Nicholson Ren | Cinematographer & Colourist

Mummy's Boy

Mummy's Boy

Mummy's Boy is an Australian short film based on a play written by Daniel Hayward.  The film is about a mother and her gay son, and the hot guy that enters their lives... briefly.  It's about family and control, sexuality and secrets. It's about relationships and lust... and doing whatever is necessary to survive.

I first heard about Mummy’s boy back in April 2018 when Scott came on board as 1st AD on Bunker. From there we had a 2 month pre-production phase before filming began. The crew consisted of all familiar faces I had recently worked with before which made me more confident going into longer form content production. I made a point to be as involved as I possibly could even attending auditions and callbacks. This was also the first time we produced a short scene for crowdfunding purposes to launch our successful Kickstarter campaign with.

The Kickstarter

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We filmed the teaser scene in a milk bar using mainly practical lighting and a 4-Bank Kino Flo. I was trying to re-create a 90’s film style look with some slight green-yellow tinge to the highlights so that it was a little off-putting. Exposure for the scene was set to T2.8 except for the slow-mo which was set at T4. The slow-mo section was shot on a Canon 5D MK III at 60 fps and the colour was matched during colour grading to the Blackmagic picture profile. Filming the teaser was a great way to introduce backers to the world of Mummy’s Boy and to generate interest in the project.

Interviews were conducted at an arts-friendly cafe after the teaser scene was shot and consisted of just 2 Aputure LED lights with CTO. An initial interview with myself, the director, Scott Membry and the production designer, Yvette Bereton was also recorded but ultimately did not make the cut.


View the Kickstarter campaign here -


The Interview

This scene makes up around 40% of the film. Tammy and Trevor are being interrogated by the police about the disappearance of Guy and at the start we’re not sure if they are telling the truth. I went for a softer diffused look in order to make them look cleaner and as if they don’t have anything to hide similar to their characters intentions with the police. The position of the camera was dictated by a requirement from the director that both frames needed to see both characters to indicate that the interviews were done at different times of the day. Both actors were covered in a static wide shot and close up.

Trevors’ Set up

Setting up the background for Trevor’s frame was more complicated than setting up for his foreground. When shooting on location during the day my first concern is what is the sun going to be doing as we shoot. For this particular day the sun was pouring in the background and I had to ask the gaffer to prop up some blacks to block it out and recreate it with a couple of red-heads with CTB gels. If we didn’t control the sunlight we would lose the initial pattern on the kitchen wall as the sun moved over the house and the shot would look different. As the scene would be around 1-2 hours in the characters life I couldn’t have the background changing too drastically or there would be continuity issues. The 2 bank kino was brought into the house and closer to Tammy in the background to highlight her more and to make the sunlight feel stronger. I also decided to keep the laundry door open for more depth and a little variation of colour. For the main subject; Trevor, I had both my Aputure LED lights bounced into a reflector alongside the sunlight coming in through the window to key him. As this side of the window was not in the direct path of the sun I did not need to black it out, just enhanced to the level I wanted it to be at.

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Tammy’s Set up

For Tammy’s interview, I kept a similar approach to lighting the main subject. The background didn’t need much work. I just had a small LED light to try and balance out the sunlight coming in so that I could see more detail coming in through windows. We had to position the table out slightly furthur than normal in order to frame Trevor nicely but it didn’t look like it was too much out of the ordinary.

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