studied at the Filmakademie Baden-Württemberg in South Germany along with director Nora Fingscheidt,

and the two have since collaborated on numerous projects. “Nora called me almost a year before we started filming The Outrun ,” begins Imer. “She told me to read the book by Amy Liptrot, then we exchanged our thoughts about the book and that’s how it all started. I also went on a little research recce to the Orkney Islands before we shot the film and tested the waters.” When it came to initial conversations about the look of the film, Imer and

Fingscheidt discussed how they would express Rona’s feelings and the internal struggles she is going through, which are sensitively depicted in the book. “It was a really visual challenge,” says Imer. “Being on such a long journey in the film with her and places, times, memories and fantasies gives you an impression of doing the journey with her – it tries to tell as many things as possible. The structure is so fluid. I spoke with Nora about how to show that inner conflict and pain, and

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PRODUCTION THE OUTRUN

IN ORKNEY, YOU NEED TO BE soft and beautiful , THEN hard and contrasty IN LONDON. WE DID IT the other way around, BUT THIS WAS IMPORTANT”

UNPACKING THE KIT Imer captured the film with the ARRI ALEXA Mini and used Panavision C Series lenses for the flashback sequences. “They are exquisite lenses,” he says. “Panavision were a great support and we were lucky we got them for our not- so-huge budget. I really like the look of Panavision lenses and the way they blur highlights. They are also lightweight and relatively easy to handle as anamorphic lenses. For the documentary-type strings in between chapters, I had an ARRI AMIRA with me most of the time, plus a Super 16 Cooke 10.4-52mm zoom. I kept it in the trunk of my car, always available.” For the Orkney scenes, Imer used Panavision Primo prime lenses. “They are very subtle optics and almost don’t distort,” he explains. “They blur

how to show parts of her life like her fight for sobriety – as much of her journey as possible – to be able to depict the world she lives in. We also spoke about how to approach alcoholism because we know it’s a serious topic that effects lots of people. Sometimes, you need the right amount of lightness or sense of humour to approach serious topics. What I like about Nora’s approach is that she does it with lots of respect and research.” Amy Liptrot co-wrote the screenplay alongside Fingscheidt, and some of the original locations were used to capture the film. “We filmed in her dad’s actual caravan and also on Papa Westray, where she wrote the book. We tried to approach the community of Papay and the Orkney Islands, and Amy’s story, as respectfully as possible by taking this

topic seriously. Of course, you need to take creative decisions for the film and narrative storylines,” explains Imer. Art director Andy Drummond brought in lots of pictures and films for reference. “Andy worked on the Scottish film Limbo ,” adds Imer. “It’s beautifully shot; I recall watching it to see how films on a remote Scottish island might look, although that’s a different mood from ours. Plenty of films come up when you think about alcoholism or drug abuse, but none directly aligned with our movie. “We mixed in a few references, but already had this vision of blurry London flashbacks with lots of motion. We also discussed Another Round , as Nora likes how the camera rocks like a boat in that film. I thought about that when shooting, but we didn’t have one clear reference.”

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THE OUTRUN PRODUCTION

LIGHT TOUCH A naturalistic approach to lighting was favoured

highlights in a similar way, which was key for continuity regarding an aspect of the look. Sometimes, in the grading process, you couldn’t tell much difference between the lenses, and some of the visual world was subtly psychological. The Primos were the sober lenses in Orkney and far more subtle. We wanted to show the world in a naked way. “It was a bold and theoretical look. If you go to Orkney, you need to have everything soft and beautiful, and then hard and contrasty in London. We did it the other way around, but I felt this was important. It made more sense for what Rona’s character was going through.” Imer wanted to take a naturalistic approach to lighting. “I often orientate what light does on its own, then support it. I had a great gaffer, Gordon J Goodwin, with me all the time. We started with a bigger crew and bigger units, trucks and gear and everything, then the further north we went, the smaller the crew got. We just had one little van at the end. I’m very proud of the searchlight we used in the club scene; we were able to use that as a main light source. They built a rig so we could turn this old 2K lamp.” To capture the underwater sequences at Orkney, underwater cinematographer Raymond Besant was brought in. “He

