Tuesday 24 December 2019

Behind the scenes: Jojo Rabbit

IBC
Director Taika Waititi takes on World War II in his latest satire. IBC365 speaks with cinematographer Mihai Malaimare to find out more.
Jojo, a normal kid with a vivid imagination, an absent father and a need to fit in, settles on a pretend friend in the form of Adolf Hitler. In filmmaker Taika Waititi’s World War II satire, this fantasy is experienced as a matter of fact.
“The main thing was to tell this story through the eyes of a 10-year old kid,” explains the film’s cinematographer Mihai Malaimare. “I was surprised by the subject but I could see Taika’s style in the script right away.”
The New Zealand writer/director delivered a disarming mix of comedy and drama when tackling child abuse, social care and racism in films Boy and Hunt for the Wilderpeople. He injected the same sense of freshness into Thor: Ragnarok but JoJo Rabbit based on the novel ‘Caging Skies’ is an altogether different proposition.
“He uses comedy to pinpoint some really important situations,” says Malaimare, who has shot three films for Francis Coppola and Paul Thomas Anderson’s The Master. “One of the first things we did was watch a BBC documentary about the Hitler Youth.”
“It was important to me that Jojo be clearly seen as a 10-year-old-boy who really doesn’t know anything,” Waititi explains in the film’s production notes. “He just basically loves the idea of dressing in a uniform and being accepted. That’s how the Nazis indoctrinated kids, really, by making them feel part of this really cool gang.”
In preparation, Malaimare studied the work of famed photographer Henri Cartier-Bresson who had begun photographing Europe in the 1930s. After escaping from a German prisoner-of-war labour camp, Bresson documented scenes during and after the Allied liberation.
“You see children at play then you notice they’re wearing gas masks or playing next to piles of bombs,” Malaimare says. “His photographs of children contrast their innocence against an environment war and ruin. That is Jojo’s world too.”
The Romanian trained as a photographer before entering film school in Bucharest where still photography “was the cheapest way to learn composition, framing and photochemistry.”
He tends to use stills rather than movie references as a key into all his film projects. “A good still is designed to be looked at for hours whereas a single frame in a movie doesn’t work as well unless seen as part of a sequence.”
With his local knowledge of eastern Europe, Malaimare visited many of the proposed locations for Jojo Rabbit in the Czech Republic, taking hundreds of photographs using an old Contax II series camera favoured by Magnum war photographer Robert Capa.
“I always carry several cameras with me pretty much everywhere. I’m looking for composition, yes, but also to express a certain mental state by observing certain things. That’s why I love street photography since it has a lot to do with observation and quick reaction to things as they happen.”
He adds, “I knew I would get along with Taika the moment I saw that he carried a Hasselblad XPAN.” The XPAN shoots a ‘panoramic’ 35mm negative, wider even than 16:9. “That told me a lot about him.
Adding colourThe photo references of the period were mostly black and white but the filmmakers didn’t want Jojo to be a sepia-toned history lesson.
“We didn’t want to shy from colour. In all departments from costume and sets to cinematography, we create a spectrum of oversaturated colours around JoJo. We start out with warmer, more vibrant reds, oranges and pinks and lush greens, then as the storyline becomes increasingly sombre we contrast with a colder monochromatic palette.”
Using the ARRI Alexa SXT camera, Malaimare shot with Hawk V-light anamorphic 1.3x lenses for its widescreen format and natural contrasts for softer skin tones and texture.
To bring Jojo’s fictional hometown of Falkenheim to life, the production headed for Žatec and Úštěk, small towns in the Czech Republic—in an area that was at times considered part of Germany and was under German occupation in WWII.
The town’s pristine German-style baroque architecture became a defacto ‘backlot’ especially for a harrowing, meandering long shot that weaves in and out of the city, as the allies liberate Germany.
“Often on a period film, you’re trying to hide signs of the modern world with camera angles and lighting but here, everything looked so authentic, it allowed us many more options,” he says. “You could barely tell it was the 21st century because there were no wires or air conditioning units or anything that takes you out of time. So, we had the luxury of being able to move freely and shoot in 360 degrees.”
Most of the interior sets were built on stages within Prague’s Barrandov Studios, a weighty spot for a WWII satire because during the occupation, that very same studio churned out Nazi propaganda.
Candles, gas lamps and a few 5-watt LEDs reflected the darker aspects of the movie including the tiny hiding place in JoJo’s home where his mother (played by Scarlett Johansson) is hiding a young Jewish girl.
“We were also using T1 lenses and when you shoot at that speed in such low light, there are extreme limitations, especially on the actor’s movements,” he explains. “It was very difficult work, so we were excited to be able to get those shots,” he says.
Waititi had the dailies projected for the crew and heads of department, a rarity on most film sets. “Everyone was invited and this created a special bond between us. Normally the key creatives and producers watch everything on their own laptops and that’s a totally different experience to watching a projection that you can all experience.”
The director banned cell phones from the set too. It was a discipline that Malaimare enjoyed; “It means everyone is focussed and involved not distracted elsewhere.”
Malaimare recalls that his father, a theatre and TV actor turned director (also called Mihai Malaimare), took him aged 15 backstage of a show and demonstrated the console which commanded 180 light changes. It was a moment that fixed his career path.
“I realised you can do so much with light to keep an audience enraptured. From that moment, I knew I wanted to do something related to images.”

