When cinematographer Ben Kufrin and director Youssef Delara came together for their fifth feature pairing, the romantic comedy The Bounce Back<\/em>, driven by actor Shemar Moore (Criminal Minds<\/em>), it was their largest-scale project to date. Given the budget and the number of locations throughout Los Angeles (including a day in New York at the end), there was no question this \u201clittle movie\u201d would need highly trained and talented people behind the camera. \u201cThat meant IATSE members we trusted,\u201d Kufrin recounts.<\/p>\n
The crew had negotiated their rates prior to beginning production, knowing there was the absolute intention to \u201cflip\u201d once shooting began. \u201cThe contract showed that even a movie with a smaller budget could still provide a union contract to benefit its members and also keep the work in L.A.,\u201d Kufrin continues. \u201cIt\u2019s a win for everyone and a testament to the producers who supported it.\u201d Under an IA contract, Kufrin and Delara were confident their tough 30-day shoot (with multiple locations per day), part of their first real foray into the romantic-comedy genre, could be done and done well.<\/p>\n
The two chose a look and feel in the style of classic Hollywood romantic<\/strong> comedies. \u201cThere\u2019s a language to the genre that audiences expect, and we wanted to communicate in that sensibility,\u201d Kufrin describes. That meant the ARRI Alexa Plus camera, shooting ArriRaw in 1:85 with two lenses \u2013 Primo 11-1 zoom and primo wide zoom 15-40, all from Panavision \u2013 would move seamlessly without drawing attention.<\/p>\n
\u201cWe chose spaces within which the characters would photograph well and that would have strong depth and visual appeal, yet still serve the story,\u201d Kufrin continues. \u201cWe tried opening up the scenery so it didn\u2019t feel like we were cheating the audience from seeing where we were, which I think many indie films make the mistake of doing.\u201d<\/p>\nDP Ben Kufrin makes an adjustment prior to a remote head shot for club scene. \/ Photo by John Castillo<\/figcaption><\/figure>\n
At the beginning, the color palette would feel natural and pleasing to the eye, but not overly romanticized. As the characters developed and began to reveal themselves, the look would shift toward warmer, softer and more nuanced tones. Working with production designer Mark Tanner, Kufrin and Delara previsualized scenes with photo boards created at the locations, using as much of the space as possible.<\/p>\n
\u201cThat meant moving a lot with the Steadicam, dolly, and jib \u2013 but always fluidly and gracefully,\u201d Kufrin adds. \u201cA-Camera Ric Griffith, who has many years of experience as a dolly grip, has a keen sense of movement. Ric\u2019s Steadicam was integral to the plan, as the camera would float or glide consistently but always with motivation.\u201d<\/p>\n
Getting the best out of each location \u2013 and keeping to a tight schedule \u2013 was a challenge. \u201cBut, thanks to our locations team, the locations were often in relative proximity to one another,\u201d Kufrin recalls. Many sequences were shot at the Simi Valley Mall, and the large exterior promenade offered different looks for both interiors and exteriors, while still being close to other locations outside the mall.<\/p>\n
They leapfrogged a lot \u2013 starting with grip-heavy day exteriors to get going quickly and then moving into interiors. Kufrin sent a small pre-rig crew ahead to the interiors each day to be ready when the company moved inside. Gaffer Sean Tanner and his electrical team strategically cabled the mall before Day One of principal photography, allowing Best Boy Bob Shoemaker to then efficiently route power and generator placement per each day\u2019s requirements. \u201cKey Grip Ernesto P\u00e9rez brought in Matthews\u2019 Max and Mini Max rig support, which also saved us time,\u201d Kufrin adds. \u201cWe could get lights and rigging up and out quickly and effectively, making the setups go fast.\u201d<\/p>\nKufrin (at camera) with director Youssef Delara (back right) and 1st AC Paul Janossy (left) setting up a shot on the set of The Talk, which doubled as the fictitious Love Nation talk show where Matthew and Nadine clash with opposing relationship viewpoints. \/ Photo by John Castillo<\/figcaption><\/figure>\n
Lighting with a large Hollywood feel was paramount to the look.<\/strong> \u201cSean brought in a couple of Octaplus Chimeras from Cinelease that wrapped beautifully and gave us consistent and creamy key light sources that emulated one of my favorites, the book light, but easier to control and with a smaller profile and footprint,\u201d Kufrin explains.<\/p>\n
When we\u2019re first introduced to Matthew (Moore) and Kristen (Nadine Velasquez \u2013Flight <\/em>and My Name Is Earl<\/em>),<\/em> they are presented separately and in tandem timelines. \u201cThey both share the pain of unresolved past breakups and have moved on, though they are emotionally compromised,\u201d Kufrin reveals. The color palette for this early part of the film had both leads practically blending in with their backgrounds.<\/p>\n
\u201cWhen Shemar\u2019s character conducts his self-help seminar early in the film, he appears to be well-adjusted on the outside but still somewhat uneasy, to where even the suit he wears almost blends him in with the curtain on stage,\u201d Kufrin recounts. \u201cNadine\u2019s character is a young therapist who is having trouble holding on to her patients, and she too struggles to separate from the background of her own life.\u201d<\/p>\nThe romance for a key evening stroll through a string-lit park scene was built slowly from crane to close-ups, and enhanced by Kufrin\u2019s use of Classic Soft diffusion.<\/figcaption><\/figure>\n
Sparks fly when Matthew is publicly confronted by Kristen at his seminar, where she calls his quick-fix solutions for \u201cbouncing back\u201d from a broken heart \u201ca sham.\u201d By trying to discredit his methodology, Kristen is soon engaged by television producers on her own press junkets to counter with opposing views.<\/p>\n
Kufrin says that from that point, \u201cwe tried to let the comedy play in two and three shots, wider initially when it came to Kristen and her match-making, bar-hopping, girlfriends and also with Shemar\u2019s character and his hilariously hyperactive, live-wired manager friend Terry [Bill Bellamy].\u201d<\/p>\n
As the characters emerge from the background, they move past heartache and into self-discovery. \u201cWe showed this shift by moving into more colorful and vibrant palettes, warmer lighting and sharper accents,\u201d Kufrin adds. \u201cTrying not to over-glamorize, I kept a soft, natural lighting style that didn\u2019t feel affected but still had a little sparkle and luster to it, and only occasionally adding a light Classic Soft filter on the lens.\u201d<\/p>\nThe Live Night show scene included nearly 100 extras as live audience members, and two cameras \u2013 one on a Jimmy Jib with a remote head and one on a dolly. Gaffer Sean Tanner affixed some of the table lamp fixtures with 25-watt and 60-watt open face bulbs, all on dimmers. \u201cWe had very tricky lighting cues and only a day to shoot nearly seven pages,\u201d Kufrin remembers.<\/figcaption><\/figure>\n
The movie\u2019s tone is set in the opening shot,<\/strong> beginning on a three-by-three-inch darkened video viewfinder from a pedestal-style TV camera. \u201cAt this moment the audience is not quite sure where they are until the screen jumps to life, revealing a low-resolution black and white video image of what looks like the set for a television talk show,\u201d Kufrin reveals. \u201cThe camera then pulls back, holding focus on the viewfinder screen for a moment, then racks to the camera itself, pulling back still wider to see stagehands working on the set, followed by a cameraman who emerges, puts on his headset, and takes his place behind the TV camera. The shot is now at full height near the ceiling \u2013 a bird\u2019s-eye view of the TV crew ready to go live.\u201d<\/p>\n
Kufrin says the shot acts as a statement on the notion of \u201cperception is truth\u201d set forth by today\u2019s media practices. \u201cWe see the world through the electronic prism of infotainment and how it\u2019s spun to sell us a point of view,\u201d he continues. \u201cIt\u2019s how Matthew Taylor spins his views as a relationship expert on coping with and moving on from the past as if it never existed, even though he quietly hints at doubting his own self-created philosophy. The shot was accomplished relatively low tech but still smoothly and precisely, using a Matthews arm on a track with a Lambda head, pulling back and jibbing up at the steady guide of our dolly grip Mark Pickens.\u201d<\/p>\n
In scenes where characters emote vulnerability, as in a romantic sequence where Matthew and Kristen take a nighttime stroll through an enchanting string-light park, the team chose to build to the close-ups slowly and sparingly. The shot begins with a wide crane up to reveal the nighttime garden setting and the characters passing through. When they start to open up to each other, the camera gets closer through a series of soft cuts and blocking until the shot is finally closer than the camera has been on each of them. The glow of the string and tiny twinkle lights designed into the scene heightened the romantic tone more so than any other scene in the movie that, along with a light Classic Soft diffusion, appropriately conveyed the vibe.<\/p>\nKufrin says having a good D.I.T. (like Kyle Peters, pictured) provides \u201cthe peace of mind that the work is accurately represented of where the intention is by the time we get to the DI. The D.I.T. is the bridge between the DP\u2019s work and post production.\u201d \/ Photo by John Castillo<\/figcaption><\/figure>\n
\u201cShowing restraint with close-ups takes some discipline, especially with such an attractive cast,\u201d Kufrin states. \u201cThe tendency is to want to get in on their faces a lot. However, by being judicious with close-ups, you give the audience something to look forward to and give the characters something to build to as well.\u201d<\/p>\n
One of the most challenging scenes was when Matthew and Kristen first confront their opposing viewpoints on the Live Night<\/em> talk-show set. It was a massive day on location at DBA, a club in West Hollywood. \u201cThe art department didn\u2019t even have a full prep day, and grip and electric only had an extra hour advance call on the day to load in and start lighting a huge nighttime talk-show set with nearly 100 extras as live audience members,\u201d Kufrin recalls. \u201cWe had two cameras, one on a jib with a remote head and one on a dolly \u2013 tricky lighting cues and only a day to get in and out for nearly seven pages!\u201d<\/p>\n
The scene was structured by mixing a typical talk-show template but also incorporating emotional beats of the story inside the talk-show format. \u201cWe tried to make it look like you were there participating as well as watching it on TV,\u201d he explains.<\/p>\n
\u201cWe used the Jimmy Jib [with the 15-40 primo] for B-camera, constantly moving and swooping in and across the action, which gave the show a sexy, fluid moving quality for coverage, along with our A-camera moving on a dolly [with the 11-1 zoom],\u201d Kufrin adds. \u201cLater we moved in for even closer shots and static pieces, narrowing our scope little by little so we would be practically shooting inserts by the time we wrapped.\u201d<\/p>\nThe end frame of a complex crane shot inside a Latin dance club, where Matthew takes a woman he just met dancing. \u201cIt starts out very close on a trumpet player onstage and swoops down through the crowded dance floor,\u201d Kufrin describes. “Because we had a limited budget, I used an older 25-foot Jimmy Jib on a triangle with a remote head \u2013 a trick from my music video days!\u201d<\/figcaption><\/figure>\n
Lighting for the club audience was kept moody with a mixture of warm frosted practical lamps at tables. Sean Tanner affixed some of the table-lamp fixtures with 25-watt and 60-watt open-face bulbs, all on dimmers. He also put up several colored gel tubes and strung them randomly along a dark brick wall to help make the dark pockets of the club have more depth and pop. Tanner then used a Leko to special the main Live Night<\/em> sign that the art department hung prominently upstage and behind the stage.<\/p>\n
Kufrin says his favorite shot in the film takes place at a <\/strong>Latin dance club, where Matthew takes a woman he just met dancing. The transition into this brief scene started super close on a Cuban trumpet player on the stage bathed in an apricot amber stage light with yellow PAR cans for backlights. It started on a 15-mm lens just inches away from the end of the horn that fills the frame, and then pulls back and swoops down wide through a crowded dance floor. Flares were incorporated from intelligent cyber lights moving and flashing to the beat of the music, until the camera is at the far end of the club, and Matthew and his date twirl into the frame with a sexy finesse.<\/p>\n
The shot lasts about eight seconds, with the camera dynamics setting the tone for a humorous aftermath that follows. \u201cBecause we had a limited budget, I resorted to an older 25-foot Jimmy Jib on a triangle with a remote head \u2013 something I used in my old music-video days,\u201d Kufrin explains. \u201cIt is a great tool for making swift, extreme movements. It came from my longtime Jimmy Jib operator Joe Copolla and his guys and was essential to the club and the Live Night<\/em> talk-show sequences.\u201d<\/p>\n
