Posted 12 June 2010 - 02:35 PM
Behind the wheel I had future ASC member Matt Wright operating. Pulling focus on day one I had Matt Henderson (my first time working with him and boy he was fantastic, can't wait to get on set with him again) On day two he had to be replaced by Tim Trotman (another fantastic AC. If you don't know these people in NY, you're traveling in the wrong circles) I was so thankful that I had an operator on this shoot, especially b/c of the late subtractions of my GnE crew. My new gaffer was Marc Riou, he has a great eye for lighting, Key Grip was Travis Tirado, he manned our fisher 11 like none other! The boom operator I had also came down with mono a week before the shoot so my other grip LJ D'Arpa took over boom details, but also helped grip btw setups, and Chris De Monte helped with gripping and 2nd ACing. These crew member broke their ass for me and I cannot recommend them enough to people.
Here's a shot from day 1 with the Matts and LJ off to the left. Travis behind the fisher
Michael Staffieri was on art detail for the film. He also acted as set photographer and took an astonishing 500 pictures on day one, I will update with more photos when I get around to uploading them. This photo was actually taken by our actor Antonio Garcia Jr., which I then grabbed from facebook.
Posted 13 June 2010 - 02:55 PM
Anyway, look forward to some shots.
Posted 14 June 2010 - 04:22 PM
There's the officer Andy, played by Adam Barnett. He is backlit by a 2k which has been scrimmed and single netted with some shower curtain on it. He is also being lit by another 2k with a double scrim and some 251 way off frame to the right. In the shot he climbs up the stairs and there is a dolly move left to right. His endframe is lit with the 1.2k with a silk up high off to the right of the camera, you can see the blue on the left side of the stairs. Theres also a baby for a more frontal fill on his face. Remember I had no cc gels or filters. The camera's color was set to 3000 and the iso was at 320 the whole shoot.
Here he is at the top of the stairs. Theres another dolly move left to right. Revealing the bad guy in the foreground hiding behind a pillar here...
This is the same shot later in the move...
This is clearly not going to make the film... but it was funny on set as take 5 at about 4 in the morning. I got a laugh out of it.
Posted 14 June 2010 - 04:28 PM
Posted 15 June 2010 - 09:20 AM
Posted 15 June 2010 - 05:03 PM
This looks great, I especially like the spill behind the cop in the first frame grab. Keep up the good work man, hope to see you soon.
Posted 27 July 2010 - 10:13 PM
The Prod Designer wanted to see his coffee pot framed up and he also had the camera at the time.
This was the lighting setup for that shot. There's also 2 2x4 kinos on the floor giving the security guard a little more of a back light.
The kino on the desk is supposed to be as if he had a monitor looking up at him.
The scene is the cop entering and going to that desk and talking with the guard, leaving and coming back to find the guard has been shot.
This is the guard entering. So many reflections, it limited us to an extent but we were able to make due.
Note the amazing cop car we were able to get!
Outside we only had one setup for 3 shots. We lived on the jib.
Outside we had to borrow one of the buildings generators after tripping a supposedly 30A circuit with a 2k, the engineer was really helpful though and hooked us up with a 2000w genny. I was afraid of it running out of gas so I had the gaffer on the walkie queuing him to strike the light after the slate to save as much gas as possible.