lives in Orkney,” reveals Imer. “We got in touch with him because of his beautiful images of seals in the water. We worked out a little underwater set-up he could use – and he already had all the gear himself. He’d come to the remote island to film seals and, on the second day, the team approached him. This was a great collaboration; we’re lucky we found him.” Filming took place over a period of six months, with production starting in London and slowly moving up north to Edinburgh where the production office was based. Several shots throughout the film proved particularly difficult to capture, although Imer points to one boat scene as the riskiest. “We were a seriously small unit doing this, it should be said. We were going to another island and I had the camera with

me,” he recalls. “Suddenly, there was this mist and waves and I went to the front of the boat, trying to hold this camera. The boat was rocking up and down and I had to hold on tight just to stay on. I was trying to balance the movement of the waves and it made the image look shaky, but Nora wanted it to be still. Ultimately, it looked much better when I didn’t balance it out like she initially asked.” Immersing himself with the people and communities of Orkney and Papa Westray was one of the most enjoyable aspects of production for Imer. “This part of the world is beautiful and very special, and the community was incredibly warm and welcoming to the production team. We spent quite a bit of time there and wanted to make sure everyone there felt comfortable with us too.”

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Wondering how to kick off a career in virtual production? Kieran Lowley outlines the skills and attributes you need to excel in a career in VP – and how Broadley Studios can help T o start a virtual production career and thrive, a passion for visual effects is essential. At its core, VP liberating form of production, where the only limit is your imagination. At Broadley, we’ve explored an array of VP projects If you’re passionate about virtual graphics and enjoy working within dynamic teams, a career in VP will feel like home.

is an extension of VFX, where much of the magic happens live, in-camera. It involves the seamless integration of virtual environments crafted in 3D software such as Unreal Engine, motion tracking systems and 3D animations, all working harmoniously to produce the final image. If you aren’t enthused by virtual graphics, visual effects, game engines and cutting- edge tech, this field can be a challenge. But if these elements excite you, this field will captivate you. It’s the most

and environments. Our projects have transported us to derelict cathedrals, an apocalyptic New York, vast warehouses filled with supercars, and even inside snow globes. A VP career also means collaborating with large, diverse teams. As a technician or VP producer, you’ll be the linchpin connecting the camera, lighting and digital teams. Crew sizes can vary, from small teams on simpler shoots to large groups crafting a single, seamless image.

The essentials To excel in VP, mastering a few key skills is crucial. First and foremost is a solid understanding of traditional visual effects, especially in areas like match- moving, chroma keying and set design. A broad skillset in all areas of VFX will serve you well, as VP essentially brings post- production processes into real time.

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A cornerstone of VP is Unreal Engine, the industry-standard software for designing virtual sets. Although Unreal Engine comes with a steep learning curve, conquering it will make you highly sought after in the industry. Beyond Unreal Engine, understanding optical camera tracking is important. There are numerous tracking hardware options – each with its strengths and weaknesses. At its core, tracking involves devices emitting infrared (IR) light, which reflects off IR markers and is captured by the tracking unit, recording the camera’s six-axis position. If you’re working in green screen VP, as we do at Broadley Studios, mastering chroma keying is non-negotiable. This technique involves removing green screens from footage to replace backgrounds with virtual sets, typically created in Unreal Engine. Precision in chroma keying is critical; a poorly executed key can ruin an otherwise perfect shot. The work ethic VP is both technically and creatively demanding. It often involves long hours

you’ll thrive in this exciting field. A VP career will maximise your creativity

Getting started A VP career is a rewarding one bursting with creativity, innovation and possibilities. If you think it might be for you, you’re going to need oodles of passion for all things visual effects, and you’ll also need to cover the following: •Embrace teamwork and collaboration; working in dynamic teams is the norm. •Learn everything you can about visual effects – particularly match-moving, chroma keying and set design. •Learn, and ideally master, Unreal Engine – it’s a steep learning curve but worth it. •Understand optical camera tracking and green screen production and chroma keying. •Be prepared to work long hours. •Continuously learn and develop your skills. To find out more about Broadley Studios’ virtual production facilities and find out how we can help, visit broadley.tv or contact the team on +442077255858 . Alternatively, send an email via info@broadley.tv

DIGITAL MAGIC Each VP project at Broadley Studios offers filmmakers an opportunity to reimagine what’s possible on camera

of troubleshooting and problem-solving. The process relies on a chain of hardware, where even a single fault can jeopardise the entire operation. However, the diversity of tasks in VP means you’ll constantly be learning and developing new skills. In just one month at Broadley, we’ve transitioned from filming inside a snow globe to a gym, a cafe and a bar. Over a year, we’ve ventured to space, giant TV studios, New York and a high-rise apartment. No two days are the same in VP. If you bring the right work ethic and can quickly adapt to digital workflows,

