Posts tagged Filmmaking
Battle - shot on the RED EPIC in 5K Anamorphic!

Every operator, AC or DP who has worked with a RED knows about it's many idiosyncrasies. Even sound guys hate them for the racket they make. They're prone to crashes, they're impossible to hold steady (unless you kit them out), and don't even get me started on the god-awful workflow.  And on this shoot, we had TWO of them. 

Me (with the crazy hair) and 1st AC Joshua Butt (in the cap), on set in the California desert. Photo Will Potter 

Me (with the crazy hair) and 1st AC Joshua Butt (in the cap), on set in the California desert.
Photo Will Potter 

But what other camera can give you a gorgeous, 2:40:1 using 35mm vintage Nikon glass?  Once I started to look at the footage, all was forgiven. 

A delicious and dark RED 5K Anamorphic frame.

A delicious and dark RED 5K Anamorphic frame.

With a little time in a DaVinci suite, I could make an entire reel out of what we shot on this project. Of course it helps to have rockstars in your G&E department- who tackled a myriad of never before seen power problems, killer mosquitoes, stayed relatively calm even as that thing in the forest made noises like an angry monster bringing hell along with it, and who had the discipline to remember the union rules- two shots of whiskey for every hour past the 12th. 

Me, You and Five Bucks - One Movie, One Lens.


The Poster - Me, You, Five Bucks

It was at times very difficult to make, but I love this little indie movie. it took home a quite a few film festival awards including a nomination for best cinematography, and there's nothing like peer-reviewed accolades to remind you that you're not so crazy after all (Or I could be a total nut-job, not a single faculty within my possession, which makes much more sense, is also the simpler answer, and four out of five ex-girlfriends can't be wrong).  

90% of this film is shot on a single lens- a vintage Nikkor 50mm f1.4 circa 1967 that was given to me by my father. An amalgamation of vintage Japanese steel and glass that, in my humble opinion, could easily stand up to the aesthetic pedigrees of Zeiss and Cooke. Mated to a Canon 7D and a Zacuto Z-Finder, it became the weapon of choice for me and a small crew of lovable misfits. For weeks straight we waged war against multiple, 11 page days in the middle of a cold November on the streets of NYC, and managed to emerge victorious, in large part to that EXTRA STOP (f1.4) that came in very, very handy shooting exteriors during a time of year when the sun comes around the shortest. 

A vintage Nikkor 50mm f1.4 - the new normal. 

A vintage Nikkor 50mm f1.4 - the new normal. 

Much love to my AC Andrea B, and the rest of the crew, but the MOST LOVE goes to the producer who disrupted the shoot with unforgettable, infantile, screaming fits like, seven or eight times and became everyone's poster child for bi-polar. Even years later, we still tell those stories.  If I had to do it again I would, because at the end of the day crazy is part of the modern skillset in this industry,  and, if I'm really honest,  I've done much, much worse.  May all of us laugh joyfully and hysterically at our past transgressions.  You're the best, boo, wherever you are. 

Watch the trailer: Me, You and Five Bucks  now available on Amazon and other fine content aggregators.