Behind-the-Scenes Lighting of Deadfall Movie
It is so sad to say goodbye to Montreal. I love this amazing city. The crew was the best I have ever worked with and I will miss them all. Thank you so much to each and every one of you for giving 150%. Deadfall was a challenging film to make, and your positronic attitude combined with a commitment to excellence made it so rewarding. Thank you from the bottom of my heart.
The last week was a very exciting one. Steamy love scenes with Olivia Wilde and Charlie Hunnam, falling in love in a dive bar in upper Michigan, and VFX shots that involved spinning a Lincoln Town Car on a BBQ rotisserie rig. Check out the little treat below.
Watch Behind-The-Scenes of Deadfall movie
Lighting Deadfall Film
Many of you have asked what types of lights I prefer. If there is one light that I use more than any other, it is a Kino Flo. Call me classic but I am still using the units that started it all. I know that Frieder Hocheim has made some incredibly powerful and compact Diva lights and ParaBeams that outperform HMI Par lights, but I go for 2′ and 4′ singles. 2′ 4- Banks and 4′ 4-Banks, and Image 80’s. These are my go-to Kinos that bring my images to life and they are 6 different lights in one. They are the gag light, the key light, the edge light, the backlight, the effects light, and then bring the background to life light. You name it; they deliver it.
Stag Horn Saloon
When the director Stefan Ruzowitzky and I discussed the palette of this film, de-saturation was one of the words we used to describe our colors. However, when Charlie and Olivia walked into this upper Michigan dive bar that we called the Stag Horn Saloon, we wanted the colors to pop. It would be a color oasis in the middle of a white snow-covered world.
One light came to my mind to be able to deliver this concept and that was Kino Flos. I used all different colored Kinos to motivate beer neon signs, juke boxes, and pinball machines that surrounded the perimeter of the bar.
When it came to lighting barmaids and bottles at the bar, once again, there is no other light that can deliver the ease and dimming power of a Kino behind liquor bottles, and beer glasses. You name it, they make it glow and look fantastic.
I lobbed these single Kinos everywhere. When it came to lighting Olivia Wilde’s close-up I turned once again to the 4′ 4-Bank Kino to illuminate Olivia’s beautiful aqua eyes.
Lighting with Kino Flo
On the ECO/ GREEN side of things, Kino Flo has been leading the march for lower power consumption with higher output since the mid-’90s. On the first film that I ever photographed, The Rat Pack, Kino Flos were there and Frieder was right alongside me – building whatever I needed to help me shape, control, and color the light.
When I was not happy with the color of his 3200-degree tubes and kept on renting these yellow Flos from him, he made the 2900 Kino. When I wanted to control the Kinos for a contrasty look on The Rat Pack, he designed honeycomb crates that clamp onto the front of the Kino so that it only falls on the area you want.
He is such an innovator. I aspire to be as cutting edge as this man. Take a look at Kino Flos line of lights and accessories. They fit any budget and any story that you want to create.
Saying goodbye images to my crew in Montreal:
Schedule 1-on-1 Video Call with Shane Hurlbut, ASC
Looking for mentorship in the film industry? Schedule a 1-on-1 meeting with Shane Hurlbut, ASC today! This is where you can get expert advice from an industry professional on your career or a particular project.
About Filmmakers Academy Cinematographer Mentor Shane Hurlbut, ASC
Director of photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.
Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.
Wow what a fun ride the camera operator went through. He looks a little rough at the end of it though. Its going to be a lot of fun seeing this film watching all the scenes that you describe. As always, a pleasure to get an insight into how these scenes are lit and filmed. I am totally going to go out and buy one of those rotisserie things..I think Target sells them…..
There is a lighting shop within walking distance from me that I have never been in, but I have been interested in picking up a Kino or two and start building my lighting kits. After seeing how you use them in all those various spots, it makes me more confident to pick some up.
P.S. did I hear some toys playing in the background during your narration? haha
mel haynes, Thanks so much for your support. I think this film is going to be great. Amazing cast and the script was a page turner.
I’ve always been a huge fan of Kino Flos. They give you excellent control of your light. The colors in the bar with the smoke look great. I’m looking forward to seeing how this comes out on film. The rolling Lincoln shot looks like a lot of fun. How much did you charge that guy to shoot it? ;-)
Thank you so much for dedicating some time on giving us inside information and tips. Greatly appreciate it. Got a question…. the picture of Olivia and Charlie you have a 4 bank kino flow and two diffusers up behind that. What type of lighting are you diffusing and what effect were you trying to achieve with those lights (general ambience light)? I’m trying to visualize the frame and how everything would look like. Can’t wait till the film comes out and see everything that you have talked about in past blogs on the big screen.