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PRODUCTION HORIZON

Oliver Webb sits down with DOP Jimmy Muro to discuss Horizon: An American Saga – Chapter 1

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HORIZON PRODUCTION

H orizon: An American Saga – Chapter 1 is the first of four instalments in Kevin Costner’s epic western, chronicling a 15-year span in the American West. Opening in 1859 in the San Pedro Valley – two years before the outbreak of the American Civil War – we see a team of surveyors outlining the forthcoming frontier town of Horizon. Chapter 1 introduces us to numerous families and characters as they navigate the American frontier. Beautifully shot by DOP Jimmy Muro, Horizon sees Costner return to the big screen in fine form. Muro first met Costner on the set of Field of Dreams in 1989, where he served as a Panaglide operator on the film. After a good experience here, Costner asked producers to hire Muro as a camera operator on Dances with Wolves . “I also met my wife while working on the film,” begins Muro. “We only had three cameras to shoot the whole film, so I really cut my teeth on that movie. I had an incredible time.” Muro and Costner would go on to collaborate again on a number of films throughout the years, including JFK, before Costner hired Muro as DOP on Open Range in 2003. When it came to Horizon , Muro had reached out to Kevin and caught up with him before being approached to shoot the film. “I thought long and hard about it,” admits Muro. “I couldn’t see any path other than doing it for the individual who both made me a cinematographer and got me out of the junkyard from New York City to work on Dances with Wolves . I knew I could support him and be there to take some of the relief off his

RIDE TOGETHER Muro’s bond with Costner – forged over decades of collaboration – helped shape Horizon’s unique visuals

shoulders for his passion project. There’s a lot that goes on when making a movie like Horizon . We had to set it up right; I started physically working out as I knew the environment was going to be a tough one, but Kevin has got so much energy, it is incredible.” Although Costner and Muro had lots of initial conversations about the look of Open Range , as well as watching several movies in preparation, the approach was different for Horizon . “I brought certain things to the table, including a camera test as I wanted Kevin to feel comfortable with what I was doing,” explains Muro. “ Horizon has been around in Kevin’s mind for so long now. He already had various images and references, like a Rembrandt painting that inspired a certain scene in the film. As far as creating the universe, it was up to me. That’s why I thought about how we would technically capture this. Kevin and I have both been Panavision people for a long time.” Muro opted to shoot the film with the RED V-RAPTOR and Leica Summilux lenses. “It’s the same package that David Fincher used on The Killer ,” adds Muro. “It’s so unique, beautiful and light years ahead of what they’ve been doing. When we started finally seeing the images on the monitor, Kevin was over the moon. I created the visuals myself at FotoKem Laboratory with colourist Phil Beckner. The surveyor story at the beginning of the film, for example, had a whole saturated- colour look. As the saga goes on, it’s told in flashbacks of what really happened – and that has its own unique look too. When you go up to the mountains and

I STARTED physically working out AS I KNEW THE ENVIRONMENT WAS going to be a tough one ”

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PRODUCTION HORIZON

DUST BEFORE DAWN Horizon’s storytelling deliberately reverses typical western narratives, where the land itself becomes a primary character before we even get to know the people living on it

meet Kevin’s character for the first time, that has a bluish, otherworldly look. The worldbuilding in this movie was really fun. We also needed to rely on the weather – fortunately, we got lucky at the beginning while filming those surveyor scenes. The weather was serene and beautiful.” When it came to shooting the Apache raid sequence, Muro remembered some valuable advice James Cameron had given him on the set of Titanic . “I was the camera operator on that film, and James said we had to run every camera for a particular scene because we were sinking a set and might only get one take. That resonated with me. The Apache raid scene took place at night, and we had to destroy an entire town. We panned the camera and saw the Kittredge family house burning down. We shot the scene with a lot of real fire, so were in a similar situation where we might only be able to complete the scene in one take. That was amazing to do. Much of the fire was digitally supplemented, but many of the burning elements were real. It took almost 20 minutes just to get the set lit. “I was also happy with the tunnel sequence,” Muro continues. “Our effects team sent down these little rig embers, which were incredibly beautiful. That was all lit with one little cube light that fit right into the lantern. It was very liberating to shoot. However, it did take some playing around digitally and being altered in terms of visual effects. Initially, my gaffer and I were panicking about how we were going to light the tunnel, so I’m happy with how it worked out.” One particularly challenging scene for Muro and his team to capture involved the character Russell escaping from the Apache on horseback. “That scene

