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Finding Hope Now Production

by:Goshen     2020-07-01
From May 25 to June 24 the employees of Red One were the camera department and equipment providers for the Full-length Feature 'Finding Hope Now' This Digitally shot feature film was entirely recorded with the use of two RED One Cameras. The McAleece Brothers were the two camera operators and they had a lot of fun on the production. The film starred Emmy Winning actor and all-around great guy Michael Badalucco and the Nickelodeon star and great up and coming actor Avan Jogia. We shot the feature almost entirely at 250 ISO except in very specific situations where there were to turn up the sensitivity to 400 ISO which of course doesn't affect the actual sensitivity of the camera but only the metadata. We used Zeiss Super Speed lenses for the entire feature film except for a few situations when we needed fast zooming and movement and the RED 18-50 was a better personal preference. The 18mm Zeiss was used sparingly because of the characteristics of how it pans and tilts. The Director of Photography Shane Foster thought of it a lot more of a specialty lens and so he employed it sparingly. The 25mm, 35mm, 50mm and 85mm were used very often and we had lots of times when Ian would shoot coverage with the 85 and I would shoot the master without the pain . 25 or 35. We were a lot of extra shots this way that never would have happened if we had merely one camera. There was a nice amount of hand held shooting in the film and we utilized our awesome custom shoulder mount made by local DIY extraordinaire Gary Sconce. Concerning filters we used a variety of different ND setups with and without matte boxes. There were times when we used the IR setups and this happened ANY time we shooting with a neutral Density of .9 or a whole lot. With on-site testing and the wealth of knowledge that we had gained form Pre-Production we knew that the Infra Red contamination was definitely noticeable at anything over ND.6. We had our Graduated ND and Polarizer and 1/4 CTB have been not used that often but were valuable in key events. I would use them whenever the lighting was uncontrollable or failed to provide the RED with optimal color balance, reflections or brightness levels. You have to remember that the harder tools that have an a cameraman's or DP's disposal much more chance there is to give that perfect little boost to the image or fix a troublesome issue. I am also buying a CTO screw on filter and 4x5.65 for when the exteriors are very shade lit along with the RED wants to balance to something very high regarding the kelvin scale like 7000 or and thus. As for screw on filters we employed them a good because between 2 RED One cameras it was ordinarily a better situation to purchase no matte boxes on and only a screw on ND.6 on both. Sometimes depending on what number of stages we had available in each matte box constantly diversify your marketing use 2 screw on ND's as well as an IR filter in a single stage and a polarizer or graduated ND in the opposite stage. Sometimes it is quite a task to keep 2 cameras going with multiple lens, ND, Compact Flash Card, filters and such like all going on at once. Having screw on filters can definitely simplify things in specific situations and result in under weight and quicker setups. The best practice is always determined by the shot and meals and drinks though and so there is not one way to always do everything. Before the shoot I asked around about screw on filter threads on the Zeiss Super Speeds Mk 3 but happened to be a lot of answers. On the set we used there were threads on the 18mm the 50 as well as the 85. There weren't any threads on the 25 or thirty-five. How weird is that? This made lens swaps annoying under certain situations but helped us to determine what approach we would take depending on the scene. Since we sent our RED One Camera #759 back easily into RED headquarters to have insurance upgraded before any feature we a new and great experience a problem camera and didn't in order to be deal by incorporating of the problems that were there before the upgrades. The business include things which are great towards the upgrade included the new audio board that had much better performance producing the on camera phantom power usable for the very time for a full time usable option rather then the last resort noise ridden, scratch track option. Young kids i-pin support was also cool for the RED 18-50mm lens. Overall the film was loads of fun to shoot. We'd like to thank Skin Mead the Executive Producer for having us on his show and the director Jennifer Tadlock for letting us have quite a lot of room for creativity with the shots the we could do as operators. There was an excellent time with DP Shane Foster and he was great to collaborate with all of us had to get down to business and look for a for you to get the shots we needed. My old buddy Joaquin Juarez was the Assistant Director on Finding Hope Now and bought along great but I was expecting that since we had worked together on a single my previous features Sinister Heaven. Two LA guys came in for the show and really helped out hugely. Have been Line Producer Stephen Ritchie and UPM Allan Hagan. My friend Mark Aro did lots of key jobs on set and was very instrumental in the success of your shooting. His brother Mike Aro seemed to be great on sound. Nick Soares was the producer and Red One Rental looks toward working with him later on in life this year on his next feature which end up being a regarding fun. Christine Mitchell was our Pre Pro Production Manager / Coordinator combined with the assistance of my bride Nicole McAleece and then during production she transferred over to Scriptie and was excellent a keeping a keen eye exactly what the lens saw. My 1st Assistant Camera was Tyler Groom. I gave him an awkward time but he was very cooperative and did a superb job in one of his 1st projects. A last minute addition and huge help was my 2nd AC Robert Abilez who was simply super chilled. I loved the whole Grip and Electric Crew which included Troy Ruff, Ian McAleece, my old friends Alan Agazarian and Jeff Smith and some new friends Jason Orosco, Edward 'Bos' Bosworth, Kyle Gentz, and a great guy that includes a lot of experience Ralph at the recently disbanded Pappas Teleproductions. Working on the set for every month you obtain to know pretty much everybody which means if Worry me at first list you by name know that i didn't forget you even more walks . was a great experience all across the globe. Now possess off to shoot our next feature Phase Two in the blistering sun of Bakersfield California but I'm sure it will turn out fantastic almost all the awesome locations and props right now lined in order for there terrific story.
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