![]() “For the travelling shot behind the Humvee, we knew we wouldn’t be able to light the distance we needed to travel,” Watkinson continues, “so we opted to use one of the light drones as an overhead ambience, flying along above the Humvee. The hovering luminaires took flight again for a scene tracking Emily’s getaway vehicle. The Drone Unit’s Spyder octocopters in action for The Handmaid’s Tale: Night shot by Colin Watkinson ASC BSC The Drone Unit’s Spyder octocopter with its 300W Movi-stabilised LED array, as used on The Handmaid’s Tale: Night Head pilot Chris Bacik fitted custom 300W LED arrays into two of the drones’ Movi stabilisers, each array producing 39,000 lumens in a 30-degree beam. The Toronto-based production turned to their regular collaborators at the Drone Unit, who fly proprietary “Spyder” octocopters. “He wanted surveillance drones by the bridge as extra tension as Emily attempts to cross the river into Canada.” “Mike Barker, the director, was the instigator of the drones with lights on them,” says Colin Watkinson BSC ASC about the third season opener of The Handmaid’s Tale, in which Alexis Bledel’s Emily escapes the oppressive Gilead. Six DPs share the kit and techniques they have used to tell stories with light.ĭynamic light sources can enhance the drama of a scene, or even create the illusion of a vehicle in motion, and with today’s technologies there are many ways to make your light source move. Lead image: Zoe Boyle and Kerry Howard lit by China lanterns and covered wagons for Witless shot by Benedict Spence DYNAMIC ILLUMINATION We are lucky enough to live in a time when lighting technology runs the gamut from the simplest tungsten globe to banks of programmable LED panels controlled by an app. ![]()
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