After a 2 year wait, this 4-part science program I shot in 3D with British director Ian Hunt finally gets its 3D air date on Sky 3D and Sky 1 HD in the UK. National Geographic aired their 2D version of it over a year ago – but since we went to great lengths to shoot in full in-camera 3D, I have waited all this time to watch it for the first time.
We shot mostly in Ontario, and a bit in Middlesborough, UK. In Canada we used 3D camera rigs from the 3D Camera Company – we always had 2 rigs going, one with 2 Red MX’s and a lightweight rig for steadicam with 2 Red Epics. In the UK we used a 3D system from a company called Paradise FX. We used a combination of Cooke Mini S4 3D matched primes and matched Angenieux zooms. Also employed were 3D GoPro Rigs.
Each of the 4 episodes covers a different type of natural disaster – flood, wind, avalanche and earthquake. Our production designer Andy Berry had the task of building full scale home for every episode which by the end would be destroyed by the element in question. It was a pretty amazing thing to witness – the highlight being the last one we shot in the UK at the Tees Barrage – where we destroyed the home with raging flood waters.
We also interviewed survivors of the various disasters in a 3D, shot in a partially destroyed house set… probably the first time 3D has been used in this way to tell the stories of real people’s struggles to survive in the face of a natural disaster.
Here’s a gallery of my behind the scenes stills from the UK flood shoot:
The third feature film in the series, Mike Clattenburg and I shot this together in Halifax last year, around this time. After a few years of absence from the spotlight, the boys are back in a road trip journey that is a nod to the passage of time since the last film a few years ago.
We shot this with Canon C300 cameras, Zeiss CP2 primes and Fuji Cabrio zooms. Also used were GoPro Hero 3 Black cameras. Its always a blast to work with such a stellar and collaborative cast as this bunch of usual suspects.
On March 15th, 2014, we shot an elaborate test with Cooke Optics’ new anamorphic prime lens set. Cooke chairman Les Zellan accompanied the first production set of these new lenses – he was with us during the entire shoot. The set will eventually be 7 lenses – but currently the only ones in existence are the ones we shot with: 32mm, 40mm, 50mm, 75mm. All lenses have a maximum stop of T2.3. This test film is currently being screened at NAB in Las Vegas at the Cooke booth as well.
Three tests had been shot prior to ours – in Paris, London and New York. We were trying to do something different than what had already been done, this is what motivated our choices for what we shot and how we shot it. My long time friend and fellow DP Adam Marsden co-shot it with me. My partner Francis Luta came up with the concept and directed.
Shot in 3K on the Arri Alex XT 4:3 sensor camera – in 4:3 mode. We shot 444 ProRes except for the slo motion shots, which we shot using Arri XT Codex Cards. Redlab onlined our edit for us in 2K. Cooke Optics has the 2K P3 projection file available for download to those who want it as well as a ProRes HQ 1920×1080 Quicktime.
NDIR’s were used to achieve T2.3 in the daylight exterior scenes. No other filtration was used or diopters, etc. No VFX manipulation was done either – everything you see is in-camera, aside from standard grading techniques such as colour and exposure tweaking. Grading was done on a Lustre system.
Lighting was extremely minimal. For the first interior scenes in the workshop – it was all practical lights and one 1×1 LED Litepanel. In Chinatown at night at the end, it was all available light except for one hand held Rosco 1×1 LitePad (daylight) with 1/2 CTO gel
I was incredibly honoured to receive a Canadian Society of Cinematography award on March 22nd, 2014 for my work on the dance film “Lost in Motion”. The film represents the latest of many collaborations with director Ben Shirinian.
Thanks are owed to Ben and his wife Leslie for their vision on the project, as well as Crush who did the post VFX work which was so well tied into the world we created in the studio. Walt Biljan my colourist at Redlab and Sim Digital Toronto were also a big part in making this film happen, as well as my long time crew.
Jeremy & Francis at the 57th CSC Awards Gala at the Westin Hotel in Toronto on March 22nd, 2014
Here’s a great link to the making of and the final piece:
Last night I was honoured to receive a Canadian Screen award for cinematography in a documentary program for my work on the NFB/EOne/APTN docudrama “We Were Children”. The awards took place at the Sheraton Hotel in downtown Toronto.
We shot this film a couple of years ago in Winnipeg, Manitoba. It is a true story that is based upon the testimony of two survivors of the infamous resident school system that was spread all over Canada for many decades – up until the 1990′s. Below is the synopsis created by the National Film Board:
For over 130 years till 1996, more than 100,000 of Canada’s First Nations children were legally required to attend government-funded schools run by various Christian faiths. There were 80 of these ‘residential schools’ across the country. Most children were sent to faraway schools that separated them from their families and traditional land. These children endured brutality, physical hardship, mental degradation, and the complete erasure of their culture. The schools were part of a wider program of assimilation designed to integrate the native population into ‘Canadian society.’ These schools were established with the express purpose ‘To kill the Indian in the child.’ Told through their own voices, ‘We Were Children’ is the shocking true story of two such children: Glen Anaquod and Lyna Hart.
Jeremy and Dora
Jeremy with John Tory
Below is a gallery of behind the scenes photos I shot while we were making the film.
Last week I spent time shooting in Clearwater and Orlando – shooting for Home Depot Canada and Disney respectively.
Shooting in Magic Kingdom, director Vance Malone of Wild Plum was going for a naturalistic style for this Disney spot. Using only available light, we planned our day in the live park around where the sun would be to get the best light. I think we captured some really magical stuff.
Lovely natural light.
Mad Hatter’s Tea Cup ride
Walt & Mickey
Director Duane Chrichton and I worked together again on the Home Depot campaign, with the team from Publicis Toronto and Partners Film Inc. We had great locations and team working for us to get some great vignettes. Shot with Alexa and Cooke S5/i lenses.
I was extremely humbled and honoured to accept this award for Outstanding Achievement in a Television Motion Picture for National Geographic’s “Killing Lincoln” drama. Standing in front of a room of 1500 people, many of them people whose work I respect tremendously, is somewhat intimidating and thrilling at the same time. It was an amazing evening where I was able to catch up with some old friends like Chris Soos CSC, Pierre Gill CSC and David Greene CSC. Plus my good friend and director Mike Clattenburg was also in attendance. Having my parents with me, my partner and my agents Dora and Michael also meant a great deal to me – to share such a special moment with the people I love. There is a gallery below which links to my Flickr gallery of the night’s festivities as well as our stay in LA that week.
Jeremy on stage in the Ray Dolby Ballroom.
The hardware – the ASC award in all its shining glory.
Jeremy and Francis at the ASC Clubhouse after party.
I shot this dance film with director Ben Shirinian. This is the second dance film we have done together. We shot this using two Red Epics and Cooke S5/i lenses, shooting everything at 240fps. Steadicam and 30′ Technocrane were utilized for our camera moves and positioning.