Friday 20 December 2019

Seberg: Visualising two perspectives

Panavision

Rachel Morrison, ASC shoots 35mm with C Series anamorphic glass to contrast the subjective and objective experience of the watcher and the watched.


Cinema, the most voyeuristic of mediums, is uniquely placed to convey both the act of surveillance and the psychology of the surveilled. In Seberg, director Benedict Andrews and cinematographer Rachel Morrison, ASC draw upon the great conspiracy thrillers of the 1970s for an unconventional biopic that examines the disturbing, real-life experience of actress and activist Jean Seberg.
This narrative begged to be shot on celluloid,” Morrison explains. “It is the story of a Hollywood starlet and the dark undercurrent of government, and the invasion of privacy. I think there are lots of parallels between what happened to Jean and what is happening now which made this film both exciting and relevant.”
In the late 1960s, having made her name as the star of A Bout De Souffle, Seberg (played by Kristen Stewart) moved to Los Angeles and became involved with the Black Panther movement bringing her to the attention of the FBI. Andrews’ film weaves together facts and historical incidents into a kind of speculative fiction that explores her subjective experience.
Andrews drew on references from stills by photographers including Stephen Shore, William Eggleston and George Rodriguez, as well as inspiration from the political thrillers of the era like The Parallax View and Klute.
“Choosing 35mm inherently calls back to those films,” Morrison says.
The film’s relatively low budget worked in their favor. “When every other film is digital and pushing resolution, the use of analogue stands out,” the DP espouses. “The feel of it binds you emotionally to the story, plus its appearance is inherently of a certain time period, so I felt it could be an asset especially when we don’t have the budget to populate the picture with cars and others detail that might otherwise be used to sell the period.”
Morrison chose the Panavision Millennium XL2, a decision reverse engineered from her first choice of C Series anamorphic lenses.
“I fell in love with Panavision’s C Series on Mudbound (for which Morrison was Oscar nominated). I love their organic nature, the quality of the fall off, the fact that no two lenses are the same, and that some of the focal lengths flare warm. I have tested every other anamorphic lens and can’t find any I like as much, especially for a period film.
“Part of the reason I love film in general and anamorphic in particular are the inherent imperfections,” Morrison continues. “Life is imperfect and unpredictable. So, the lenses came first, and since we were going to shoot a lot of this film handheld, the XL2 was the right choice because it is ergonomic and light.”
For Seberg, Morrison explains she liked the “erratic nature” to the light as captured though the lens, especially “the flaring on the corner of the lens which questions the sanity of her perspective.”
She adds, “The softness around the edges helps to focus the viewer’s eye on the subject in moments when she senses she is being spied on. The fact that we were using older glass with tiny nicks on the back or front elements only added to the irregularities and the overall aesthetic.”
With the C Series in high demand, she and first AC Simon England worked with Panavision to pull together a set of lenses, including some PVZ and SP Primes, which were customized under the supervision of Panavision’s lens guru Dan Sasaki to match the C Series.
“We are a C Series film, so the customization of glass was just to blend in, rather than look entirely different,” Morrison notes. “All the glass performed incredibly well.”
Morrison also took a set of spherical lenses, mainly as a safety net for night sequences. “For some sequences we were exposing 500 ASA or 320 ASA and lighting by streetlight. It’s not the kind of movie that could afford to change out every single LED streetlight and replace with old cobra heads, so I switched to spherical at these points. I’d mixed both spherical and anamorphic on Mudbound and felt comfortable with combining formats seamlessly.”
The main Los Angeles action, with production design by Jahmin Assa, is depicted as an idyll of sparkling light. Morrison’s camera plays with the glass of Seberg’s stylish Coldwater Canyon home, and the aquamarine water of its swimming pool.
“The first half of the film is very aspirational,” she says. “It’s the look of old Hollywood – beautiful and magical. We leaned into saturated colors and sun-kissed highlights. It’s vibrant and warm. As the narrative twists and Jean becomes trapped in her own reality, she starts to question the world around her and the colors start to drain away. We’re not making a sharp transition to black and white; the tonal shift is made in subtle ways to more muted palettes. The light, which was once soft and aspirational, becomes harsh and mysterious.”
Morrison’s look design and lens choice also spoke to the contrast between subjective and objective reality and what it’s like to experience the world versus observe someone else’s experience.
“I chose close and wide shots and opted for longer takes when we were in sync with Jean’s perspective as opposed to longer lenses and more fragmented coverage when Jack [an FBI agent played by Jack O’Connell] is watching her. It helps blur the lines between reality and perception.”

