TREE

Watch Tree

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a D.O.P's P.O.V

It's been a while since I last posted.  We still have not had the cast and crew screening! Sorry Everyone.

However I'm very pleased to bring you a guest post from our Director of Photography, Peter Ellmore, who gives an indepth account of the work methods and choices that went into making TREE. 

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PRE -PRODUCTION

During prep for ‘Tree’ director Phil Dale and I looked at a variety of shooting options including several High Def cameras and Digital formats. We kept coming back to film, as it seemed the best choice and the most workable option for us. Ultimately, the film had a very modest budget but we were determined to get a very cinematic look. The great thing about a film camera is that you can pick it up and shoot. No need to worry about cables, computers and wires. As the film takes place entirely in a wood these were major considerations.

FILM STOCK

I tested four film stocks – opting for faster stocks as we were shooting under relatively dense vegetation during short October days. The stocks were Kodak Vision2 500T (5218), Kodak Vision2 Expression 500T (5229), Fuji Reala 500D(8592) and Fuji Eterna 500T (8573). I was looking to see how the stocks handled underexposure, rendered foliage and skin tones. As we will be finishing the film digitally we viewed the tests at telecine (Da Vinci 2K). This enabled us to push the parameters around and directly compare stocks. I was extremely pleased with the Fuji stock, something about the look felt right for us. The Kodak stocks were also good but generally had more contrast and as a result appeared to have a harsh quality not appropriate for this particular film. The Fuji stocks have a softness and pastel feel that add an organic quality to the image that worked for us. The rendition of the multitude of greens within the forest was very impressive. I also tested the Fuji stock for underexposure and was amazed with the latitude. Shots four stops under could be graded up with no noticeable increase in grain or loss of colour reproduction. I was hoping I wouldn’t have to resort to this on the shoot but it was a useful exercise. I wanted to ensure that the blacks were in no way crushed and that I could still see detail in the shadows, I knew that there would inherently be a great deal of contrast in the woods so I didn’t want a stock that would add to that contrast. I ultimately decided to underexpose the stock 1 stop so that the image could be lifted later, hopefully avoiding any further crushing of darker areas.

Although I liked the idea of using a fast daylight stock, I ultimately decided to use Eterna 500T. The Reala was impressive but I found it to be slightly more contrasty and cooler than the Eterna. As we wanted the finished film to look warm and saturated towards the orange end of the spectrum, we decided the Eterna would be better for us.

LIGHTING

We were not able to light the entire wood but we were able to utilise and make the most of the location we chose as it had a natural opening caused by a few fallen branches. Through planning we were able to use this to our advantage and where possible, locate action to make the most of the suns position and available light. Using this as a basis for my lighting approach, I supplemented or recreated the quality and direction of this light using two Briese lights (a 220 and 140). Both 2.5kw Daylight balanced. These lights produce a nice soft light and are relatively easy to manoeuvre in difficult, uneven terrain. I further softened the light using frames and silks. Bounce was provided with unbleached muslin - again enhancing the warm look we were after and replicating the natural bounce provided by the autumnal leaf litter scattering the floor.

LENS CHOICE

We decided to shoot the film in the 1:2.35 aspect ratio as we wanted to play with the cinematic language of film and how the characters would interact within that frame. The format also worked well with the composition of the tree itself and the long low branch that was an essential element to the story. We tried to emphasise the distance and isolation of the Woman (Beth Winslet) by using a shallow depth of field and wide lenses in close, trying to create a soft dreamy environment surrounding her. By contrast we shot the Man (Clive Brunt) with long lenses. Again, this would isolate him from his background but in a different way – these characters are in the same environment but have very different personalities. As they come together and meet at the tree, the way we shot them becomes similar, using the same lenses as they eventually share the frame. The effect is subtle but serves as a useful starting point when deciding how to shoot the film and the logic of lens choice and the effect you are trying to create.

POST PRODUCTION

The film was graded in a Digital Intermediate suite at Soho Images with grader Rob Pizzey. The negative was scanned on an Arri Scanner at Super 2K resolution, conformed in Quantel IQ and graded on a Da Vinci 2K Plus. We graded in a theatre environment on a large screen with the digital projection provided by a Barco DP 90.

We devised a colour scale that would progress throughout the film. Utilising Photoshop, Phil and I crudely graded frames from the film that served as a useful reference point to take to the grade. Certain moments within the script were used as punctuation points for grade changes and the progression of the colour shifts. Subtly we warmed up the film as it progressed and the conclusion of the film is very warm, reflecting the hope and future of the characters.  The Woman’s (Beth Winslet) palette starts very cold - highlighting her condition, emphasising blues and cooler colours. The Man (Clive Brunt) was warmer, emphasising the difference in character. In the same way that we gradually came to use the same lenses for each character as they came to their meeting point, so too did their individual grading become similar.

The digital grading enabled us to selectively manipulate the image and isolate parts of the frame if required using tools such as Power Windows. As an example, we desaturated the Woman’s face using a dynamic grade during one moment in the film to great effect. For this we isolated her face within a shape and graded it separately from the rest of the image.
The darker areas of the frame were treated by keying into the blacks and lifting them to reduce contrast. We were also able to really push the warmth of the woodland and enhance the realism of the film towards its conclusion. The grading progression is again subtle and it was important that the initial differences were not too obvious but would work with the viewer subconsciously.

