You can see a copy of it online here:
http://www.emrl.com/j/downloads/NorCalPET.mov
Here are some before and after shots from the location scout and final screen grabs:
This is the doctor's office. We used the Century .6 wide angle lens adapter and a dolly in. For lighting, we turned off the overhead fluo, and dimmed down the overhead tungsten can lights. We also filled up the light panel with x-rays, strategically placing light and dark sheets to control the light. We also bounced into the upper corner just out of frame on camera left, a 500watt fresnell spot in with half CTO, to help provide a little bit of color contrast against the bluish xray prints. You can see it wrapping around the "doctor " above. Also notice the heavy prismatic bluring off on the sides, meant to emulate a defocused lens. There is also an ND grad placed sideways to darken the wall to the right. In the closeup shot on the spot we used a piece of beveled-edge glass (I picked up from a stained glass shop) to make some nice in front of the lens optical effects.
This next scene is from the waiting area. I wanted it to have a very cold, uncertain feel. We used the exesting overhead Fluo, but draped a duva teaser on the end to keep spill off the wall, in order to make a nice soft overhead source shining down. We also used a 2' 4-bank kino with CTB to light from down the hall. There is also a de-focused region and a dark vignette applied in post.
This is the main scanner room. For this shot we turned off all the lights except for the overhead fluorescents which have a nice "looking at sky and trees" fake stained glass image over them. We used the same 500w fresnell in the same config as in the doctor's office, you can see the golden light coming in from the left. We also place a 2' kino with full CTO on the floor behind the scanner to light up the cabinets behind. Finally we added a 200w fresnel with red gel shooting into the scanner tube from behind and below, to add a little high tech feel.
The last shot was a medium shot of the talent. For this one we used an ND grad at the 8-o'clock position to darken the white picket fence in the foreground, as well as a linear polo to darken the sky. We also used a shiny board for fill to help combat the harsh noon sun and overhead branches.
This picture shows it in locked position, but you could unlock and use the guide bolts to determine the level.
Here is a final shot that shows the back end where the weights will be mounted. I plan on filling the aluminum tubing with wooden dowels at this point and at the fulcrum to make it more rigid.
In case you haven’t seen this before, here is a small clip of her in action when she was smaller and cuter:
That's all I've got to say...
It's a young deer standing next to a white egret (It's like a big crane) in the river.
Always a great event. Below is a video clip from my new cell. OK, it's grainy, small and short, but it's new technology for me, so I think it's cool.
It's a benefit for the Rio Linda Public Library, and should a bit more "authentic" than the swanky affair put on at the Cal Expo last weekend...
Setting up for a dolly-out shot in the cheese Isle. Mike on Dolly grip, and Jeff Bloch on lights. In the foreground is Mark, the store liaison.
Here is the shot.
Jeff operating the jib for the opening shot.
Here is the shot, starting in a tight CU of the Koval's logo on the basket, then pulling out and up over the store.
Changing lenses in the wall-o-foods aisle.
Here is the shot. The wide angle adapter adds nice barrel distortion, vignetting, and chromatic aberration.
Working with talent in the hot foods section.
Here is the final shot, splitscreen with a CU of the hot foods.
Night 1, an airplane hangar in Lincoln, CA.
The Director, Eric Espera.
Night 2, night interior and exterior. Here I am building my new light, a 7’ 1k softbox. It took a while to build and rig, but once it was set, we were lit for the scene.
Setting the light 20’ up with a mafer clamp on to a 2x6 beam. The light had a safety cable, I wish I had one!
Once the light was set, it was worth it.
Another angle with the director and myself in the corner.
I got to fly a glidecam, yea! Always love that.
A Dutch camera trick my friend and SoCal DP Eric Petersen showed me on my first film. Thanks Eric!
This is my Father playing the roll of “The Dad”
And again, showing the lighting setup.
Here he is in the final composite.
This is a frame grab from the final edit, staring Susan Fore.
