The Score
Supporting Filmmakers
The Score is a rule-bending, darkly comedic thriller where the characters realise they can all hear the film’s musical score…and it’s trying to trick them into killing each other! Starring Dani Moseley (BBC’s Dreaming Whist Black) and introducing Team GB Olympian Adele Nicoll, The Score has just finished a successful film festival run, picking up a total of seven awards. FIlms@59 provided equipment rental and full post-production services.
SARAH SMITHER – DIRECTOR OF PHOTOGRAPHY
We wanted Cutler’s bar to have that down-at-heel, smoky feel but using a hazer wasn’t possible, so during camera tests with the Alexa Mini LF and Zeiss Supreme Radiance lenses we tried the Tiffen Night Fog filters. This combination created a beautiful extended haze effect that gave depth and texture to areas that otherwise would have remained black.
Gaffer Dave Anderson and I decided to build remote controlled lighting fixtures into the set, then have a smaller selection of soft lights and neon backlights that travelled with us around the space. As well as smart bulbs in the ceiling, we worked with a selection of Aputure Asteras, Novas, MCs and other fixtures that could be easily colour matched and dimmed/boosted when needed. We placed the Aputure MCs into dummy bulkhead lights that were spread out around the set. Along with the built-in neons, these gave a clear visual motivation for our sources that we could then extend with out-of-frame fixtures on boom arms and stands.
Cutler’s pink neon sign was the icing on the cake – made to order and dimmable, it was a brilliant statement piece that reflected beautifully off the polished stone bar top, tables and floor in the wider shots.
WELSEY HIBBERD – COLOURIST
The colour grade in this film needed to achieve a cinematic feel, complimenting the on-set lighting decisions, and achieving consistency throughout. Firstly we established a few looks we liked which also included a careful balance of film emulation layers, providing a coolness to the shadows, a good skin tone, and control of the pinks. The initial balance was done with careful consideration for the hazy aesthetic created on set, ensuring good skin tones and gamut management of the neon colours before the look layer was applied. Subtle sharpening, diffusion and regrain were added in places, as well as shape work to tidy the set, and flag off unwanted spill, speculars, or objects on set. The VFX work was also integrated in the grade, and additional light effects such as a gun shot reflection in eyes and a glowing case.
Grading The Score was an absolute pleasure, working with a lovely, talented team, and a great script.
BRIAN MOSELEY – DUBBING MIXER
We regularly collaborate with short film-makers and I was sent the script to assess I knew immediately that it was a film wanted to see made! It is an idea so simple that I was surprised that I hadn’t seen it done before. It would be a huge challenge though – not for me, but for the composer – how to create such a dynamic score that acts as a character in the film? Luckily, the team found someone worthy in Raphaelle Thibaut and she did an amazing job!
My role was crafting the final mix and making that music work within the context of the film. It needed to be dominant from the start, without ever overpowering the character dialogue. On that note, huge credit to the sound team of Ellie Williams, Drew Sewell and Gerardo Pastor Ruiz for giving me the best sound recording I have ever received for a short film! I’m very happy with the end result.
