American Cinematographer - May 2015 - 18

Top: The crew
sets up an
exterior scene.
Bottom:
Directorcinematographer
Oliver Kember
lines up a shot.

editor, Myles Robey, was working on Skyfall
at the time, so it was us in one room and
Sam Mendes next door."
With the edit almost complete,
Kember says he realized "that we didn't
have a colorist yet. I was walking past The
Mill, so I went in and asked if I could speak
to someone about grading a short film."
After sending over a rough cut, Kember
quickly received a positive response, and
then forwarded an edit decision list and the
original ProRes footage. "I guess they liked
the cut, and said they'd do it. You don't ask,
you don't get!"
18

May 2015

The production's brownish tones
were emphasized at this stage by colorist
Jim Bracher, who worked in FilmLight's
Baselight. Says Bracher, "We were aiming
for an early-Eighties London feel, something
I can remember firsthand. [Kember] had a
very clear idea in his own mind how he
wanted the film to look. We kept the colors
fairly muted, with warmth in the highlights
and an emphasis on the colors of the
Rubik's Cubes, making them pop." To
further the period feel, Bracher added a
subtle grain using Baselight's built-in tools.
Kember describes this as "doing everything
American Cinematographer

I could so it felt like 1980. There was hopefully nothing that could take you out of the
era that the story is set in. The grade can be
a really big help in that regard, along with
all the production styling."
Kember supplied the resulting 8GB
ProRes file to festivals. "We finished it mid2013, and it went to festivals worldwide for
a year and did well, picking up some
awards along the way."
Despite his own technical achievements, Kember's principal memories from
the production are of his collaborators'
embracing his story. "I had the best time
I've had on a shoot," he says. "What can be
better than dreaming something up in your
bedroom and having people give their time
to help you tell that story? If you don't have
a budget, people have got to be into the
story. I feel lucky that people were up for
taking a punt on me - the cast and crew
and the parents. That's what makes it the
best feeling in the world. Buying someone's
time is one thing; having them donate it is
really special."
To watch Puzzled, visit the website
oliverkember.com.
G



http://www.oliverkember.com

American Cinematographer - May 2015

Table of Contents for the Digital Edition of American Cinematographer - May 2015

Contents
American Cinematographer - May 2015 - Intro
American Cinematographer - May 2015 - Cover1
American Cinematographer - May 2015 - Cover2
American Cinematographer - May 2015 - 1
American Cinematographer - May 2015 - 2
American Cinematographer - May 2015 - Contents
American Cinematographer - May 2015 - 4
American Cinematographer - May 2015 - 5
American Cinematographer - May 2015 - 6
American Cinematographer - May 2015 - 7
American Cinematographer - May 2015 - 8
American Cinematographer - May 2015 - 9
American Cinematographer - May 2015 - 10
American Cinematographer - May 2015 - 11
American Cinematographer - May 2015 - 12
American Cinematographer - May 2015 - 13
American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
American Cinematographer - May 2015 - 16
American Cinematographer - May 2015 - 17
American Cinematographer - May 2015 - 18
American Cinematographer - May 2015 - 19
American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
American Cinematographer - May 2015 - 22
American Cinematographer - May 2015 - 23
American Cinematographer - May 2015 - 24
American Cinematographer - May 2015 - 25
American Cinematographer - May 2015 - 26
American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
American Cinematographer - May 2015 - 29
American Cinematographer - May 2015 - 30
American Cinematographer - May 2015 - 31
American Cinematographer - May 2015 - 32
American Cinematographer - May 2015 - 33
American Cinematographer - May 2015 - 34
American Cinematographer - May 2015 - 35
American Cinematographer - May 2015 - 36
American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
American Cinematographer - May 2015 - 39
American Cinematographer - May 2015 - 40
American Cinematographer - May 2015 - 41
American Cinematographer - May 2015 - 42
American Cinematographer - May 2015 - 43
American Cinematographer - May 2015 - 44
American Cinematographer - May 2015 - 45
American Cinematographer - May 2015 - 46
American Cinematographer - May 2015 - 47
American Cinematographer - May 2015 - 48
American Cinematographer - May 2015 - 49
American Cinematographer - May 2015 - 50
American Cinematographer - May 2015 - 51
American Cinematographer - May 2015 - 52
American Cinematographer - May 2015 - 53
American Cinematographer - May 2015 - 54
American Cinematographer - May 2015 - 55
American Cinematographer - May 2015 - 56
American Cinematographer - May 2015 - 57
American Cinematographer - May 2015 - 58
American Cinematographer - May 2015 - 59
American Cinematographer - May 2015 - 60
American Cinematographer - May 2015 - 61
American Cinematographer - May 2015 - 62
American Cinematographer - May 2015 - 63
American Cinematographer - May 2015 - 64
American Cinematographer - May 2015 - 65
American Cinematographer - May 2015 - 66
American Cinematographer - May 2015 - 67
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American Cinematographer - May 2015 - 70
American Cinematographer - May 2015 - 71
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American Cinematographer - May 2015 - 73
American Cinematographer - May 2015 - 74
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American Cinematographer - May 2015 - 76
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American Cinematographer - May 2015 - 78
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American Cinematographer - May 2015 - 81
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American Cinematographer - May 2015 - 96
American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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