I shot the indie horror movie Last Breath
for writer/director Ty Jones and producer Aaron Laue. It went on to win awards at numerous film festivals, and has received reactions as diverse as a seventy-year-old woman at a film festival screening who said it touched her in a way no other movie has to horror genre fans vocally complaining about its lack of body count.
All in all, it was a fun project to shoot. We took control of an abandoned warehouse that was going to be destroyed and were given the run of the place. It was like one giant backlot. If I needed to get light through a certain place and there was no good way to do so, we’d take a sledge hammer and knock out a wall. We had steel support beams running throughout every inch of the building, which gave us a ready made grid, and we pre-rigged huge portions of the area so that we could bounce between “sets” if need be for makeup considerations (there was a lot of makeup, translation: blood, to deal with in terms of continuity and time for actors). A lot of the lighting approach was dramatic top lighting and larger units cutting through fog. For general ambient, I’d set up lights (like the ARRI Ruby 7 pictured below) into ultra bounces to add soft directional lighting.
Speaking of the ARRI Ruby 7, in my experience, these are not very common lights on set, but the rental house providing the gear basically threw it in. It’s similar to a MaxiBrute, which features nine 1K Par Bulbs, but is a circle of seven 1K par bulbs. Like a Maxi, you can swap out the bulbs (medium, spot, etc) to have a different quality and range to your light. It’s punchy, and a nice light, I’m just much more used to using MaxiBrutes when needing similar lights.
Here are some frame grabs from the movie: