A love triangle that takes place between an East London rock-roll manager and two of his clients – a girl singer on the verge mainstream success and the young, front-man from a local punk-band who’s starting to crash and burn. As the star-crossed lovers tear each other apart, a showcase gig in Shoreditch turns bad, igniting anglo-muslim racial tension – now there’s a riot on Redchurch Street that can only end in blood-fire and redemption.
Director : Trevor Miller
Production Company : Redchurch St Productions
Shot on S16mm Fuji ETERNA 400T 8683 and Kodak Vision 3 500T Super 8 Color Negative Film 7219 for a final aspect ratio of 1.85.
Riot on Redchurch Street will always have a special place in my heart, Riot made me realise who I am.
Also for the following reasons
- It was the first feature film I shot just months after graduating from the NFTS in 2011
- Shot 95% 16mm and totally independent. I never wanted to shoot digitally, nor on 35mm, for my first film.
- It was also one of the last films to run through the bath at iLab before it relocated from Soho to Unit 10, Kendal Court out park royal sides
I could go on and on but i would say these are some of the most significant three. I always wanted my first film to be shot on 16mm and have a John Cassavetes feel about it, I guess deep down inside this is where my heart lies who knows… it was surely serendipitous that I would meet Trevor Miller Director who was after the same thing. Shot entirely on location in 18 days and 9 locations ( not 3) this was an extremely challenging shoot, I guess as it was my first but also the number of pages we had to get through in day as well as locations. The lighting package was tiny, a few redheads, a 2.5 HMI, some florescent tubes and a couple of dedos. I also had a home made portable lantern that Brian Tufano had given me the heads up on how to construct, aka The get out of Jail light. From the use of Asda bedsheets, to home made ND filters and custom processing of film stocks, all the stops came out to get this film in the can.
Riot had pushed me beyond what I thought at the time could actually have be achieved, but with some imagination, determinations and some balls I truly realised anything was / is possible. Kept me on the edge every single day and night. Originally the film was destined to be shot on a Canon 5D, then Sony F3 but the very unfortunate event ( psunami) that struck Japan in 2011 had affected us not shooting on the F3, can’t exactly remember why precisely. Then the conversation of film came up. never looked back since.
Another interesting point to make was that Trevor had felt very very strongly about the direction in which post production ie grading was heading , he came to me with the idea of not wanting to go through a traditional grading D.I process , which meant whatever we got in camera is what we get. This freaked production amongst many and he was advised not to take this route. For me this was strange, exciting and a bit disconcerting at the same time, but deep deep down inside me past 21st street by the booth with no telephone, the idea excited me greatly. Grade as you go was created.
Coming from the days of creating looks from with in the colour matrix menu of the Sony and Panny cameras using waveform and vectorscope instrumentation with test charts was something I would initiate before most shoots as some productions may not have enough money for a full grade or the turn around was very quick, we’re talking back in 2004/2005 here. This was mainly done on shorts, documentaries and some television programs so in a sense I was always doing this BUT applying this to a feature was a bit more of a challenge.
Normally my go to stock would have been Vivid 500T, because of its rich blacks and saturated colours I thought immediately this was the best way forward, as it was the best stock bar none for an instant out of camera look in my opinion, but I wanted something different, something that was closer to our story in feel, look and colour.
I worked from home creating a look from a digital photograph of one of the locations over the next few days. I sent this into the lab as a reference. I then shot some tests with different stocks to see how each of them reacted to the LUT, from here I decided that the 400T was the best stock for the movie being that its an overall lower contrast stock than the others and the way it renders skin tones was beautiful, but also skin tones resembled skin tones after the look had been applied. It was also very important for me that the look should be coming from the film stock rather it being solely a complete digital manipulation.
I had worked closely with Martin Mcglone and Nigel Horn from idaillies formally known as ilab. running the bath at different speeds, pushing and pulling +1 & 2 and even 3 stops. Dan Redrup – chief grader from idaillies then applied this to the Eterna 400T tests I shot. In the lab we tweaked on a Spirit 2k with Pogle Revolution at the telecine stage. After some more tweaking and evaluating and re-evaluating we nailed it. From here onwards it was very much a button push to apply the intended look. I called Trevor down to the Lab and he was very much pleased with the results. During the shoot, we would review dailies and he would just mention to crank this up a bit or maybe a touch more yellow. Of course each scene would be “graded” accordingly, by the time we shot the last roll of film, all rushes had already been graded and telecine to hard drive in our chosen file format awaiting , to be edited.
This is by far a much much faster and cost effective way of working I believe. Of course this has to work in accordance from getting it right on set, the colours, contrast and exposures, these have to be spot on without failure soething I am particularly meticulous about.
Grade-as-u-go is I would say is an attempt to create a framework where the director can edit basically what we shoot. In effect its a way to put this ‘look’ in the hands of the filmmakers rather than other people. I would say it is very fluid and flexible and makes creative-choices more important than a fix-it-later attitude. Ultimately by dispensing with an extraneous grading process we made the most honest and immediate story.