was really about the music,” notes Muro. “My friend Rob Legato was the second unit director. He wanted to figure out a way to shoot day for night because you can’t light an expanse like that. You are always looking for places to shoot these scenes and limit the number of visual effects. The producers are constantly whispering in your ear to shoot day for night without any lighting. But you can’t just alter the moon in your movie – it’s part of the universe. We did a test, and the sun was really pounding down. Kevin had this mindset that, in older movies, the clouds would give it up. After all these discussions, we finally started shooting and everything began to take shape. It was all shot at 4pm and, with edge light, we were able to change the sky to black. Then, the effects team digitally added the

clouds. It became a beautiful homage to the concept of day-for-night shooting.” Muro amusedly notes that there are many parallels between the making of the film and the events depicted. “There’s a man behind the creation of Horizon in the film, and that’s mirrored by Kevin’s journey to make this movie,” he says. “How lucky am I to work with one of the greatest filmmakers ever? Someone who has found the money himself to make this and get his friends to help along the way. I am so happy to be part of something with that kind of heart. Kevin loves history – it’s who he is. He simply wants people to watch the movie and have an experience. It’s similar to the escapism I knew as a kid which got me into filmmaking, and that’s ultimately what is in Kevin’s heart.”

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The need for speed When a Top Gun up-and-comer switches to flying camera drones, the Samsung Portable SSD T7 Shield is his best wingman F or as long as he can remember, David Timson had dreams of a career in flying. And not big But when the time came to be assigned to jets, helicopters or drones, he was ordered to learn helicopters. A dream for many, but not Timson.

“I visited various dramatic landscapes in Europe and recorded some incredible shots. I loved it.” Not long after, film production companies came knocking, as his control of drones and the shots he captures are simply superb, thanks to his experience of flying. However, very early on, Timson learned the hard way about the importance of regular backups when shooting, as things can quickly go wrong – especially when tricky shots using drones are involved. “I was in Lanzarote shooting coastal landscapes,” he recalls. “I had a massive memory card inside the drone with all the footage from a few days of shooting. And of course, I hadn’t backed it up.

commercial airliners or crop-dusting small planes, but the fastest fighter planes in the world. Unlike most of the aspiring aviators inspired by Top Gun: Maverick , Timson took his plan seriously, learning to fly gliders and then powered planes from the age of just 13 via Britain’s Air Cadets. He joined the University Air Squadron, earning scholarships and bursaries to further his journey towards 30,000 feet and beyond. He joined the Royal Air Force and was top of his training course – the sure-fire path to becoming an ace.

“My whole life, I only wanted to fly fast jets. I’d put all my efforts into it for years. I didn’t want to fly helicopters,” Timson shares. He gave it a shot but after six years, his heart wasn’t in it, and he quit. Leaving the military took adjustment, and a series of conventional jobs followed. “I knew I never wanted to have a normal job,” he admits. Timson eventually decided to get into flying drones to shoot some filmic video, and became hooked. “I wanted to travel, shooting great footage of stunning places,” says Timson.

PROTECTED DATA The portable drive can handle outdoor use with ease

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BUILT TO LAST With up to 4TB of storage, the Samsung Portable SSD T7 Shield handles high-res ProRes footage with ease

“The very last shot was a simple flight over the sea – the drone malfunctioned and crashed into the water. Everything was lost.” From that point on, Timson backed up every shot as quickly as possible on both his laptop and the fastest, most durable SSD drive he could get his hands on. Cue the Samsung Portable SSD T7 Shield – a rapid and portable external drive with a rubberised cover. Designed to endure the odd bump or drop, it also fights off rain, being both water and dust resistant with an IP65 rating. Since drone work is often outdoors in tough conditions, the Samsung Portable SSD T7 Shield is an ideal partner.