Kufrin says executing some ambitious moves was in no small part due to his longtime relationship with vendors such as Cinelease, Matthews, Panavision and Fisher Dolly; top-notch gear in the hands of a talented union crew was the recipe for success.<\/p>\nThe Bounce Back was Kufrin\u2019s fifth feature with Delara and their largest project to date. \u201cSomething this ambitious, shot in only 30-days with multiple location moves per day, had to be shot with a talented and fully committed union crew, under an IA contract,\u201d Kufrin states. Left to Right: 2nd AC\/B-camera 1st AC Mike Blue, D.I.T Kyle Peters, 1st AC Paul Janossy, Kufrin, 2nd AC Lauren Pollock, A-camera\/Steadicam operator Ric Griffith, Local 80 Dolly Grip Mark Pickens \/ Photo by John Castillo<\/figcaption><\/figure>\n
And that recipe also included having a D.I.T. (Kyle Peters) on set. \u201cIt\u2019s important because you need the workflow to be organized, streamlined and consistent,\u201d Kufrin says adamantly. \u201cHaving a good D.I.T., you can leave at wrap with peace of mind knowing the work is accurately representative of where the intention is by the time we get to the DI. The D.I.T. is the bridge between the DP\u2019s work and postproduction.\u201d<\/p>\n
\u201cThe D.I.T. is critical for any budget level because he or she can bring much more value to production,\u201d Peters adds. \u201cBy having one on set, critically tracking camera metadata, monitoring exposure, and managing source data, postproduction was able to begin cutting right away with great-looking dailies.\u201d<\/p>\n
One prime example was the talk-show segments \u2013 Peters used a piece of software called PixelConduit to pull a live key off the green screen and overlay a background into the scene in real time. \u201cEveryone on set was able to view a rough composite of the green screen, which helped Lighting and Art get the scene dialed in,\u201d he explains.<\/p>\n
\u201cWith this tight budget, ambitious schedule, and desire to make The Bounce Back<\/em> as rich a Hollywood romantic comedy as possible \u2013 having a full talented and committed union crew was the only way to go,\u201d Kufrin concludes.<\/p>\n","protected":false},"excerpt":{"rendered":"
Ben Kufrin. By\u00a0Pauline Rogers. When cinematographer Ben Kufrin and director Youssef Delara came together for their fifth feature pairing, the romantic comedy The Bounce Back, driven by actor Shemar Moore (Criminal Minds), it was their largest-scale project to date. Given the budget and the number of locations throughout Los Angeles (including a day in New York at the end), there was no question this \u201clittle movie\u201d would need highly trained and talented people behind the camera. \u201cThat meant IATSE members […]<\/p>\n","protected":false},"author":1,"featured_media":6732,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-6716","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\n
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Given the budget and the number of locations throughout Los Angeles (including a day in New York at the end), there was no question this \u201clittle movie\u201d would need highly trained and talented people behind the camera. \u201cThat meant IATSE members […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/love-actually\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2017-01-17T19:35:14+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2017\/01\/Love-Actually-Lead_Dec16.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1400\" \/>\n\t<meta property=\"og:image:height\" content=\"788\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"EDITOR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"EDITOR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/love-actually\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/love-actually\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"Love, Actually\",\"datePublished\":\"2017-01-17T19:35:14+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/love-actually\/\"},\"wordCount\":2617,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/love-actually\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2017\/01\/Love-Actually-Lead_Dec16.jpg\",\"articleSection\":[\"Web Exclusives\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/love-actually\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/love-actually\/\",\"name\":\"Love, Actually - 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By\u00a0Pauline Rogers. When cinematographer Ben Kufrin and director Youssef Delara came together for their fifth feature pairing, the romantic comedy The Bounce Back, driven by actor Shemar Moore (Criminal Minds), it was their largest-scale project to date. 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