To demystify these crucial topics, the Finding the Frame Podcast hosts one of the industry’s leading experts, Dale Nelson. As the former Vice President of Intellectual Property at Warner Bros., Dale managed the legal complexities of massive franchises like Harry Potter and DC Comics. Now a partner at Donaldson Calif Perez, she guides independent filmmakers through these very issues.

This article breaks down the essential takeaways from Dale’s interview on IP, providing a clear guide to understanding copyright, Fair Use, clearance, and the new frontier of AI in filmmaking.

(This article covers the key highlights. To hear all of Dale Nelson’s invaluable insights and stories, listen to the full, in-depth conversation on the Finding the Frame Podcast!)

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

Protecting a Universe: Copyright vs. Trademark

Managing a global franchise like Harry Potter requires a multi-layered approach to IP protection. Dale explains the two primary tools at a studio’s disposal: copyright and trademark.

Harry Potter and the Sorcerer’s Stone (2001) | Warner Bros.

Copyright protects the creative expression itself—the text of the books, the visual design of Hogwarts Castle in the films, the musical score. It’s about the art.

Trademark, on the other hand, protects brand identifiers used in commerce. The name “Hogwarts,” the house names like “Gryffindor,” and specific logos are all trademarked. This prevents others from selling unofficial merchandise like scarves or banners that could confuse consumers and dilute the official brand.

Dale notes that studios must constantly balance protecting their commercial interests against a thriving fan base. While they actively combat commercial piracy, there is often a level of tolerance for non-commercial fan creations like short films or fan art, recognizing it as genuine enthusiasm for the property.

The Nuances of Fair Use: Parody, Commentary & Transformation

One of the most powerful—and often misunderstood—concepts for filmmakers is Fair Use. It’s a legal doctrine that allows you to use copyrighted material without permission under certain circumstances.

Parody as Fair Use

A parody is a classic example. Dale cites the landmark Supreme Court case involving 2 Live Crew’s rap version of Roy Orbison’s song “Oh, Pretty Woman.” The court ruled it was a parody—and therefore a Fair Use—because it was commenting on and critiquing the naivete of the original song. This is the key: a parody must comment on the underlying work itself to be protected. Simply changing “Harry Potter” to “Barry Trotter” isn’t enough if you aren’t commenting on the world of Harry Potter.

Transformative Use and the Warhol Case

Beyond parody, the core of most Fair Use arguments is “transformativeness”—using the original work to create something new, with a new meaning or message. Dale breaks down the recent Supreme Court case Warhol v. Goldsmith, which involved an Andy Warhol portrait of the musician Prince based on a photograph by Lynn Goldsmith.

Andy Warhol used Lynn Goldsmith’s photo in art

The court focused on the purpose of Warhol’s image when it was used by a magazine. Since Goldsmith’s original photo was also licensed for magazine use, the Supreme Court found that Warhol’s work, in that specific commercial context, was not transformative; it was serving the same market purpose as the original. This case, Dale notes, is highly specific to its facts and has not fundamentally changed how Fair Use applies to most documentary and narrative film contexts, where a film clip is used for commentary or criticism, a very different purpose than its original entertainment function.

Fair Use in Practice: The Professional Workflow

So, how can you confidently use a clip from another film in your documentary or a real-world photo in your narrative film? Dale emphasizes that relying on Fair Use has become common practice, largely because productions can now get insurance for it. The professional workflow involves two key steps:

1. Get an Opinion Letter: You must consult with an experienced IP lawyer (like Dale). They will review your project and every instance of unlicensed material, providing feedback on what qualifies as Fair Use and what might need to be licensed or removed.
2. Obtain E&O Insurance: With a favorable opinion letter in hand, you can obtain Errors & Omissions (E&O) insurance that specifically includes a “Fair Use endorsement.” This protects your production from potential legal claims and is essential for securing a distribution deal.

On-Set Minefields: Common Clearance Issues to Avoid

Many distribution deals are delayed or jeopardized by clearance issues that were overlooked during production. Dale highlights the most common culprits:

Protecting People: Right of Publicity & Digital Replicas

Separate from copyright is the Right of Publicity, which protects a person’s name, likeness, and voice from being used for unauthorized commercial purposes (like an advertisement).