Capex v Opex: AV as utility

Inavate
The post-digital economy is opening up every aspect of AV as a service but Capex is not about to die out.
Subscribing to services like Netflix and Spotify without owning any physical product is embedded in consumer purchasing behaviour with similar models being adopted across many industries. Rather than investing in hardware, installation and service calls, operational expenditure or AV-as-a-Service procurement models are increasingly finding favour.
In theory, AV (aaS) means that for monthly payments, companies receive all the functionality with none of the pain of upgrade and maintenance of fixed equipment and depreciating costs as a means to better serve clients with greater customisation and flexibility.
“The AV world has been preparing for this shift for some time,” says Carl Standertskjold, European corporate segment marketing manager, Sony. “The business environment in today’s post digital world is making Opex an increasingly feasible model.”
He says customers are already benefitting from more flexible options such as pay-per-use, subscription and rental models, which help to alleviate the financial burden of significant capital outlay while powering greater scalability.
“Organisations seeking to keep pace with the changing demands of their have no choice but to prepare themselves to offer these models if they are to remain competitive,” he says.
Jean Pierre Overbeek, CEO BIS|Econocom Group goes further and argues that IT and AV solutions should be considered as a utility just like gas, water and electricity (and WiFi).
“Businesses already lease cars and their buildings for a monthly fee,” he says. “AVaaS is about taking it to another level across software and hardware.”
AV as utility
For Overbeek, no element is immune. “A number of industry peers were somewhat sceptical when we first talked about this,” he says. “Although AV prides itself on being high tech, it’s quite old fashioned in adopting these business models and has come to the party later than other industries.”
He criticises AV companies considering moving to this model as thinking that aaS means a purely financial service. “That’s a huge mistake. It is not a transactional relationship but about a partnership with clients. It’s one in which suppliers should take a holistic approach which embraces the client’s entire AV strategy.”
Among its enterprise clients is Schiphol Airport where BIS|Econocom has taken ownership of all the digital signage, flight displays and AV solutions. “We put them in a replacement cycle for the future but the same applies for classrooms, hospitals – and many other corporates and verticals.”
The Global Presence Alliance, a partner network of AV and unified communications companies, is another group progressing this shift in supplier-client relations.
“Ultimately, the customer is looking for improved collaborative outcomes,” says Byron Tarry, executive director, Global Presence Alliance (GPA). “If the AV industry starts to realise that they are not technology providers but ‘human collaborative outcomes providers’, then it opens up a whole different world of what the opportunity is and the role we as AV suppliers, integrators, vendors and consultants can potentially play to support that goal.”
Under this model, AV providers will be required to work more like strategy consultants, evaluating various solutions, and function less as installers.  As AV plays an increasing role in day-to-day business operations, experts need to understand the organisation’s processes and functions. This goes much further than a simple one-off project of knowing simply where to place a screen.
“I think we’ll increasingly see examples where the ownership of products remains with the manufacturer,” says Simon Hicks, CEO of SixEye. “Products will be made available under a leasing arrangement as hardware and software become part of an overall service provision rather than an end product in themselves.”
He adds, “Companies will market products not just for what they can do now, but about what a relationship with the company and its products will mean in future.”
Barix is one of a growing number of suppliers that offer this model. Its customers can get a complete background music distribution solution where the cost of operation is strictly based on a monthly fee. It offers cloud platforms such as Silence Monitor, Paging Cloud, RetailPlayer or SoundScape that are pay-as-you-go, cloud-based.
“The OPEX model is actually very attractive to AV companies in the end, especially when the service moves into the cloud,” says CEO Reto Brader. “Management is much simpler, and customers basically share the maintenance cost among all users of the platform, lowering the cost even more. 
However, Brader notes, customers were slower in adopting than expected, with many preferring to buy the platform. Therefore, its latest Background Music distribution platform has a ‘buy all’ option again. “The biggest part of our business is still selling products and software, and not SaaS.”
“Time will tell if this is a passing change or the sign of things to come,” says Phil Davenport, director of sales and operations EMEA, Datapath. “The key is to offer what the market wants and to be able to provide customers with what they need based on their procurement requirements. It is therefore imperative AV suppliers can offer solutions to both OPEX and CAPEX approaches.”
Before we get ahead of ourselves, the degree of CAPEX to OPEX shift in the industry both clients and from suppliers is small.
“The percentage is very, very, low at least in what we consider traditional AV integration model which is very hardware centric,” says Tarry. “Hardware is an upfront cost. Even if companies restructure the finance portion of that some will still have a piece of metal that down the line they find they don’t want yet feel they’ve still got to recoup its value.”
Software and cloud-based products (like Zoom video conferencing), many of which are already paid for on a licence, make for a natural segue into aaS but there are greater numbers of AV companies whose businesses are geared around selling hardware for a project and then moving on.
“They provide support for those products but often at no extra cost – they are perhaps not persuaded as to the readiness of all their customers for an ongoing subscription model, and are themselves apprehensive of lower revenue in the short term,” suggests Hicks.
“A key change is to adjust the sales team’s targets so they’re motivated around selling ongoing services or subscriptions rather than aiming for short term revenue,” he advises. “The benefits include a closer relationship with customers over the long term, providing recurring revenue and valuable feedback on products.”
Hardware-centric AV
However, some of the smaller distributors and independent integrators may feel the strain, as they are not necessarily as geared up to provide the level of support required for a OPEX model, as larger players.
