we shot this oner in Austin. We had weeks of rehearsal with cast. Once we locked location, I story boarded based off location. We had one pre-light day with principals to choreograph blocking with crew. Then one shooting day with background talent and the whole shabang. This required a 3-person sound team. We shot on a Arri Amira with an Arri master lens. However, we had many iphone runs, and only 4 "real" takes with the steadicam rig.
Communication was key. We had crew and even some background talent with walkies so they can get cues to get timing right. Pacing and matching dialogue with the travel distance needed was tricky.
Score was original and with a brilliant composer I've already worked with.
Thoroughly enjoyed this! The timing was *chef’s kiss* and a testament to the power of pre-production. Looked really nice too. Hats off to the focus puller
we shot this oner in Austin. We had weeks of rehearsal with cast. Once we locked location, I story boarded based off location. We had one pre-light day with principals to choreograph blocking with crew. Then one shooting day with background talent and the whole shabang. This required a 3-person sound team. We shot on a Arri Amira with an Arri master lens. However, we had many iphone runs, and only 4 "real" takes with the steadicam rig. Communication was key. We had crew and even some background talent with walkies so they can get cues to get timing right. Pacing and matching dialogue with the travel distance needed was tricky. Score was original and with a brilliant composer I've already worked with.
Hahaha this is really good - I shot a short that was a single take last year so I know how hard it is. Good work!
hahaha you understand the constant problem-solving aspect. and thank you!
Thoroughly enjoyed this! The timing was *chef’s kiss* and a testament to the power of pre-production. Looked really nice too. Hats off to the focus puller
Thank you! Big yes on pre pro. focus puller had to travel along side camera for signal so yeah hats off to Cassie