Dale Elena McCready BSC NZCS Cinematographer

The Merlin Archive page 7

A taste of a lighting setup for one of these temproary sets. For cool, night time work I’d tend to use flourscent lighting whereas in Camelot sets I’d use traditional tungsten lamps. I felt this difference made a stronger change from simply warm/coo

Gemma Jones as The Cailleach

Gaffer Gary Chaisty checking the lights on the greenscreen. Here you can see a trick I like. Instead of standing someone on the green fabric and then having to add light to that green, you can use mirrors to reflect the background behind them, so th

Beano holds a flag out behind Gemma Jones so that I can judge the look of the lighting on her without the visual interference of the solid green which messes with your eyes. We would often show this on film to the VFX people too so that they can te

Video Village just near set where we place our larger monitors so that crew/producers and the director (if they’re not closer to camera) can watch and review shots.

Here I am using a 180mm lens on a viewfinder. I most often use an app on my phone (artemis) as a viewfinder as it’s quicker but with some lenses, particularly long ones it’s more accurate to judge the camera setup position by looking through the act

Director Alice Troughton on set

the 35mm arriflex Arricam Studio XT camera

Boom operator Adam Ridge places the mic just out of frame to record Bradley

Gaffer Gary Chaisty coordinates the lighting with electrical crew who are up on Cherry Pickers above the location

Getting a wide shot at the Trefil Quarry in Wales

Supporting artists as dead villagers between setups.

Yet another early morning/late night on location. IN the film business we get to see a lot of dawns and sunsets!

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