Floor & Lighting Plan

Displayed above is the general floor/lighting plan I have created after visiting the set before the shoot. Due to the restrictions on not being able to view the set until the day before the shoot, this has meant I haven't been able to create a storyboard. However, a storyboard itself is not required as we have created a shot-list and the producer is in the process of creating a schedule for it. I firmly believe we will stay ahead of our time schedule as the crew and I have planned the way in which the set will be made (shown above), and Jordan and I have a thoroughly thought out shot-list that features no complications or restrictions.

The lighting setup shown above is the most general setup I will strive towards, as most of the action takes place in the middle of the area markings between the lights shown on the plan. The colours displayed above are not finalised, I may decide to go for a harsher, shallower colour such as pink instead of purple. As a cinematographer, it is my job to create the look and 'feel' of the film. I sat down with the director and we discussed the visuals we were looking for. We both decided that an atmospheric, coloured, almost-neon look would create an 'arthouse' piece. We took inspiration from director Nicolas Winding Refn and his work on 'Drive' and 'Only God Forgives'. These films feature ambitious lighting and distinctive visual approaches.

'Only God Forgives', 2013, Directed by Winding Refn

'Only God Forgives', 2013, Directed by Winding Refn

'Drive', 2011, Directed by Winding Refn

This will be the first time I have had the opportunity to be in control of the lighting and camera on-set, therefore I aim to take full advantage of the time I have available. 

I believe that lighting is just as important and significant as camera, therefore I plan on spending an adequate amount of time prepping the lighting for each individual shot. I am aware that with the numerous amount of different camera setups we plan on using, I will have to think carefully about the lighting continuity.

The use of chiaroscuro lighting will be utilised when filming the male character Billy, as I believe it is an effective way of conveying two-sides to a character on-screen. In this case, it will convey Billy's decision to choose between his wife and son, or the woman in his bed. 

Jordan chose the red (Dedo) spotlight to be situated outside the outside the window shining in, as to display the pair are in a sleazy hotel room with a red, neon light outside. The blue filters combined with the purple and pink will connote a colder side to Billy's character, whilst the pinks aim to heighten the lust and romance in the scene. 

The empty space to the right of the bed is where the blocking of the two characters will take place. The amount of room we will leave ourselves available will give me enough space to adjust the lighting and camera angles to suit my taste.