However, this right has a crucial exception: biographical works. Dale explains that under the First Amendment, filmmakers have the right to tell stories about real people, living or deceased, without their permission. Requiring consent would amount to censorship. She cites the seminal case involving the film The Perfect Storm. In this case, the court affirmed that the biographical film was an expressive work, not a commercial one. Therefore, it was not a violation of the deceased fishermen’s publicity rights.

The Perfect Storm (2000) | Warner Bros.

This principle extends to Digital Replicas. The recent SAG-AFTRA agreement requires actor consent for their digital replicas to be used. However, it includes exceptions for expressive works like biographical films.

The New Frontier: AI, Deep Fakes, and the Law

The rise of AI presents a new and rapidly evolving set of legal and ethical challenges.

Deep Fakes vs. Digital Replicas

Dale distinguishes between “deep fakes,” which often have a negative connotation of malicious use (like non-consensual pornography), and “digital replicas,” the term more commonly used in entertainment.

AI and Copyright

A critical point for creators: the U.S. Copyright Office has affirmed that a work generated purely by AI is not copyrightable. This is because it lacks the necessary human authorship. The level of human input required to gain copyright (e.g., through prompting) is still a heavily debated topic.

Ethical Guidelines

Dale recommends filmmakers using AI, especially in documentaries, consult the guidelines from organizations like the Archival Producers Alliance (APA). These guides stress the importance of historical accuracy, transparency with the audience about AI use, and understanding that AI scrapes from the existing internet, which may not represent the full, undigitized historical record.

The Bottom Line: Protect Your Vision

Navigating intellectual property is a fundamental part of professional filmmaking. Understanding the basics of copyright, trademark, Fair Use, and clearance is essential for protecting your project and ensuring it can reach an audience. As technology like AI continues to evolve, staying informed and seeking expert legal guidance isn’t just a good idea—it’s a necessity.

To hear Dale Nelson’s full, in-depth discussion, including more anecdotes from her time at Warner Bros. and further details on these complex topics, listen to the complete episode of the Finding the Frame Podcast on the Filmmakers Academy platform!

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In the high-stakes world of medical dramas, authenticity is key. But how do you create a visual language that captures both the frenetic energy of an emergency room and the internal lives of the doctors and patients who inhabit it? That was the challenge facing cinematographer Johanna Coelho on HBO Max’s The Pitt. The new medical drama takes a fresh perspective unfolding over a single, continuous 15-hour shift. In this exclusive Finding the Frame Podcast interview, host Chris Haigh delves into Coelho’s unique approach, her journey from France to Hollywood, and the innovative techniques she employed to bring The Pitt’s intense, immersive world to life.

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

JOHANNA COELHO: A CINEMATOGRAPHER’S JOURNEY

Johanna Coelho’s path to becoming a sought-after cinematographer results from her passion for visual storytelling and her willingness to embrace diverse experiences. Her background is a fascinating blend of European and American influences. She studied at the prestigious Sorbonne in Paris but also honed her technical skills at a technical school in France. The latter helped ground her artistic vision in a solid understanding of the craft. Coelho further refined her skills at the American Film Institute (AFI) in Los Angeles. She was drawn to the city’s vibrant film industry and the opportunity to merge her love for emotionally driven storytelling with a more expansive visual language.

Photo courtesy of Johanna Coelho

Coelho describes herself as a “visual psychologist,” a phrase that perfectly encapsulates her approach to cinematography. She’s not simply capturing images. She’s interpreting the emotional states of characters, translating their inner worlds into a visual language that resonates with the audience. This approach is evident in her work across a range of genres. These include everything from documentaries to horror films to episodic television like The Rookie and now, The Pitt.

THE PITT: INSIDE A 15-HOUR SHIFT

The Pitt is not your typical medical drama. Inspired by shows like ER, but aiming for a heightened sense of realism, the series unfolds in real-time over a single 15-hour shift in a busy Pittsburgh emergency room. This ambitious concept demanded a unique visual approach. One that could capture the constant movement. The unpredictable nature of medical emergencies, and the emotional toll on the staff.