“In many ways, clients will see this as leasing or aaS contract, which will mean higher demand of SLAs and support from both integrators and manufacturers,” says Daniel Watson, senior consultant, PTS Consulting. “As businesses reduce their capital investment and shift to OPEX it has potential to catch AV channels out. Mark-ups on equipment by both distributors and integrators may become less competitive.”
Another key stumbling block for smaller integrators is the shift in accountability that OPEX brings.
“Procuring AVaaS means shifting risk from the consumer of the service to the provider,” says Tarry. “Basically, it’s putting the onus on the provider to deliver results. That’s opposed to CAPEX where the industry sells customers millions of dollars of kit with a service wrapped around it and if the customer doesn’t get what they want then the industry gets them to buy more kit and services.”
Workplace technology solutions that generate data on device usage, such as TEOS Manage, are making an impact. “Facilities managers, corporate communications, and procurement managers are all using this technology to better serve their employees and business,” says Standertskjold. “Procurement want to ensure that employees have fit-for-purpose technology that enables them to work productively. However, they also need to make sure that these technology solutions are cost effective – in both their initial cost, and in their running costs.”
Changing culture
Arguably it is client company culture which is the biggest sticking point when it comes to AVaaS. “It’s the most challenging part for us,” says Overbeek. “Many companies still think transactionally - that a project is finished when the last screw is the wall. Greater education is needed by the AV industry to inform customers of the benefits of an OPEX solution.”
This demands a relationship with the C-level suite in which the AV supplier consults on the client’s multi-year ambitions including plans to grow or downsize the organisation.
Watson warns organisations to be careful about the frequency of change.  “Future proofing from a technology point of view can only go as far as people and processes allow,” he says. “Sure, businesses can invest in infrastructure to cater for changes in technology within an organisation, architects can design rooms and buildings to allow the swap out of hardware, but the adoption of technologies among a workforce takes time. If there is a constant change in technology, users will never get any work done as they will require constant training.”
He continues, “There is a danger that organisations will react to changes in technology just because they want the latest and greatest and want to be seen as a leader and this could be highly disruptive.
Under a CAPEX model where technology refresh is budgeted ever 3-5 years, organisations are proactive,” says Watson, and will workout what users really need often producing a better or higher RoI. “That said, an OPEX model will allow organisations to adapt to the changing workforce, attracting new talent and increasing retention. This could also produce higher ROI.”
So, it’s horses for courses. “There remains no universal truth when it comes to customer needs, so engaging with the market to understand the procurement models that work for different businesses and testing new methods and models is vital,” says Standertskjold.
Upgrades and refreshes can be a great advantage of an OPEX approach - something more relevant in anything fast paced and public facing, such as digital signage.
“Control room and medical markets, however, will likely keep an approach of buying the highest quality products with a long-term use case,” notes Davenport. “It is all about budgets and approvals. Capital investment can often be a longer process with more people involved in the decision process. A shift towards operational expenditure allows some organisations to remain flexible and procure the products and services they require to keep up with demands.”
Holistic collaboration
“Large corporate projects with high levels of investment will take longer or may struggle to adopt this approach, while the OPEX /aaS model may appeal to higher education establishments,” says Watson.
Some companies would argue for the benefits of CAPEX, “where you have a clear go/no go decision point and you’re not liable for continual outgoings to maintain service provision,” says Hicks. “The counter argument is that there’s a huge benefit in being able to switch provider in an OPEX model without writing off previous investments. This also increases competition in the market for companies offering AV services under an OPEX model and provides opportunities for new entrants.”
Few would argue against a shift that focuses on the long-term support of projects and products, providing new capabilities to the consumer over time.
However, there will be cases where relying on a third-party provider to “keep the lights on” will cause friction if that third-party provider “isn’t seen to be responding quickly enough,” warns Hicks. “In the ‘old’ way of thinking, the onsite maintenance team might have had more chance of fixing the problem themselves.”
Brader agrees; “For the provider, maintenance and solution improvements are much easier to deploy if they own the solution. The key is that equipment is network-accessible or, even better, network-managed. That is where the hurdle rests today: Access to the system by a third-party company is considered a risk, and many customers don’t like that.”
Tarry points to a desire in the industry for change that will eventually overcome inertia. He says two trends will converge to see this happen. “The first is that the relative cost of hardware is going down. A few years ago, the cost of a room installation would be 80 percent hardware and 20 percent labour. Now with PCs, webcams and flat panels, the labour to hang kit on a wall is the same but the hardware costs have diminished.”
The second piece is that everyone in the industry is trying to shift to more virtualised or professional managed services that wrap around the equipment. We are starting to see customers looking for broader requirements of AV such as training and managed services.
For example, what was until recently a U$50,000 room of which 80 percent was hardware and made as capital investment, is now a U$50k room spread over the whole lifecycle of 3-4 years of which 25 percent is hardware. The value is in the service.”
Tarry feels the industry doesn’t lack demand for this change, but it does lack maturity. “We are at the innovator stage and not yet the early adopter stage,” he says.
Davenport believes, “Simply selling hardware as a one-off transaction will become a thing of the past.”
For some it may already be too late. “AV is not setting the trend. It is following the trend,” says Overbeek. “While companies still question whether AV should be embraced as-a-Service the next generation of recruits to the industry who have grown up with instant subscription access have already made the decision. Any AV company that does not act will miss out.”

Wednesday 18 December 2019

Behind the scenes: 1917

IBC
Meticulous military planning was required for Sam Mendes’ clock-ticking ‘one-shot’ war drama. Adrian Pennington talks to cinematographer Roger Deakins and sound mixer Stuart Wilson.

The risk in composing a nearly two-hour feature as if shot in one continuous sequence is that it will do the polar opposite of its immersive intent and draw attention to itself.
“We would fail if the technique became the distraction,” admits Roger Deakins ASC BSC. “But if you don’t take risks then why do it all?”
The one-shot aesthetic, either without cuts or with edits cleverly masked to conceal their join, has a history as far back as Alfred Hitchcock’s studio-bound Rope in 1948 stretching through Oscar winner Birdman in 2014 and Norwegian drama Blind Spot (2018) but none has had the epic scale, nor arguably more visceral impact, than 1917.
For director Sam Mendes, who co-wrote the screenplay, this treatment was the best way to give viewers a sense of walking in the footsteps of two young soldiers facing relentless danger as they cross enemy lines and race against time.
“Sam wanted the audience to feel that they are with these characters all the time,” Deakins explains. “People have said it resembles a video game but I don’t know - I don’t play them.”
He adds: “For me, it was about not giving the audience a release from the violent and disorienting environment the characters are in. So, we don’t give them a wide shot, everything is from the character’s perspective, there’s no get-out clause. For me, it feels right for this project because our characters and therefore the camera is always on the move.”
Deakins spent longer preparing for this project – ten months - than on almost any other in his storied career.
“We began by talking about the approach - the feeling of the camera,” he explains. “We then worked with a storyboard artist to sketch out storyboards for different sequences, exploring different ideas for how to move the camera and where to move the camera to hit particular parts of the sequence. During rehearsal with the actors we finessed what we wanted to show and what we didn’t, and with [production designer] Dennis Gassner we mapped how the cameras would move through the sets.
“For example, we had to work out the length of the trenches and how we would enter and exit the farmhouse that was going to be built. We mapped out the relationship between the burnt copse and the farmhouse and how big the orchard needed to be and how far that was from the farmhouse. Everything had to work for the action and for the camera.”
The joint-up effectThere have been bravura cinematic stunts like Russian Ark and Victoria which pulled off an uninterrupted Steadicam shot for their entire runtime but that wasn’t possible for 1917 given the need to use different locations. These included an old airfield near Hemel Hempstead, Salisbury Plain (The film shot largely on location in the south of England UK (doubling for scenes of the western front in Ypres, Belgium) and the Govern Docks in Glasgow.
Instead, Deakins had to work out how to join these locations together as well as figuring out how one shot fitted to the next.
“It had to match perfectly,” he says. “For instance, a scene depicting them crossing the canal was partly shot in Glasgow and for that, we needed a camera system wired above the water. At one point the camera is taken off the wire and handheld while remotely operated. That shot needed to join with the previous shot and also join with the upcoming shot.
“We could only sustain these sequences for so long. To get perfect seven or nine-minute takes from beginning to end is quite a stretch with complicated camera movement and all the other visual effects and performances, so we broke it down into manageable chunks.”
One of the bigger issues was receiving transmission signals from a camera operating either hundreds of yards away or deep in a 7 ft trench, or both.
“My DIT needed a calibrated image on his monitor, I needed to see to what the camera was seeing and Andy Harries (first AC and focus puller) had to have connectivity with the focus mechanism on the camera.
“I operated about 60% of the picture remotely but sometimes our key grips Gary Hymns and Malcolm McGilchrist were carrying the camera or it was on a crane or a wire. At one point we had it on a motorbike.
“It was a dance between whoever is carrying the camera, and the actors and myself operating.”
Epic scopeMendes wanted to produce an IMAX version of his film and agreed with Deakins that a large format camera would capture the epic scope of the drama. The last time the pair worked together was on Skyfall, for which Deakins landed one of his fourteen nominations, using an ARRI digital camera.
“I liked the large format of the Alexa LF, but the body was too big and heavy for our purposes,” he says. “Luckily, we approached them just as they were developing a mini version of the camera and I said we’ll shoot the whole movie on them if you can guarantee you’ll have it ready in time.”
ARRI accelerated development and handed the production the first three prototype bodies of the Alexa Mini LF.
“It was the sense that you could shoot with a longer lens, get less depth of field, but still maintain the width of view,” says Deakins of the full-frame system. “I don’t like shooting close-ups of people on wide lenses but I shot nearly all of it on a 40mm. That’s what drew me to it, really, the idea of shooting on a 40 mm but getting the background at the same time.
“In my mind, it looks like the still photos of that era and of the images of the first World War.”
The camera needed to be very small and lightweight so that they could use it on the stabilising systems necessary to make the long and complex camera moves. Charlie Rizek operated the ARRI Trinity, a hybrid rig that combines classic mechanical stabilisation with active electronic stabilisation, while Deakins’ regular operator Pete Cavaciuiti orchestrated Steadicam.
Weather or not
Any film needs to maintain consistency from scene to scene but with the bulk of 1917 shot on location, and in scene order, they were fingers crossed that the weather would hold. The production even employed a chief meteorologist.
“I’ve shot many films where you shoot the scene regardless of whether it is sunny or cloud because you have to stick to the schedule and you can find a way of making it work but here you couldn’t. It wasn’t possible to have one shot in full sunlight and the next in heavy cloud. Any shift when we blend one scene to another would really stand out in the edit.”
With first assistant director Michael Lerman, Deakins worked out what time of day was best to shoot each shot. He also worked with Gassner to trenches on the Salisbury Plain would be angled in the best way for the light at the right time of day.
