*In This Report

BEHIND THE SCENES WITH TOP SPOTS WINNERS:

Direction/cinematography B3

Editing B4, B6

Art Direction B7

Animation B8

Sound B10, B11

Performance B12

THE YEAR IN SPOTS SURVEY:

Canadian commercial production houses B14

Canadian animation houses B20

* * *

A board came in for David Storey. Could they (comm.bat films) put me in as the cinematographer/dop? A quick meeting with David, a look at his wish list presentation, and my answer was affirmative. It was a quick turnaround. David was awarded the job.

Later on I went with him to look at the progression of the alien costumes. Even without the animatronics, they looked good. Their shapes and textures would be good to light.

We went on a tech recce to the bar that we were to work in. If my memory serves me right, we looked at three possibilities. The decision was determined by the right shape and look, availability, and sufficient room, especially for the equipment I needed to give David what we wanted. Like 95% of locations, it wasn’t perfect, but it was adaptable.

At the selected location we met Andrew Ward, the production designer. With limited cash and an even more limited time frame, his ideas and intentions seemed optimistic. No guts, no glory. He came through.

There were certain things I needed within the construction to give unbroken, readable silhouettes at the door and window areas. By incorporating a fake window area I would be able to light mainly within the bar, allowing total control and the strength and color of the light no matter what time of day. Also, I wouldn’t have to tent or gel the windows, or block off the sidewalk.

My only challenge now was to see how far the agency would let me go. It requires a great act of faith for people to accept that the film image will be much different and improved from what they are viewing on the video assist monitor. With the principally 7-1 ratio of in-screen back light, the image broke up on the monitor and became a soft-edged silhouette without detail.

Usually if (and I underline if) the agency accepts these criteria, they still have to convince and assure their client that the monitor lies and we know what we are doing. The agency and the client were good, and not only accepted but encouraged the extreme. Looking though the camera gave a much better idea of what a few lights, a camera, and Kodak can do, and helped to ward off a sleepless night for the trusting.

There was a lot to do for a one-day shoot. We did our homework. David explained his thoughts and cutting structure well, so most of our shots were predetermined. David has a natural charm with actors and an alert ear for agency requests or concerns. By this I don’t mean he’s a ‘brown nose.’ Everybody leaves happy.

Keying from one main source and the use of smoke meant that while shooting in one direction I had minimal changes. The reverses onto the barman were as simple as a three-quarter front key, a bounce-back filter and an oblique light across the background. We used a swinging practical for effect, a cliche I know, but tried, tested and true.

We had to do something to make it look like a working bar. If you’ve ever come up against Canada’s ridiculous liquor laws you will know what I mean. A shiny floor, using k.y. jelly and a plate of abandoned, still steaming food gave us the cutaways for time abridgment. If we had any problem during the day, it was the placement of the weight bucket of the crane in such a confined area.

I enjoyed the shoot. A good board. Pleasant company. Hated the second meal pizza.