The show’s creators, including executive producer John Wells (known for ER and The West Wing), were adamant about avoiding the clichés of the genre. They showed Coelho examples of other medical dramas and explicitly stated, “This is exactly what we don’t want.” This mandate for a fresh, authentic visual style perfectly aligned with Coelho’s approach.

CREATING A 360-DEGREE WORLD: LIGHTING AND SET DESIGN

One of the most striking aspects of The Pitt’s production was the creation of a fully functional, 360-degree set. This wasn’t a collection of disconnected rooms. It was a complete, interconnected environment where the camera could move freely, capturing the action from any angle. This immersive approach was crucial for achieving the show’s desired sense of realism and immediacy.

Coelho collaborated closely with production designer Nina Ruscio to design the lighting for this unique set. They faced a significant challenge: how to light a space that could be viewed from any direction. All without relying on traditional film lighting techniques (which often involve placing lights and stands outside the set, pointing in).

Photo courtesy of Johanna Coelho

An Ingenious Lighting Solution

Their solution was ingenious: to integrate the lighting into the set itself. They meticulously tested and selected different types of fluorescent troffers for the ceilings, eventually replacing the standard tubes with custom-built LED strips. These strips, bi-color and dimmable, provided a consistent, natural-looking base light that could be adjusted to match different times of day and create subtle shifts in mood. They also chose 50 shades of white for the walls.

They also incorporated practical lighting — lamps, overhead cans, and other fixtures — into the set design. These practicals not only added to the realism but also provided motivated sources of light that Coelho could use to shape the image and create depth. For example, warmer-toned cans were used above doorways, providing a subtle contrast to the cooler overhead lighting.

Photo courtesy of Johanna Coelho

This integrated approach to lighting allowed for an unprecedented level of freedom and flexibility. The camera could move seamlessly through the space, capturing long, continuous takes without the need for constant relighting. It also created a more immersive environment for the actors. Thus, allowing them to move and interact naturally without being constrained by traditional lighting setups.

CAMERA MOVEMENT AND LENSING: CAPTURING THE CHAOS

The camera work in The Pitt is as dynamic and unpredictable as the environment it depicts. Coelho chose the ARRI Alexa Mini LF as her primary camera, appreciating its compact size, large-format sensor, and cinematic image quality. This allowed for a handheld, documentary-style approach, putting the viewer right in the middle of the action.

Lens Choices

The choice of lenses was equally crucial. On the A-camera, Coelho primarily used Angénieux Optimo Primes (often a 50mm or 75mm). These provided a consistent visual language and a naturalistic perspective. The B-camera, often used to “steal shots” and capture unexpected moments, was equipped with an Angénieux Optimo Ultra Compact Zoom (37-102mm). This zoom lens allowed the B-camera operator, Aymae Sulick, to quickly reframe and capture details without interrupting the flow of the main action.

Camera Rig

One of the most innovative techniques employed on The Pitt was the use of the “Z-rig” (also known as a Zero-G). It’s a handheld camera support system that utilizes a Steadicam vest and arm. This rig allows for the fluid, dynamic movement of a handheld camera, but with significantly greater stability and control. It also allows the operator to change camera height seamlessly, following actors as they move through the space.

This combination of camera, lenses, and support systems allowed Coelho and her team to capture the chaotic energy of the emergency room while maintaining a cinematic aesthetic. The camera moves with the characters, following them through crowded hallways, capturing their interactions, and immersing the viewer in the heart of the drama.

AI’S ROLE IN THE PITT: ENHANCING, NOT REPLACING

While The Pitt embraces a naturalistic, documentary-inspired aesthetic, Coelho is not averse to using new technology to enhance the filmmaking process. She acknowledges the growing role of AI in filmmaking but emphasizes that it should be used as a tool, not a replacement for human creativity.

For example, AI could potentially be used for tasks like…

SHOT LISTING AND STORYBOARDING

AI could analyze a script and suggest potential shot lists or storyboard ideas, based on established cinematic conventions or the styles of specific directors.

