The lighting was changing throughout the course of a day in the film. I wanted the overall feel of the movie to be clean and sterile, with every light source was lit in one colour instead of making use of multiple sources to make the film appear sleek and modern. This was to enhance the concept of a different reality.
The morning scenes of the apartment were illuminated to appear cool and soft. The office scenes were lit with the benefit of a more powerful fluorescent to make it appear more sterile, and factory-like. The sexual aspect of the story is brought out at night, and is gradually video companies near me becoming more golden as the night progresses. I employed 1/2 CTS for all lamps and then intensified the golden look in post by using Color Grader Chris Francis at Company 3 in London. Night scenes received a blue-cast in order to give it the impression of an entirely different world from what we’re used to using daylight lamps, however, lowering the color temperature while shooting, and then further enhancing the quality. We soaked the set to make reflections on the ground caused by the practical lights and then used smoking to produce an atmosphere on the air. Emilio Schlappi came in to play Steadicam for these shots. The final scenes of the night inside the apartment were illuminated to appear like they came they were halogen lamps from the present instead of the traditional tungsten sources.
Discuss editing, post-production editing and color editing.
Xavier The reason is that we are an incredibly tiny studio, we work in a highly commercial and corporate way. Tom Woodall from Coda who has worked with Tobias at various times, was responsible for our post-supervisionand made sure that our possessions, deliveries and logistics were managed promptly and in the best possible way.
After we had finished filming, Anne and I started editing the film. We were lucky enough to have recorded all of our shots that were planned on our storyboard, and added some additional footage. It took us three weeks short film ideas to finish an edited edit that was locked and began testing it with an audience. After receiving feedback from the test after which we visited Coda for one week to refine the edit. Coda made sure that everything was ready to meet the rest of the post-test needs.
Tobias: I’ve worked alongside Chris Francis (Colourist) at Company 3 on several productions. It is crucial to set an established working style regardless of the fact that each film is unique. I provided him with some reference images for each scene , and some notes on how to explain the basic concept behind lighting. We worked together on two sessions, after Chris had made his initial pass by himself. He’s always on point right from the beginning, so it’s wonderful having that extra time to polish the final photo.
Creating a more immersive reality or alternate world.
Xavier and Xavier: We’ve collaborated together with Tim Benjamin (Composer) extensively in the past, with some of his songs already informing the direction we would like to take us. We shared our ideas and ideas with Tim as well as let him run wild. The majority of his work was done using a modular synthesizer. The music we composed was influenced from Ligeti Lux Aeterna. The Ligeti composition was famously featured as the soundtrack to Kubrick’s 2001 Space Odyssey. I remember the look on the faces of those who were the ones we tested the rough edit using this music “I wasn’t expecting that”. Right away Tim was able to create an entirely new world and take us through it. We had our sound designer (Jon Gray) and Anne, who has lots of experience in this field, were involved in creating various sounds to assist us in creating a more immersive reality or alternate world. Finding new sounds was a fascinating procedure (check for Filmstro’s royalty-free music library).
Coda later assembled all the pieces for us and we were now prepared to present our story to the audience.
How is the film doing?
Xavier The film was completed by Xavier documentary on the 29th November, 2016 and began submitting the film to festivals around the globe.
With more than 150 submissions to festivals in 2017 We’ve already received prizes at two festivals. the winner for the Best Sci-Fi Screenplay , and for Best Film. The film has received nominations to be nominated for Best Actress, Best Director and Best International Short. Little Thief has also been picked for competitions in other festivals.This film is scheduled to be available via VOD during December of 2017 and will be available on these channels: iTunes, Amazon, Google Play, Vimeo. Overall, it was an incredible experience creating this film, and I couldn’t have imagined of a more talented team of collaborators to make the film with.