Slash Film

One aspect, among many, that makes “Skinamarink” feel so unique is how it’s shot. Traditional framing is abandoned for characters that exist beyond the center of the frame. On top of that, you also have some sequences that are simulated to take place while enshrouded in complete darkness. That would prove to be a challenging task for any filmmaker, let alone one with limited resources, but during an interview with Inverse, Ball talked about a tool that gave him the light source he needed.

“Obviously, we couldn’t shoot 100% pitch black unless we used infrared, so we developed this technique of putting a sun gun on top of the camera, putting a blue filter over it, and grading with it,” Ball said. Sun gun light kits replicate the shine of natural sunlight, which can be used to differentiate colors on cars in an indoor setting. Sometimes you have to work with what you have, and this seems like the perfect way to set a mood while making sure folks have a glimpse into the belly of the beast.

As terrifying as it would be to encase the audience in complete darkness, this is a clever way to give some semblance of visibility in the film’s most intense sequences. The blue filter allows for a splash of color that brings a dreamlike aura to the waking nightmare unfolding in front of your eyes, whereas infrared would likely shatter the illusion of experiencing the dark from a frightened child’s perspective.

“Skinamarink” is now playing in limited release.

/Film – ‘Slash Film: The Skinamarink Team Came Up With A Clever Way Of Shooting Scenes In Pitch Black’
Author: Matthew Bilodeau
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January 14, 2023

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