LIGHTING PREVISUALIZATION

Likewise, artificial intelligence could be used to simulate lighting setups in a virtual environment, allowing cinematographers to experiment with different looks and plan their lighting strategies more efficiently.

COLOR GRADING

Additionally, AI could assist with color grading tasks, such as matching shots or creating consistent looks across a scene.

OBJECT REMOVAL

With a 360 set, there are bound to be moments when a crew member is seen on camera. AI could assist with removing the person.

However, Coelho stresses that AI should not replace the human element of filmmaking. The artistic vision, the emotional interpretation, and the collaborative spirit that define the best cinema cannot be replicated by algorithms. AI should be seen as a tool to augment human creativity, not to supplant it.

ADVOCATING FOR LOS ANGELES: A CALL TO ACTION

Coelho also expresses her concern about the current state of the film industry in Los Angeles, with many productions moving to other states or countries due to tax incentives and lower costs. 

She advocates for more film productions to be based in Los Angeles, supporting the local film industry and the talented crews who call the city home. This is a sentiment shared by many filmmakers who value the unique skills, resources, and creative energy that Los Angeles offers.

THE BOTTOM LINE

Johanna Coelho’s work on The Pitt exemplifies the power of innovative filmmaking techniques and a deep understanding of visual storytelling. Her blend of documentary-style realism with cinematic artistry, her collaborative approach, and her willingness to embrace new technologies make her a cinematographer to watch. Coelho’s journey from France to Hollywood is an inspiring example of how passion, dedication, and a willingness to learn can lead to success in the competitive world of filmmaking.

FINDING THE FRAME PODCAST AND FILMMAKERS ACADEMY: A RESOURCE FOR ASPIRING FILMMAKERS

This article is based on an interview with Johanna Coelho on the Finding the Frame Podcast, a valuable resource for filmmakers seeking insights from industry professionals. The podcast, hosted by Chris Haigh, provides a platform for in-depth conversations with cinematographers, directors, production designers, and other key figures in the film industry.

Filmmakers Academy offers a comprehensive online learning platform for aspiring and established filmmakers. Filmmakers Academy provides the knowledge and skills needed to succeed in the industry. Get courses covering all aspects of filmmaking, from cinematography and lighting to editing and sound design.

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This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

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Deconstructing The Brutalist: Cinematography & Production Design

In a captivating episode of Finding the Frame, host Chris Haigh dives deep into the visual world of Brady Corbet’s The Brutalist with two of the film’s key creative forces: cinematographer Lol Crawley, BSC, and production designer Judy Becker. Both Academy Award nominees, Crawley (known for Vox Lux, The Childhood of a Leader) and Becker (American Hustle, Carol) bring a wealth of experience and a shared passion for visual storytelling to this unique project. 

This article unpacks the key insights from their conversation, exploring collaboration, creative problem-solving, and the art of crafting a film’s visual language.

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

MORE INTERVIEWS WITH CINEMATOGRAPHERS: How To Become a Cinematographer with Todd Dos Reis, ASC Standardizing Exposure with the El Zone System with Ed Lachman, ASC Cinematographer Mandy Walker Behind Making of Elvis Film Cinematically Recreating the Life of Mike Tyson with DP Brendan Uegama, CSC Cinematography Mentorship with Shane Hurlbut, ASC Finding the Frame: Alice Brooks, ASC

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A SHARED VISION

The episode opens with a glimpse into the origins of Crawley and Becker’s filmmaking journeys. Crawley recounts his early fascination with the “dreamy, melancholic” images of music videos and the influence of cinematographers like Robbie Müller (Paris, Texas). This early exposure to evocative visuals, combined with hands-on experience in news and documentary filmmaking, shaped his responsive, yet highly stylized, approach. 

Becker, on the other hand, describes a lifelong love of art, interior design, and cinema. It’s a passion that ultimately coalesced into a career in production design. Her approach is deeply rooted in research and a desire to create authentic, yet expressive, worlds.