Ramses, you are very welcome and thank you for those kind words. The warm lights are my baton lights that I have designed. They come in 8′ and 4′ strips. I had a 8′ strip behind 2-4 x 4 Lee 250 diffusions. Then I used a 4′ baton to edge Charlie. I always key light and edge light from the same side.
Out of curiosity, why do you key and edge from the same side? I usually do opposite sides, but will give it a try now.
Thanks for sharing all of this valuable info, love the blog!
Here’s a detailed article by Art Adams about why he keys and fills from the same side:
Chris, I like what I call Key on Key, which is edging from the same side as you key from. Then I will let the shadow side go fairly dark, the fill also comes from right over camera never going to the opposite side that you key from. Then I will use depth lighting in the background to separate the dark side of the face.
I would like to make my own baton lights. Hope it’s okay. Do you have a patent pending on this design?:-)
I’m just wondering if I can use spot par 38 bulbs. I have trouble finding the R30s here in Manila.
Nor Domingo, those globes are a bitch to find. I am having a factory in China fires up to make them. I will be the sole supplier. You can purchase them from me in about 3 months. I am going through quality control on the globes right now. Then slow boating them over. Should be priced
Around 3.50 a globe.
Oh China. What can I say? You gotta love ’em. $3.50 is not bad. How long do the globes last do you reckon? Trying to figure if I should stock up on them. Thanks!
Nor Domingo, they last a long time because you rarely have them at full intensity. I usually run them at 35 to 55%.
That video is definitely the winner this week on the Internet. I was thrown out of my chair when the thing began to spin. Kino-flos are still great! Thanks for the inside information.
Hey Shane. That was a great video you shared with us. Thanks for keeping us future filmmakers informed with these creative ideas you come up with. I really admire your work.
Why colored lamps instead of gelling white ones?
Bill Hamell, higher output with flo’s that have the color in the tube.
Hi Shane, you didn’t mention using Divas. Do you prefer to use the classic Kinos over the Divas, and if so, why?
Brian, I have not found a place in my lighting design for that unit. I need to experiment with this unit more. I find that the Diva tubes are a much harder light quality so I have stayed away.
Shane, thanks for the info once again, the pics really help explain your thought process. I have always liked Kinos due to “feel” I get when I see how they play off of skin tones. Some of the newest LED fixtures tend to look right to the eye, however record funny color shifts. Anyway I really have never tried using Kinos as a way to “paint” in other colors. I would usually gel a tweenie or something. I’m gonna try tube colors the next chance I get.
craigc,Thank you so much for your support. I used to do the same, but now I hardly ever use gelled fresnels. I feel that it doesn’t feel natural.
As always sincere thanks for sharing and educating us. What you share with us is what I’ve always wanted from American Cinematographer mag. I continually share you website and info with colleagues, students, and even my family. Thanks and keep up the great work.
David S, these are the comments that continue to inspire me and thank you so much for your support and continue to spread the word.
Hi Shane, with reference to the bottles and the dimmer; I know somehow this is good advice but I just don’t quite get the picture.
By bloom you mean the highlights slowly fade away? Forgive my ignorance, I’m trying to understand this concept because we frequently have to shoot bar counters and this would help us a lot.
Can you elaborate a little more?
I can’t believe you’re responsible for Honeycombs. Quite amazing, thank you for continuing to push the boundaries and not rest on your laurels. Very inspiring stuff.
Oli Kember, thank you so much for all of your kind words and support. I am glad you liked the interviews. Next is Kino Flo, this will blow your mind.
Shane, you’ve got me very excited. Thanks for the heads up! There’s something I’d like to share with you but I’d rather not put it on the blog, is there a means by where I could send you an email/ more private message? Thanks again.
Oli Kember, please email me. Thanks
Hi Shane I have a Suggestion why you do not make A whole series about kino flo as advertising to it so we hunt two birds with the price of one bullet you get a good deal with kinoflo company and we as inner circle members get very infromative posts .I suggest entitle the series ” Beyond creative cinematography with kinoflo ” .
Working on the collaboration. Looking good for 2016. These relationships take time for all parties to understand the power of our community. Once they do, they are all in.