“Grief Stricken” was the insane project that I volunteered myself for because I had already committed to shooting it for CMCL’s “Double Exposure” student film festival. The idea of “Double Exposure” is that a student filmmaker is paired with a student composer from the music school and they work together to create an original work. Anyway, I had already pitched a short at the “Double Exposure” speed date secession where we had two minutes to meet composers and assess who we might want to work with on this project so the problem for me was figuring out when I was going to film this additional film on top of my already busy schedule with Cinematography and the Motion Picture Production Class.
The solution came when Jim had a time-slot open in our schedule in Cinematography. The problem, I had two weeks to turn around and get all of the production elements in place. Another problem, the week prior to shooting “Grief Stricken” I was shooting “The Red Room” sooooo one may see how my life became a bit complicated. Not to mention the fact that I was also producing Sahar’s monster of a project “Memory Box” the week after “Grief Stricken”. My moaning aside, this actually turned out to be a relatively painless shoot.
It involved four locations: an exterior of a newspaper building, a home, a cemetery, and an interior with a pull down window. No problem right? Well, mostly, no problem…my first attempt at securing the newspaper building fell with the turn of the seasons but my second attempt went off like bottle rockets. I also easily secured a friend’s home to shoot at and I was able to secure Rose Hill Cemetery as I had shot a scene from “The Babbling Banshee” there. My bane however, came in the form of the pull down window. I went to seven, count them seven different locations before securing a location.
The day of the shoot started with a little tension because we had had very little sleep the night before as we had shot “The Red Room” pick ups until 2am and so we were tired and there was a miscommunication between Tyrone and myself. However, he and I quickly sorted that out and we were able to move forward with a brilliant shoot. Everything went smoothly from there on out except for a misplacement of a camera mount plate for the Bolex Reflex. Sahar was able to compensate beautifully and pulled together all of the shots so that we had no other hick-cups.
Another major win was that eleven extras agreed to help us and be part of the climatic scene in the cemetery, where everyone opened there umbrellas to reveal the punch-line of the pieces. Ahhhh but to see the punch-line you will have to watch the short. I am at this moment still waiting on the return of the film so that I may start editing the film. Susanne over in CMCL is going to have the 16mm transferred digitally for us, which is awesome because I also shot with my XH-A1 and with a little Aftereffects magic I will be able to use both sources so that I may use the best footage from both cameras.
Well dems my thoughts on this production – I am sure there will be more to follow.