Both filmmakers emphasize the importance of trust and a shared vision when collaborating with a director. For Crawley, working with Brady Corbet is a given. He implicitly trusts Corbet’s artistic instincts. Becker, similarly drawn to Corbet’s directorial vision after seeing The Childhood of a Leader, highlights the collaborative spirit that defines their creative process.

Judy Becker speaks to the enjoyment of creating the visual world. It’s a highlight for her. She describes the lookbook and ideas presented before meeting the director.

It is a process that has gotten harder now with the evolution of virtual meetings. The conversation also delves into the importance of thorough production meetings, especially on a lower-budget, ambitious project.

DRAWN TO THE BRUTALIST: TRUST & VISION

For Lol Crawley, the decision to join The Brutalist was almost instantaneous. Having collaborated with director Brady Corbet on previous projects (Vox Lux, The Childhood of a Leader), Crawley had complete faith in Corbet’s artistic vision.

He describes Corbet’s films as “thought-provoking,” highlighting the kind of cinema that sparks conversation and lingers in the mind — precisely the kind of work that drew Crawley to filmmaking in the first place.

Judy Becker’s connection to the project was equally strong, albeit rooted in a slightly different experience. Having been deeply impressed by Corbet’s The Childhood of a Leader, Becker actively sought out opportunities to work with him.

She describes her initial reaction to the film as “awe-inspiring,” recognizing Corbet’s mastery of all aspects of filmmaking. This admiration led her to persistently pursue a collaboration, a testament to her director-driven approach to choosing projects.

DESIGNING THE VISUAL LANGUAGE: VISTAVISION & THE ARCHITECTURE OF EMOTION 

One of the most striking aspects of The Brutalist is its use of VistaVision, a large-format film system originally developed in the 1950s.

Crawley explains that this choice was driven by a desire to capture the scale and grandeur of brutalist architecture without the distortion that can occur with wider-angle lenses on smaller formats.

VistaVision, with its larger negative area and wider field of view, allowed them to “celebrate the space” while maintaining a strong connection to the characters.

The choice of VistaVision wasn’t merely a technical one. It was deeply intertwined with the film’s thematic concerns. Crawley emphasizes that the format allows for a unique balance between “celebrating the space and the performance.”

It avoids the overly close, “television” style of coverage, instead allowing the architecture and the characters to coexist within a larger frame, creating a sense of both intimacy and grandeur.

BRUTALISM AS A CHARACTER: MORE THAN JUST CONCRETE

For Judy Becker, the challenge of The Brutalist lay in bringing the architecture itself to life, making it a character in its own right. The central structure, the Institute, is not simply a backdrop. It’s a reflection of the protagonist, László Tóth’s (Adrien Brody) inner world. His past traumas and his aspirations.

Becker describes the Institute as a “factory-slash-crematorium disguised as a church,” a deliberately unsettling design that reflects Tóth’s subversive intentions and complex relationship with history. She draws inspiration from real-world structures, including a synagogue in New York with a hidden symbolic design only visible from above. This idea of hidden meaning, of a building that reveals its true nature only from a specific perspective, resonates throughout the film.

The stark, imposing nature of brutalist architecture is intentionally juxtaposed with moments of softer, more naturalistic design, reflecting the evolution of Tóth’s work and his personal struggles. The construction site itself becomes a character, with its evolving textures and forms mirroring the passage of time and the complexities of the building process.

CHALLENGES & TECHNIQUES: FILMING THE UNFILMABLE

Shooting brutalist architecture, with its vast, often unadorned spaces, presented unique challenges for Crawley. He describes a balancing act between formalism and intimacy, finding ways to capture the scale of the buildings while still maintaining a connection to the characters’ emotional journeys.

The film employs a mix of camera styles, from static, formally composed shots to more fluid, handheld movements. All in all, camera movements are dictated by the needs of each scene.

A particularly striking example is a complex, one-take sequence where the camera transitions from Steadicam to handheld and back again. All within a single shot. This audacious technique, executed flawlessly by operator Attila Pfeffer, reflects the filmmakers’ willingness to push boundaries and find creative solutions to technical challenges.

