On the shoot day for the ‘Ally’ vignette, and why direct sunlight is the worst type of weather for Night Zero’s HDR style.
The shoot day for ‘Ally’ was a unique production for us, and an all-around great experience and achievement for the team. We were back at the abandoned Fisher Flour Mill, our fourth day (of five) this year shooting at that location. Just the previous day we were there with one of our biggest Episode Six productions: thirteen characters, three scratchers, eleven extras, and ten crew members, for an all-day gun battle and scratcher fight. For ‘Ally’, it would be one of our smallest shoots: two characters, two scratchers, and five crew. The major difference, though, was that the Episode Six shoot was on Sunday, meaning the mill property was closed and our gaffer was on set. Ally was shot on a Monday, meaning that the entire property was abuzz with trailer trucks, backhoes, and moving trains, and for lighting we were at the mercy of the weather and a handheld diffusion/reflector disc.
We started with our usual 10:00am crew call, first checking in with the freight supply company whose trucks and trains we’d be evading all day (and grabbing some reflective safety vests from their dock manager). Then it was to base camp, which was conveniently in the same location as it had been the previous day (which itself had been the central location of a different Episode Six shoot a month earlier). Snacks were munched and coffees poured while the cast made their way into costume and makeup, with Kyle finishing first to go shoot his opening walking sequence while Sara’s more elaborate costume, props, and makeup were put together. After a few minutes of test shooting to determine the best camera settings for the morning light, we got to work just after 11:00 and moved swiftly onward. With the opening walk finished, we returned to base camp to fetch Sara and begin the two-character scenes out in the sunlight.