His latest short film, Eclipse, won Best Cinematography in the 2015 My Rode Reel short film competition. We caught up with Mark to get the inside scoop on Eclipse and the VFX work that went into creating it.
Eclipse was something that had been in my head for a long time in one form or another but never managed to make it any further. I recently moved back to the small town where I grew up to raise a family, so there’s definitely part of the story thats about accepting that life goes in cycles and coming to terms with that. Then when the My Rode Reel competition was announced this year, around the same time there was a Solar Eclipse visible from the UK and the conjunction of the two things kicked me into finally writing this thing down and making it. I work full time making commercials and editing for other people so it’s sometimes difficult to find the time to make something for yourself. The My Rode Reel contest was a perfect opportunity to do this as it has the two things I need to get things done, a time limit and a deadline.
All the Solar Eclipses are obviously added in post although some are in part from plates I shot during the March 2015 event. I also looked closely at the lens flare elements created during an eclipse, you get these beautiful crescent shapes, and I extracted some of these from the plates and used them to create my own custom lens flare elements in Optical Flares from Video Copilot.
The big close ups of the Eclipse itself were completely created in After Effects. As you can see in the following BTS video, it’s basically a combination of lots of elements designed to reduce the cleanness that a purely CG creation can have. So lots of grain, Lens Distortions (shown around 7-minute mark), flares, etc… anything that helps it look like it might actually have been shot. That’s a big part of working with digital images these days, finding ways to make them look more organic, more natural.
For the traveling sequence, I used lots of shots from my own archive of places I’ve visited around the world, sometimes with work and sometimes on holiday. Everywhere I go I try and shoot something, you just never know when a shot can be useful or an inspiration and it’s a great way to add production value to a short by including an establishing or incidental shot of somewhere that your budget would never allow. As a director it’s the best piece of advice I have – always be looking for a shot.
Eclipse was shot principally on an Arri Amira with Arri Ultra-prime lenses (still using Arri cameras after all these years) lent to us for the day very kindly by our local hire company, Picture Canning North. We also shot some additional shots on a GH4 mounted on a DJI Ronin and on an Octocopter from local aerial company HorizonAP. The travelling sequence archive shots were shot on my own Blackmagic Pocket Camera and a Canon 5Dmkii.
Post was Adobe Premiere and After Effects which work so well together – just the fact that I can copy and paste a shot from one into the other saves so much time on a quick turnaround job. The final grade was done in DaVinci Resolve Lite. Everything was cut, comped and colored on my 2-year-old iMac using an HP27x as a grading monitor.
More of the same I hope. My day job of commercial work keeps me busy but I’d like to keep the momentum going off the back of Eclipse and try and put together another short this year. I’m always interested in hearing from writers who have a good idea. Beyond that the idea of doing a feature film used to scare me, I have a notoriously short attention span, but as I get older it’s something I would consider more. The problem these days isn’t so much in making a film, though, it’s making something that an audience wants to watch.
While most LUTs out there are heavy-handed at the expense of quality, Finishing LUTs offer a lighter touch and are rigorously stress-tested to work well across a wide variety of footage and lighting conditions.
Drawing on inspiration from opening title sequences, episodic dramas, and unconventionally cinematic commercials, we created these melodies to help you evoke curiosity and establish a cinematic tone in your films.
One of the best ways you can enhance your visual projects is to use the power of sound. In this 12 minute tutorial, we take you behind the scenes of many Lens Distortions videos to see the tried and true techniques we’ve been using for years.
I find the internet inspiring, by that I mean the depth of available knowledge that’s out there now. When I think back to how I started, there were no online tutorials, Andrew Kramer was probably just starting school, there weren’t even any books. The only place to learn was from the manual! The rest I had to figure out for myself. These days if I need an inspirational kick it’s as easy as loading up Vimeo and being amazed by the breadth of talent, skill and love that people have for making films. I’m always inspired when I see people with a DIY attitude just getting out there and doing it.
Mark currently uses our signature glass effects. To see more of his work, be sure to check out marklediard.com.