ADAPTING TO FILMING IN HUNGARY

The Brutalist, while set in America, was filmed in Hungary. This presented both opportunities and challenges. Crawley discusses the need to adapt lighting techniques to real locations. He strives to replicate the natural light that initially attracted them to a space. He also emphasizes the importance of observation and of creating a consistent, believable world. Keep in mind, that this is even when filming in a location that doesn’t perfectly match the story’s setting.

Becker’s production design played a crucial role in creating this believable American setting. From carefully chosen furniture and props to the strategic use of color and texture, she transformed Hungarian locations into a convincing representation of mid-century America.

EMOTIONAL & THEMATIC CORE: FINDING THE HUMAN STORY

Ultimately, The Brutalist is not just a film about architecture; it’s a film about people. Both Crawley and Becker emphasize the importance of finding the emotional core of the story. Especially, using their respective crafts to convey that to the audience.

Becker highlights the opening scene. It features a tense interrogation as a particularly effective example of how design can contribute to the emotional impact of a scene.

Crawley points to the Statue of Liberty sequence. A visually striking and thematically resonant moment that evolved throughout the production process. This is a testament to the power of collaboration and creative adaptation.

ADVICE FOR UPCOMING FILMMAKERS: FIND YOUR VOICE

Both Crawley and Becker offer invaluable advice for aspiring filmmakers. Becker stresses the importance of having a “source of inspiration.” A deep-seated passion for design that fuels the creative process. She encourages aspiring production designers to cultivate their own unique visual library. Draw inspiration from art, architecture, and the world.

Crawley echoes this sentiment. He urges cinematographers to “have something to say.” He emphasizes that technical proficiency is essential, but it’s not enough. A truly great cinematographer must have a personal vision. Moreover, a unique way of seeing the world, and translating that vision onto the screen. He encourages aspiring filmmakers to nurture your own “authorial voice” and to trust their instincts.

THE BOTTOM LINE: A MASTERCLASS IN COLLABORATION & VISION

The Finding the Frame conversation with Lol Crawley, BSC and Judy Becker offers a rare glimpse into the collaborative process behind a visually striking and emotionally resonant film. Their insights on visual storytelling, technical problem-solving, and the importance of a strong personal vision are invaluable. Particularly, for filmmakers at any stage of their careers. 

The Brutalist stands as a testament to the power of collaboration, the enduring appeal of classic filmmaking techniques, and the transformative potential of a bold artistic vision. This podcast is a masterclass for all filmmakers.

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Navigate the Film Industry like an Entrepreneur with Edgar Esteves

Award-winning filmmaker and activist Edgar Esteves drops into the Filmmakers Academy studio to chat with Brendan Sweeney about what it takes to create a successful business in the film industry. Listed in Forbes 30 Under 30 in 2020, Edgar discusses some serious truths about the industry, like whether you need an agent or representation, or if you can navigate a prosperous career on your own. Not only that, but Edgar shares insights into how he manages his own business relationships. 

This is a must-watch for filmmakers rising in their careers. Edgar gives some serious advice about ego and what you should look for in colleagues running a production company. 

LISTEN TO THE FULL EPISODE

FOCUS ON RELATIONSHIPS OVER MONEY

We say it over and over again, relationships spark and sustain careers! However, one of the biggest mistakes filmmakers make is focusing too much on the money at first. Sometimes you have to build trust and show that it’s not just about business. For instance, you may want to grow with a certain accomplished filmmaker or even brand. 

Busta Rhymes complimented producer and director Edgar Esteves for doing just that. The rapper previously worked with an editor who charged an extra $10K to show up to set. However, with Edgar, it wasn’t like that at all. Edgar never brought up money and displayed his appreciation for the opportunity. To Edgar, he was more interested in earning his trust. $10K can come and go but it’s the relationship that can last forever. 

That said, Edgar also notes that it’s a risk and they can tell you to kick rocks. So, it also depends on the person, and you want to be cognizant of who you do a favor for. 

“If it works out, then amazing. If it doesn’t, then I understand that you know what, I tried my best. And maybe there’ll be another opportunity come in the future. But I think earning people’s respect is more [important] than anything. Like, I don’t even have a commercial rep. How are we doing a tequila commercial today? It’s because I know certain people, you got me? It’s all relationships. The people that I was good to six, seven years ago, are now in a position where they can make the decisions and come back to me.” 

