Cinematographer Kira Kelly, ASC, had a rare opportunity in the movieHIM: exploring the genres of horror and sports, which are not usually combined. She and directorJustin Tippingfocused their discussions onChronic Traumatic Encephalopathy(CTE), specifically how football-related brain injuries often cause hallucinations. This condition was central to building the feeling of surrealism for the main character, Cam.
Before beginning the 8 weeks of prep onHIM, director Justin Tipping created an extensive lookbook with ideas for the atmosphere, lighting and costumes. To establish the film’s unique, suspenseful, and surrealistic look, he suggested Kira watchThe Holy MountainandBlack Swan. “Justin was open to lots of collaboration,” says Kira. “I feel like this film does have such a strong visual look because we were all working together to make the movie.”
Camera movement, color, and lighting are all integral to the movie’s storytelling. As Cam descends deeper into the underground compound, Kira used specific colors and lighting. She created a document to track the emotional influence of color for each scene, integrating the lighting into the set and programming the colors to change per sequence. Red with orange highlights was used for the Saviors party, reflecting the oxblood red of the team colors. Fuchsia and magenta were used to show rage. For the scenes on the training field, Kira used top lighting, so that the skin tones of the players would have some reflectivity.
Kira’s camera work parallels Cam’s psychological journey. “At the beginning, it should be fun,” Kira explains. “He’s playing football. It’s much more loose.” The crew used handheld and body cameras, plus a boomerang rig that sent the camera flying down the field. Once Cam feels trapped in the compound, Kira shifted the style dramatically. “That’s where we get into more of these center- punched static frames. He’s trapped figuratively, and all the ways.”
One ofHIM‘s most unique visual elements was the use of aFlir thermal imaging camera. Kelly and Tipping wanted to use the thermal camera to visually represent the internal trauma of what was happening inside the players’ bodies and brains during tackles. Kira and her crew created a rig to mount the Flir camera right above the ALEXA 35 and found that the images could converge and focus enough to allow the two images to overlay. The shots could flick back and forth between the regular camera and the thermal camera. In post, VFX added the brains and accentuated the muscles. The thermal camera effectively showed blood flow and hot and cold areas, adding a chilling layer to the physical impact of the sport.
Kira feels gratified that her vision for the visual style of HIM tells an effective story. “As a DP, every challenge I have is if an audience is able to understand the story,” she says. “If they don’t have the wonderful dialogue, if they don’t have the music, if they don’t have all of those other things helping the story along, could they tell what’s happening just with the imagery? And I feel like withHIM, I say, yeah, I think so. You can see it happening. And that’s what’s super exciting to me.”
Illya’s short end: The Betty Luminous Reflector was featured inAmerican Cinematographer magazine. You can learn more about theBetty Luminous Reflector, and try it in person at Hot Rod Cameras. It will be ready to ship in the next two months.
Sponsored by Laowa by Venus Optics: TheVenus Optics Laowa Probe Zoom lenscomes in a variety of different mounts for full-frame camera sensors. The ultrawide probe lens captures striking, immersive perspectives with a wide field of view, extended barrel, extreme magnification, and an ultra-close minimum working distance for detailed, up-close visuals. You can pre-order the Laowa Probe Zooms atHot Rod Cameras.
Check out the new Betty Luminous Reflector at Hot Rod Cameras! TheBetty Luminousis a full-spectrum light reflector designed to beautifully flatter human skin. Its fresnel-like directionality provides focused illumination while its gentle Gaussian falloff ensures a soft, natural look.
Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode atGreentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.
SHOW RUNDOWN:
00:02:43 Close Focus
00:10:43-00:49:39 Interview
00:53:46 Short Ends
1:01:33 Wrap up/Credits
LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts!
Leave a comment