“The interiors were all lit but this was complicated because the cameras are always seeing 360-degrees so you can’t do anything conventionally,” he says.
The very last shot of the film was particularly satisfying for Deakins. “The audience may not notice, but we were trying to time the shot for the sun to come out of the cloud and it did, just where I wanted it to. For me, that was gold dust.”
The one-shot effect lives or dies in the edit bay. Lee Smith, ACE (Oscar winner for time-hopping World War II drama Dunkirk) received the movie in giant, story-ordered chunks so he could watch it come together in real time. He played a key role in helping Mendes assess which takes worked best and whether the concept was working at all.
Smith’s challenge was having no other angles (coverage) to play with, no license to cut out or around anything and no leeway in making the appearance of the single take as seamless as possible.
“Conventionally you can always hide something if it doesn’t work,” Smith said. “You can pick up a shot later, you might go wide or close-up, reverse the cut, play it all in a master or all in tight. There are a million ways you can exit a scene but this film didn’t offer up those choices. It had to work perfectly every time. That’s very high pressure.”
To help in this endeavour he brought on board a sound team much earlier in the process than normal, to add music and comp out camera equipment, to get as close as possible to a finished shot as possible during principal photography.
“We had to be completely confident in the process because there wasn’t a fix we could make later. Tension and pace are the hardest things to adjust. It’s what I was always keeping my eye on.”
Mics, movement and mudMeticulous military planning was also required of the production’s sound team.
Production sound mixer Stuart Wilson joined other heads of department many months before principal photography to give sound the best shot at being designed into the fabric of the shoot.
“Sam is all about the performance,” Wilson says. “We have to take our lead from what the actors are doing and prep the site according to where they were going to be without getting in the way of the process.”
Not so easy when filming lengthy takes of actors travelling up to half a mile or more from their starting point.
“My first thought was to carry my recorder following the blind spot behind the cameras and just be close to the action at all times,” he explains. “During a proof of concept we would block the shots with actors in an approximation of the space and I realised I’d be adding another set of unwanted footsteps into the sound of the characters moving through mud.”
He elected instead to install a network of antenna across the geography of each shot and to send a live mix of the dialogue back to key crew.
“It’s essential that the special FX supervisor, script supervisor, camera crew and director hear what is happening in the scene, especially when the actors will often be out of line of sight. I approached each scene like a series of site installations.”
Hidden soundsWith costume designer Jacqueline Durran, Wilson experimented with different fabrics to hide wireless lavalier mics on the actors, testing the noise of various wool and leather materials.
First assistant sound and former gymnast Hugh Sherlock was hired to operate the boom because of his ability to keep up with the action running backwards and nimbly on the edge of trenches.
Working with the drapes department Wilson made use of materials from the set dressing, such as sandbags, to disguise antenna in trees, piles of mud, munitions boxes.
“We’ve got takes of six or eight minutes and if something wasn’t quite right we’d have to go again but once you started a take you can’t stop, you have to improvise,” he says. “Each take was like a piece of theatre.”
Relaying sound at distances beyond 100m away over copper cable risked attenuation so Wilson installed fibre optics linking antenna back to the receiver where he would monitor remotely alongside Deakins. His principal kit was a pair of Cantar X3 24-track location audio mixers and wireless antenna/receivers from Wisycom.
“Sometimes the action would start out of sight over a hill. We’d have splitters and combiners to extend the network over wider areas.”
Having worked with Deakins on Skyfall, Wilson found it easy to convince the camera and video team to employ low powered transmitters. “Sometimes you can get crew using high powered camera transmitters which will interfere with sound wireless frequencies,” he says. He also assisted in reducing the noise of the Trinity camera rig.
The cast of extras and background characters were all given authentic actions during each sequence so Wilson planted mics beyond the frame to extend the soundscape.
“As the camera swings around you can hear things before you see them,” he says. “Sam’s principal aim with the sound is to fuse an intimate connection between the audience and the lead characters. He wanted to avoid re-recording dialogue and to use the energy and actuality of the performance as experienced on site.”
At some points, lead actor George MacKay carried four wireless mics and two body-worn recorders. The back-up recorders were used for a scene in which his character falls into a river.
“We had to maintain continuous recording so we could retrieve the recorders later and rebuild the sound. With wireless personal mics, you can zoom in in post and decide creatively whether you want to be close to a particular character or to dial back and see them placed more in the landscape.”
Multiple mics were also necessary in order to catch lines of dialogue spoken in a 360-degree camera move where different mics would pick up the sound better as the actor’s position changed.
Wilson’s experience working on WW1 drama War Horse (2011) helped him prepare for recording sound in the mud.
“One minute I’m in the mixing van, the next I’m lifting up duckboard on the mud to put more woodchip underneath because the footsteps were too squelchy.”
A farm building on location was used as a set for some interiors. “It was acoustically terrible so we had to bring in a silent roofing system to go over the top.”
Filming on Salisbury Plain on land belonging to the MOD was a bonus. “It’s a sound person’s dream,” he says. “Hardly anyone lives there and it’s as if we’d been dropped into this wilderness free to stage it for our story. We could even arrange a no-fly zone which is a rarity on any shoot. The only downside was we could hear live shelling from real army training – but it didn’t impact sound recording too much.”

