“palette” was infrared movie shot by AU-EVA1 opened last summer, and is also watched from the world after that. Interview with Yuji NUKUI director / D.P. on “palette” “palette” tells the story of a woman who was born with a sense of color that is different from everyone around her.
During those moments where she reminisces about her childhood, we mostly used IR-shot scenes. In order to express the distinctive color of the world that only the protagonist can see, it was necessary to shoot in IR. In AU-EVA1, you can switch quickly between IR and regular filming at the touch of a button in the menu, eliminating the need for an IR-ready camera in addition to a regular camera, and this facilitated things on set. It made the shoot more budget-friendly as well.
As expected, the amount of infrared light from the sun had a huge impact on each one of our exterior IR shoots. On days when we were shooting, we had to deal with inconveniences caused by the weather or time of day, so it was a big plus schedule-wise that we could toggle between shooting IR and regular scenes.
IR Shooting On “palette” “Shooting in IR” doesn’t automatically create a cinematic mood or look.
Shooting in IR was never the goal; the goal was to convey emotions and tella visual story via images. When attempting to conform to this idea while using IR, it becomes incredibly challenging. In other words, it is “creating work that is worthwhile.” With “palette” the major question was how to come close to achieving the image we envisioned. We conducted various tests over and over – tests of the materials for the shoot, of the time of day, and balancing regular and IR lighting. IR lights are around on the Japanese market, but currently the only IR lights available were those made for use in small security cameras.
Of course it is possible to conduct an IR shoot without IR lighting, but as much as possible,
I wanted to achieve my vision, so our film team developed our own IR lights to try to achieve this. We wanted to avoid images lacking a sense of perspective typically seen in IR images.
There were so many things we had to keep in mind on set, but foremost was the need to rid ourselves of any pre-existing conceptions. You can’t rely on your eyes or on a light meter to gage light and dark because it just doesn’t translate.
There’s no predicting what color will be reflected on screen. Creatives hoping to shoot IR from now on need to start from scratch and embrace curiosity, experiment, discover, and run tests. Concerning sequential art images, an important consideration was how to connect images that were shot on days with such different conditions and make them all work together.
The arrival of an IR-ready movie camera like AU-EVA1 has broadened the range of visual expression that has never been seen before. Naturally, it is well suited for music videos and experimental imagery, but it will also create interest when used in TV dramas, raising the question “How did they shoot that ?” Why?
Because IR shooting is “manipulating light which the eye cannot see to create a visual world.”