“High-quality footage is crucial, so I always shoot in the most data-rich codec available – ideally in ProRes, at a minimum of 4K and at high frame rates if possible. I need a fast portable drive with enough capacity to store plenty of footage, and the Samsung Portable SSD T7 Shield is perfect,” explains Timson. “Especially as it can be as large as 4TB.” The Samsung Portable SSD T7 Shield is fast and hardy enough for the toughest jobs, boasting a strong aluminium body which aids heat dissipation, even when shooting 10-bit 4:2:2 All-Intra footage. Another key requirement for drone users, especially with the latest FPV-style high-speed versions, is that achieving optimal results places a massive strain on computing power. Timson explains: “FPV drones in particular are inherently unstable, so the footage must be stabilised with software. Some use the drone’s own built-in stabilisation software, but for serious work, it’s best to turn that off. All the stabilisation is done in post on the computer, using software like Gyroflow.” That puts a huge strain on computing power, and if the footage is stored on anything less than an ultra-fast drive, rendering can be excruciatingly long. Fortunately, the Samsung Portable SSD T7 Shield is more than capable of handling the job. It offers high-sustained write performance, allowing the recording of 8K or even 12K video. With read and write speeds of up to 1050MB/s and 1000MB/s,

respectively, it’s about ten times faster than most external HDDs. The portable drive is also compatible with Windows machines using USB. The compact Samsung Portable SSD T7 Shield weighs 98g, measures 88mm in length, 13mm in thickness and comes in sizes up to 4TB in a range of colours. It’s plug-and-play ready for the latest Apple Mac computers and includes drivers for Windows PCs. The software allows you to set a custom name and a password. The portable drive is also pre-installed with Samsung Magician, which monitors its health and can verify if a Samsung SSD product is genuine. “With an education in physics and my Air Force training in engineering and tech, I always research my equipment choices extensively,” says Timson. “That led me to the Samsung Portable SSD T7 Shield. “High-performance flying is always about pushing the envelope of what’s possible. My latest project is a custom- made, four-rotor FPV drone capable of carrying large cameras for incredible quality, as more movies and high-end commercials want something unique.” Once built, the footage will be trusted to Samsung portable drives.

*Power consumption results based on Samsung internal testing, conducted under controlled conditions. Idle status defined as eight minutes without I/O operations.

More information samsung.com/uk/memory- storage/portable-ssd/

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PRODUCTION BENEATH THE SURFACE

WORDS Nicola Foley IMAGES Discovery

Jean-Charles Granjon, DOP on Beneath the Surface: The Fight for Corals, shares the technical feats behind capturing the beauty of an unseen underwater world

B eneath the Surface: The Fight for Corals , a stunning one-off documentary created for Warner Bros Discovery, follows Saudi freediver Salma Shaker on an exploration of the coral reefs along the Red Sea’s northern coast. Delving into groundbreaking scientific research, the film takes viewers from Saudi Arabia to Mexico during the hottest year on record, highlighting the plight of corals, the scramble for solutions and the vital role these ecosystems play in combating climate change. “First and foremost, it’s a plea for the ocean,” sums up DOP Jean-Charles Granjon, whose extensive background in underwater cinematography positioned him perfectly for this project. Over his two-decade career, he’s developed a distinctive approach to filming in aquatic

environments, blending the technical precision of his background in marine biology and diving with a filmmaker’s artistic eye. “I became a filmmaker out of my passion for the ocean. Long before putting any device in front of my eyes, I first spent a lot of time immersed in it, ever since I was 11 years old,” he shares. A big challenge during production was how to depict coral – an organism that often appears static – in a dynamic way on screen. His solution was to explore the coral’s multidimensional nature by altering physical and temporal scales. The use of wide, sweeping movements captured with underwater scooters gave a sense of motion and grandeur, much like a drone captures landscapes on land. Granjon likens this approach to flying a plane between mountains.

FOR STABILITY, WE CHOSE TO SHOOT during the slack period OF THE TIDE”

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BENEATH THE SURFACE PRODUCTION

IN TOO DEEP Macro lenses were used when filming to reveal the slow, almost imperceptible movements of coral polyps

Equally important to the production were the logistics behind capturing coral in its most intimate forms. This included shooting detailed macro images and using time-lapse photography to reveal changes invisible to the naked eye. “For the macro shots, we spent hours in just 1 sq m of space. We were shooting something so small that simply breathing with our regulator less than 50cm from the topic created a parasitic motion,” Granjon recalls. “We used a 24mm macro lens, with the front sometimes as close as half-a-centimetre from the subject. Since we were filming time-lapse, we needed maximum stability, so we chose to shoot during the slack period of the tide. Thankfully, the sea was amazingly calm.” Granjon and his team also made extensive use of UV light to capture

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