Thursday 12 December 2019

Peaky Blinders: Cinematographer Si Bell pushes the gangster series into darker territory

RED


The saga of a criminal gang family in Birmingham, England, between the two World Wars has moved into darker political territory in Season 5, but Peaky Blinders keeps its stylish assault on the senses unabated.
Continuity with a twist was the creative touchstone for Cinematographer Si Bell, who picked up series photography from the template laid down by George Steel and preserved by DPs Laurie Rose, Cathal Watters, and Simon Dennis. “I’ve worked with (director) Anthony Byrne a number of times before and we knew we wanted to do justice to the ‘Peaky look,’ such as using shafts of light and darkness set by George (Steel) in Season 1,” Bell says. “The big thing creatively that we wanted to do was a lot of developing shots with minimal coverage to tell the story.
“The storyline for Season 5 takes place a number of years later (than S4),” he elaborates. “The characters have lost money on the stock exchange and there’s a new element in the rise of fascism. Since the story has developed, we felt it right to develop the camera language.”
Music video stylistics contrasting with a noir backlit look are some of the signature elements of the often very violent period drama and have helped make the BBC series an international hit. [Episodes stream on Netflix in the U.S.]
Bell and Byrne maintained this aesthetic but added in anamorphic lenses and the large-format sensor of the RED Monstro 8K VV. “We talked a lot about choreographing certain set pieces in one shot and also about using zooms as a new part of the style throughout the series,” Bell says. “Then Anthony wanted to shoot anamorphic. We felt that the energy of camera movement and having the ability to move the camera 360 degrees, if necessary, would elevate the story.”
Bell had concerns, though, about shooting in low light conditions for that smoky “Peaky look” and whether an anamorphic lens was appropriate for a full-frame sensor. All previous seasons were shot with ARRI cameras. Bell sought the advice of Sam McCurdy, BSC, who shoots Lost in Space on RED’s Monstro sensor, and was encouraged to test it out.
The cinematographer made side-by-side tests of the Monstro with other digital cameras in low light conditions, including naked flame, to ensure it was up to the 4K deliverable Netflix required. “I was blown away by how good the Monstro looked,” says Bell. “It was really impressive how clean the image was in low light, and by its quality of skin tones and color detail.
 “It’s a big deal to change spherical to anamorphic,” Bell adds. “I went through a crazy amount of lens tests in prep. The look was important, but also we needed to know we could deliver these developing shots.”
Tests with an array of different manufacturer’s glass mounted on the RED DSMC2 confirmed that a Cooke 65mm macro would enable Bell to capture both extreme close-ups and wide angles in a single moving shot. He complemented this with a set of Cooke primes and Angénieux lenses for contra zooms and slow-motion shots.
“I am amazed by how far I can push the ISO on the Monstro 8K VV sensor and how well it holds up. It’s really impressive to me how clean the image is in very low light conditions. The colour depth of skin tones are also really mind blowing, the Monstro is the best sensor on the market.”
“We found that if we shot 4K at 1:1 aspect ratio, we could use the maximum amount of the image circle of the lens. If we shot the full height of the sensor this allowed us to get a square anamorphic picture from the sensor (de-squeezed to 2:1 aspect ratio for delivery).” The developing shots choreographed around the actors for this series are a fittingly bravura flourish for a show abounding with style. 


