Flesh and Blood
Both with much to hide, a man returns to his estranged father's home to mend a relationship that is far beyond destroyed.
This film is currently post-production 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.
Actor and director Neil Brookshire approached me to help him shoot this performance heavy short.
To give our talent the best room to perform, we approached our compositions in a minimalistic way. Of course, there was a delicate balance between the blocking and camera position. There was the occasional awkward position for an actor if it meant we could get a better composition, but thankfully they were pros and handeled well. On the whole, though, we stuck to very classic compositions for the camera and just let our actors do their thing.
We both wanted it to feel natural and realistic with the lighting. I chose to shoot this film on the A7s for its amazing low light capabilities. The location itself was small and cramped, so I didn't have much room to place any big heads. I instead opted to use practicals and silouhettes. Most of the lighting came from the lamps we stragetically placed in the room.
Additionally, we would block the actors to land on marks that gave them the best key light from one of the various practicals we had placed.
The practicals alone couldn't add enough seperation for the wide shot, so I mounted a tin-hat to the ceiling via gaff tape and directed towards the area of the frame that need the most subject/background seperation.
For close ups, I brought in a china ball diffused. I still wanted the eye light to have some spherical properties so it slightly resembled the lamps we used in the wides.
I used Nikon cine-vised lenses and shot roughly around a f4 or f5.6 (much thanks to the native ISO of 3200). Most of the shots were done with the 35mm.
I shot the film in SLog2 and graded with Allister's A7s Filmic LUT's as a base and (for style) Sony's SLog3-to-Rec709TypeA as well.
We shot the film in Boise, Idaho on a VERY modest budget.
It was an absolute pleasure working with Neil; he cares very much about the performance and finding the meaning in the overall structure of the scenes we shot. I'm very pleased with how this film came out.