This was a fun shoot for director Phil Hawkins. A cage-fighting ring with a large back projected screen added instant visual interest to the usual ‘warehouse’ location that seems to crop up in a lot of promos.
We shot on Epic with a set of ultra primes and a Duclos 11-16mm for the jib stuff. Everything was shot with the camera rated at ISO400 and with a 2mm blue streak filter.
The introductory section of the video where Kyrie is walked through the ‘lobby’ of the club was backlit with two PAR64s with CP61 narrowish lamps stacked vertically for some extreme streak filter action. There was a bunch of 2K and 1K tungsten fresnels gelled a medium blue hidden around the space to side and backlight the cast as we tracked backwards (handheld) with them. A large china lantern (a Lantern-Lock with a 1K lamp inside a large Ikea paper lantern) was dimmed down and walked along with us by one of the electricians, just outside the right edge of frame, for a nice soft key light giving circular reflections in eyes.
For the main space I had two 6-light minibrutes acting as 3/4 backlights on either side of the large projection screen. Both had 4×4 flags on each side to reduce spill on the projected graphics. The two rows of 650W lamps in each unit gave a nice double streak from our trusty filter in the mattebox :
Added to that were some more PAR64s, low angle from behind the cage – I tweaked the height and angle of these shot-to-shot to either bring out the wetted-down cage floor or flare the camera even more for the jib shots. We also had PARs above each team of DJs.
A Joker-Bug 800 with a Source 4 narrow lens on a scaff tower was operated throughout to give Kyrie a followspot style backlight; although really it wasn’t punchy enough and I wished I’d had a proper xenon theatrical followspot.
Finally I had a handful of 1K cyc lights (just simple floods really) that were gelled blue and dotted around where needed to light the walls or uplight the DJs.
There was no hazer available from the rental co so we gave very short bursts of a smoke machine every few minutes and made sure the smoke was very dispersed. I really hate over-hazed sets and it’s incredibly easy to go too far. A little goes a long way just put some depth into the space without turning into a Queen concert.
Everything was on dimmer racks for convenience and powered by Pixipixel’s fantastic new 60K generator.
I think we even finished 20 minutes early
KYRIE LONDON – “ROOFTOPS”
Director – Phil Hawkins
Producer – Oly Dempster
DP – Ed Moore
Focus puller – Ben Oliver
Loader/DIT – Lucas Lytra
Jib – Sam Alkad
Gaffer – Simon Olney
Spark - Dominik Pałgan