ProAV in Japan: Contradictory forces at work

AV Magazine
Japan is the focus of attention in the broadcast world just now with the Rugby World Cup an appetiser to next summer’s Olympic broadcast feast, but AV is a no less notable affair.
The Toyota Stadium in Toyota City, for example, was given a major upgrade of its sound system in preparation for the Rugby World Cup with a Nexo GEO S12-ST line array sound system and Yamaha electronics. The same stadium was outfitted with Interact Sports’ connected LED pitch lighting in combination with Phillips ArenaVision LEDs. Higashiosaka’s Hanazono Stadium sports new variable line array speakers made by TOA.
“Having such prestigious, highly attended, global events in the country undoubtedly brings with it some significant business opportunities,” says Jenny Li, APAC sales manager at B-Tech International. “With demand for large size TVs and LED displays as a direct result of these events, our business has experienced a healthy spike in sales, and we expect this to continue.”
Datapath’s regional sales director Michael Austin is more cautious. He’s observed a modest bump in public viewing systems for sports venues, and information and advertising signage projects, as well as a number of new and upgraded systems related to security.
“However, Japan already has a solid level of display signage in major economics areas, and Japanese AV projects – particularly for command and control, and security – tend to have comparatively long lead times,” he says. “Consequently, the increased AV business may be proportionally smaller than that seen in other markets hosting the Olympics and similar events, and many of the larger projects have already been awarded.”
Cabletime finds business a little stagnant. “A lot of our customers still use older technology, with a view that if it works well, they don’t see the need to change it,” says Mark Stanborough, sales director EMEA and APAC. “Given how technically-forward the country is this can be surprising, but the interest in changing and upgrading has only happened since we started to offer (anti-piracy protocol) HDCP in our solutions.”
Progressive market
The value of the market is sizable, with some medium to large sized integrators recording annual business of US$20-50 million, whilst one of the leading integrators is seeing annual turnover close to US$200 million, according to a report from B-Tech.
“Compared with the Hi-Fi market, pro-AV is relatively small,” says Li who maintains that thanks to large size LCD/LED TVs and the increasing demand of LED panels, it seems that the business size and the total market size has been sharply increasing. “This might be accelerated more by new communication technology, such as the emergence of 5G,” adds Li.
It’s also worth mentioning a recent report from AVIXA which shows a rise in demand for AV products and services across the Asia-Pacific region. The reports note that, previously, the Americas had consistently represented the largest pro-AV revenue-producing region. The new forecast however shows the APAC region overtaking the Americas by the end of 2019.
The Americas represent U$89 billion in revenue for 2019, compared with U$90.6 billion for APAC. The gap is expected to increase to more than U$15 billion by 2024. This is spurred, in part, by the region’s demand for security, surveillance, and life safety solutions, which in turn fuels growth in the streaming media, storage, and distribution (SMSD) product segments.
Sam Yamashita of Martin Audio Japan thinks the Japanese market is more progressive than many other parts of the world, citing its advanced use of Dante networking.
“Japanese people usually like something new and useful,” he says. “The problem is, as more of these products are released, the budget for the project is falling. Everybody is struggling with this issue. Previously, every pro-AV product was very expensive. Nowadays everything is becoming much more reasonably priced and it means that integrators receive less income.”
Population concern
However, looking down the road a declining population looks set to become a major concern. Japan’s rural population is expected to plunge another 17 per cent in just 12 years, from 2018 through 2030, according to United Nations data. Further out, the decline will steepen, with the population falling by two per cent per year in the 2030s.
The extent and speed at which this negatively affects the Japanese AV market – especially digital signage – further in the future remains to be seen.
Most AV business will remain concentrated around the major economic and population corridor stretching from Fukuoka in Kyushu in the west, through Osaka and Nagoya, to Tokyo in the east.
“Declining population is a particular problem in the countryside, with greater numbers of young people moving to the cities for university and work,” says Austin. “While store-specific signage in second tier cities will certainly not disappear, the lower number of eyeballs and economic activity in the countryside makes paid public signage a harder sell.”
Austin believes there are cases where the signage system owners struggle to sell their digital ad space in low population density areas.
Systems integrators can also be conservative outside Tokyo. “For these companies, domestic AV brands are the strongest,” says Yamashita. “They will not often use imported progressive products. As everyone knows, there are several domestic manufacturers here which have a good network for the local industry.”
Japan’s culture is both highly traditional or conservative, perhaps reflected in its large ageing and rural demographic, at the same time as being one of the most technologically cutting-edge societies on earth.
“The culture of Japan’s pro-AV is very conservative and risk-avoiding,” describes Fumihiro Nagasawa, local GM at Kramer Electronics. “This basic culture probably won’t change any time soon.”
Japanese manufacturing has a reputation for some of the highest standards in the world, a result of patience and extensive practical field-based demonstrations, according to Brian Chow, regional sales manager for Clear-Com.
“The patience and technical rigour of the pro-AV market in Japan is a source of strength to the market overall, but as with many things, those characteristics also provide challenging aspects. The people working in this market are very patient in order to deliver consistent improvements in their projects. As a result of this culture, the Japanese show great confidence in top tier brands with a long history in the field.”
Japan is moving into the IP world but it is not as integrated into pro AV as other markets prompting Tsuyoshi Mitera, marketing manager at disguise to state that in many industry verticals: “The integration and understanding of IT is at a very low level. Clients have no clue either, so the system tends to become very conservative and outdated. We should promote more dialogue around the real integration with audio, video, and lights as well as show the way it can transform people and content.”
In Cabletime’s experience, the Japanese pro-AV market has been cautious. “The biggest issue is standards and licences,” says Stanborough. “Japanese culture means doing things right, and this means that standards have to be adhered to in the solutions that are being sold.”
One area where Japan has led the world is 8K TV. State broadcaster NHK began broadcasting 12 hours a day in the Super HiVision format a year ago using technology including cameras and vision mixers from home grown consumer electronics giants like Sony and Panasonic.
However, according to figures from IHS Markit, barely a fifth of Japanese homes will have a 4K UHD TV by 2020 and only 62,000 homes in Japan (0.1 per cent) will be able to watch the Olympics in 8K (NHK is recording some sports and the Games ceremonies in 8K).
“We are certainly hearing more inquiries about and discussion of 8K capabilities, though at the moment this still seems at the edge,” Datapath’s Austin reports who maintains for now, related verticals are largely just utilising HDMI2.0 for 4K60 signals, with HDCP2.2 support being a ‘must’.
No mass market for 8K
8K TV was pushed and subsidised by the Japanese government when it won the Tokyo Games and was perhaps always intended to be a marketing exercise for the state to show its technical prowess.
“It’s also worth noting that 8K TV and 8K tuners are still very expensive,” Li says. “Therefore, 8K is not yet available to the mass market, but many companies are introducing 8K cameras and 8K accessories for professional broadcasting needs. It will take time for 8K to become as popular as HD is today, but there’s no doubting that demand is rising.”
One of the unique aspects of the business in Japan is that many SIs don’t bill for designing systems. “This is where working on a design with manufacturers’ product specialists can be very beneficial,” says Yamashita. “As a result, there are few consultant businesses in Japan. The best thing would be to make designing systems profitable.”
Mitera calls the pro AV market “unprecedentedly busy,” adding that some system integrators are even refusing to take on some of the projects inquired about by customers.
Even following the Olympics, there is the world Expo in Osakgoa, in 2025, to fuel demand.