Shooting Journal. Day 10.

I hate being away from set. Thats one of the biggest things I’ve learned from a producing point of view. When I’m on camera I let my producing responsibilities go, as much as I can. When I’m not on camera I’m at the monitor watching as the scene comes together. After all this time of writing and preproduction, it’s a thrill to watch the pieces come together.  Jon is also very good about fielding the odd comment from me which has made this collaboration all the more enjoyable. His willingness to listen is also very helpful since I’m basically the “second unit director” calling the show when Jon is working on camera.

Tonight I was pulled away from set to drop an actor off and to pick up some props from the grocery store. Wondering about the images being shot eats away at me like a kid waiting to open a Christmas present. But that is part of producing: get done whatever needs to be done.

Fletcher and Michael gel the fridge light

Night exterior shoots are difficult.  It’s the set ups that require the most gear to pull off. Cinema cameras require a lot of light and theres really no way around that fact.  Sure you can shoot day for night, but that never looks as good as shooting during the night.  The quality of light is never as detailed and rich in day for night.

Our skeleton crew is doing a great job to get us lit for the multitudes of night exterior shots that play throughout the film. Michael is also doing a nice job to embrase the limitation, as opposed to being shut down by it. He’s choosing interesting looks and maximizing the framing he has available. We don’t have the money to float a big helium light balloon, which is the best way to evenly light a night exterior. So, we’ve got to be very specific about how we’re covering a scene since the only justifiable light is light from the house or moonlight.

In this set-up sound is trying to figure out the best way to cover the scene given that its a fairly wide shot.  That constant noise you hear in the background is Lake Ontario coming on to shore. The lights and diffusers set up are our key light for the scene, getting their justification from what would be moonlight.

We ended the night with a fantastic sunrise.  The sunrises over the lake have been a treat waiting for us at the end of each night. Needless to say, that’s not something I see in Brooklyn.

The only way to end an overnight shoot

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2 Responses to Shooting Journal. Day 10.

  1. Diane Guthrie says:

    Thanks for all your great blogging! It’s been fascinating getting a behind-the-scenes look at independent film-making. I’m a huge fan of Jon Lindstrom, so it’s especially interesting to me to get to see his directing side! Thanks! Looking forward to more.

    • Hey Diane.

      Thank you for reading the blog and taking the time to comment. As a fan of Jon’s you know the quality of his acting work. His work as a director is no different! Jon has created a wonderful vision for the movie and he is doing a knock out job bringing it to fruition.

      Thank you for reading.
      Jeff B

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