A husband hides his zombified wife from his bitter father-in-law.
This film is currently touring the film festival circuit and is unavailable for public online viewing. If you would like to screen this film for a sample of my work, please contact me via email.
Jess Rigdon is a producer living in LA. She contacted me, through the recommendation of Josh Garvin, to shoot her film Daisy. Written by Josh, the film is a very dark comedy focusing on Todd and his father-in-law months after the zombie apololypse has ended. Todd discovers his wife, who is has been zombified, living in the freezer of his and his father-in-law's butcher shop.
This seemed like a cute film, and it very much is, but Josh wanted the piece to feel dark and moody. The juxtaposition of scary lighting and the aboslutely ridiculuous story is the perfect combination for horror comedy.
One aspect of the film Josh and I loved was the Hollywood Close Up. Whenever Todd believes he's seeing his beautiful wife, I threw on a Black Pro Mist into the camera for a beautiful soft glow on her. Furthermore, I made the light perfect on her for those close ups, but returned to the gritty environment for the other angles.
Green was a particular color I loved to use as a little addition to the freezer scenes. It's not over powering, but enough to add a sickly feel (which helps contrast the very healthy and saturated Hollywood close ups).
The freezer itself was actually part of a garage converted into a walk-in freezer by our production designer Hendrick Onderdonk. Absolutely believable on all the work he did for that space. With just a touch of fog to give the idea of a cold room, we had a "working" walk-in freezer.
I had my gaffer, Matt Krueger, install two lights overhead in the freezer: a practical floursescent to be seen in the shot, and a 4x4 kino above out of the shot. Matt suggested the kino would help keep a consistent level after we discovered how dark the room gets during our flickering light gag.
The flicker affect was acheived by dimming the flourescent fixture. This caused the light to flicker instead of dim and I loved it. We only used this effect to add intesnity to certain moments in the script. For most of the scenes, however, we kept it at full power with no flicker.
All of our interior butcher shop scenes were done at night. The tricky part is, 75% of the scenes take place during the day. It was a decision on productoin's beacuse the location would let us only shoot at night. To make up for this, Matt and key grip Michael Gleeson helped set up white diffusion surrounding the windows we see in the shots. From there, they blasted light into them to thoroughly blow out the windows. This gave the illusion of daytime and provided all the light I needed for the scenes.
Matt saved my butt on a particular interior night scene. I rarely use fill, mostly out of taste, but also beacuse it adds more complexity to my shot that I hate. However, a wide shot of a night scene had too dark of a wall in the back. Matt pointed it out and suggested I bring the fill up in the back part of the room. Reluctantly, I agreed. After watching the dailies, it was clear that Matt made a very good call. I overestimated the 5D's shadow fall off and would have lost information in the back part of the room entirely. Matt saved the shot and I thank him for it every day.
This was my first time using Rokinon Cine Primes. They're very user friendly and my AC, Sara Clouse, loved them. The image quality was fair and the speed was good. For the price, they're actually quite good.
I want to thank Jess for bringing me on to shoot this project. Furthermore, it's always a pleasure to work with Josh on another project. By far, he's one of my favorite directors to work with.