This vision was then translated into a technical and logistical plan. A key decision was to use vintage Great Wall Beijing 608 lenses on a full-frame camera to create a natural vignetting and poetic distortion, a visual metaphor for the protagonist's fractured psyche. This choice aligned our technical equipment directly with our thematic objectives.
This strategy was detailed in floor plans and lighting schematics, which served as essential communication tools for the crew. These documents provided a clear roadmap for the Gaffer, Key Grip, and 1st Assistant Camera (1st AC), aligning them with the layered lighting philosophy—hard, dramatic key lights against a soft, ambient base—and empowering them to contribute their expertise efficiently.
On set, the pre-production plan became the score for a symphony of light and shadow. The workflow was built on empowered collaboration: I would communicate the narrative intent of a shot, and my department heads would provide the execution. For a given setup, I would describe the desired mood, the Gaffer would propose the technical lighting solution, and the Key Grip would design the necessary rigging and light shaping to sculpt the shadows. This method fostered a creative environment where the collective talent of the team was leveraged to achieve a unified vision.
This approach was tested when we faced a cramped corridor location that made our initial lighting plan unworkable. Instead of imposing a solution, I initiated a collaborative huddle with my Gaffer and Key Grip. They quickly devised a plan to use versatile LED tube lights, which their teams could rig directly and discreetly to the ceiling. This on-the-spot adaptation not only solved the logistical problem but did so without compromising the film's high-contrast aesthetic, turning a potential crisis into a showcase of the crew's resourcefulness. This intentionality extended to camera movement; we used static, locked-off shots to build a sense of dread and switched to handheld to reflect a character's inner turmoil, directing the camera with the same purpose as an actor.
My responsibility extended into post-production, particularly the color grading sessions. Working closely with the colorist, we refined the image to match the aesthetic designed in pre-production, crushing the blacks and blooming the highlights to perfect the surreal, high-contrast look. This final step ensured the visual integrity of the project from conception to completion.
Completed in May 2025, 'Vivre de sa belle mort' is currently in distribution and being submitted to film festivals for the upcoming 2025-2026 season. Updates on official selections and awards are forthcoming.