The finished film works in the way that I had hoped cinematically. It has a quality and feel that adds to the story and the plight of the characters. I feel the texture of film stock is an important factor, adds a great deal to the perception of the viewer’s cinema experience. 

- Peter Ellmore

Beth Winslet

It is a bit of a cliche to say it, but Beth really does have one of those smiles that lights up a room, which is a real shame as there was not really much call for smiling in our script, quite the opposite in fact.

In the film, Beth plays a woman in a very melancholy state of mind, but she was able to imbue the character with a real vulnerability and compassion.  With no dialog to hang the performance on it could have been so easy to over act the part, but Beth delivered an incredibly restrained and understated performance that, because of it, carries a much greater emotional punch.   In short, Beth gave us everything  we had hope for in the character and more.

Beth kindly wrote this for the blog:

"When I met Phil and Liz for the first time, They put me through a tricky improv session (my worst kind of audition!) but using the framework of the script, for the first time ever, I found myself enjoying it. Then suddenly i got that scary feeling of 'I actually really want to do this project.'

Then I was called back to workshop the piece with Clive and we all just clicked together. When the casting director Lin rang me a few weeks after to offer me the job I was in a muddy field at a festival and despite the music and chaos, I jumped around and shrieked and had a celebratory beer or three with my mates! It's rare to find a project that has such simple honesty behind it.
Filming was a bit of a battle with weather, time, light...the usual suspects, but the crew and Phil remained calm and together throughout, giving myself and Clive the space to do our thing. Clive is an extraordinary actor, with a balance of strength and sensitivity that meant he could play his role brilliantly, and which gave me the right energy to play mine.  Phil was fantastic. I spent a couple of days sobbing for the film and he allowed me to feel safe enough to display that vulnerability. Thank you Phil, Liz, Clive, Sue, Jo and all the crew for making Tree such a memorable experience."  - Beth Winslet.

Towards the end of the shoot Beth pointed out to me that every time that we had meet, I'd made her cry.  It was true, but in my defense can I just say that it was all in the line of duty. 

Beth is currently wrapping up a 2 month stint of filming in Italy on a feature film.  A role I am reliably informed that involves no crying whatsoever.

Title Race

My team Crystal Palace are languishing mid table in the Championship at the moment, so don't worry, this is not a post about football.   No, it is about the ongoing search for a new and more fitting title for the film.

Thanks to everyone who have been racking their brains, offering suggestions.  The current runners are as follows:

Symbol
Windfall
The Reward
Enclosure
The Tree
Heartwood

Heartwood is the clear favorite at the moment by a furlong, but there is still time for late entries. 

Supporting Cast

This is Sykes.  Cute isn't he!

Sykes was part of our supporting cast on the film  It would be fair to say that he was also one of the most experience crew members, having worked on numerous adverts, TV shows and feature films, with some of the biggest names in the biz.

Having never worked with animals before I was a little worried how it would impact on our tight shooting schedule.
I'd be lying if I said he didn't effect it, as even at a greatly lower rate than he was used to working for, we still could only afford to have him on location for 2 days, so that meant that the schedule sort of revolved around him.

But like a true star he is, when he was called on to perform, he did his stuff, hit his marks, and made everyone smile.

Now for some sad news.

One of our other supporting cast came crashing down during the high winds that lashed the country last week.

This tree played a small but significant role in the film and it was a real surprise to see it uprooted.  It seemed such a sturdy tree.

Thankfully our hero tree remains upright and healthy but if this fella had fallen a couple of more feet to the left it would have been carnage.

Funded Films

Attended a screening last night of the  short films that had been made as part of last years funding scheme.
List of the films HERE

The films were all completely different in tone, look and feel, and each one made to a very high standard.  On reflection, my favorite was a drama called Rotten Apple (pictured above)  It was a great little offbeat story, well acted, well scripted, well directed, and nicely shot.

Judging by last nights line up, we have quite a lot to live up to!

A Growing Together

Thought I'd share something I found on my walk yesterday.

Two different types of tree growing in quite intimate proximity to one another, but in harmony.  Sort of sums up visually the theme of my film too in a way.

Recreational Reccy

Went back to the woods today that inspired the script.  Partly because it is a place I like to walk, and partly because I wanted to re-check its suitability as a location for the film. 
Now that I look at the woods again with my directors eye, I'm not so sure they are right.  Unbeknown to the trees I wandered around secretly auditioning them them as potential cast members, but none unfortunately had the x factor I was looking for.

Aesthetically the tree I have in my mind is broad, shapely and full.  Of course these types of trees do not tend to grow in a wood where space is harder to come by.  But not to worry, I'll be checking out Epping Forest in the coming weeks with my DOP  Peter Ellmore.

Did manage to get some good tree graffiti reference though!

Indulge Me

Ok!  I know it is pure fantasy. I know I don't have the budget, fame or connections to attach such a great actress to my short film, but then again, if you think small.....small is what you will be.

Tilda Swinton is a very fine British actress, graced with a unique and haunting beauty.  However, it is her eyes that are her true gift in my opinion.  She has a rare ability to express so much, with so little effort.  A sure sign of great acting talent.

In my search to cast an actress for the lead female role in TREE, Ms Swinton will be my benchmark.  Tree is a film that has no dialog.   So, much of the emotional impact of the film has to be conveyed through the physical performance, and specifically the eyes.  There are no lines to hide behind, it's all about what can be expressed and emoted visually.

My last film

This is an image from my last film The Census Taker
Don't know what it is about trees, but they must be important to me.