Of course money matters, but that will come later. And in the long run, you will earn much more as a result of the relationships you make. On the flip side, if you’re hiring filmmakers, always treat them fairly and nicely. If you have an opportunity to pay someone a little extra because they earned it, do it. It might sting in the short term, but in the long run, Edgar insists you’ll make it back 10 fold. 

DO YOU NEED AGENTS AND REPRESENTATIVES?

Some filmmakers prefer to have the support of agents and representatives while others prefer to navigate the industry by their own networks and relationships. There is absolutely nothing wrong with either choice and depends on the filmmaker. 

So, for a self-starting filmmaker like Edgar Esteves, he shines in front of people and navigates the industry with an entrepreneurial spirit. While others may prefer to do the job and go home, Edgar embraces the opportunities in the film industry and fearlessly takes charge of his career.

According to Edgar, your success is about who you surround yourself around. He quotes Kendrick Lamar who said it hurts the most when you fall from the top. With that in mind, Edgar didn’t want to be at the top of his career only to crumble because of his ego. So, he surrounded himself with childhood friends and family to help run his business. 

“If you fall, we all fall together,” explains Edgar. “And if we rise, we all rise together. And that’s kind of how I like to build my company. And it does take a lot of hard work. But you have to remove your ego, and just be like, I’m gonna be that person to bring all this together. And whether I get credit for it or not, I don’t care. You got me? It’s just more so I want to help these people. I think it’s the right thing to do.” 

In the agency they opened, Edgar ensured that everyone on the team had equity in it. Some people will invest all their time into a company and one day they leave and that’s it. Edgar doesn’t feel that is moral and prefers to run his business fairly. 

WHAT TO LOOK FOR IN A DIRECTOR

Edgar believes resilience is the most important characteristic for any director, producer, or other kinds of filmmakers. 

“Are you going to let this life beat you up,” asks Edgar, “Or are you going to rise to the occasion and rise like the phoenix that you are?” 

There are plenty of opportunities to lose it on set. Between all the filmmakers, labels asking questions, and collaborating with celebrities, it can be a lot to manage. Especially when everyone has a hand in the pot and wants their voice to be heard. 

However, at the end of the day, it’s up to the director to manage all the personalities around them. You must be able to handle your emotions and keep from snapping at people. 

“I’ve seen directors just be disgruntled. And everyone was like, ‘I will never work with you.’ Five years later, they have no career. And it’s sad to see. But you have to control your emotions. You have to be respectful. And you have to be willing and open to learn and understand that we’re all students. And at the end of the day, if you see something I’m doing wrong, approach me and tell me and have transparency. But I feel like nowadays, everyone’s so scared to talk to each other that no one’s telling each other.” 

Since Edgar Esteves is a director and producer who also runs his own company, he has learned when to let go and pass opportunities to colleagues. He finally reached the point where he is making music videos between the range of $300,000 – $700,000 and feels at the top of his game.  

That means he is super busy and doesn’t have the bandwidth to solely dedicate his attention to each and every project. For that reason, you will often see Edgar’s name beside fellow co-directors like Jon Primo and Juan Felipe. 

“I wasn’t even about to do the World Cup video if it wasn’t for Juan Felipe,” recalls Edgar. “That’s what people don’t understand. I was in Colombia and I was like, I was with him. And I’m like, ‘Man, I just got this opportunity to do this video. It’s called ‘Tukoh Taka’. I was like, ‘What is this?’ I listen to the song and like alright it’s cool. It didn’t have Nicki [Minaj’s] verse on it yet. But I was like, ‘Damn, I’m just really busy and I’m really focusing on my film right now.’ And then Juan’s like, ‘Yo, if it’s with FIFA, like don’t turn it down.’ I was like, ‘Alright, man, well, if you want to drop a treatment, I can look over it and give you my notes, and then we can work on it together.’ And we did that. And that’s what happened.” 

This is one of the many reasons why you want to build a team to support you. Edgar lives by the advice of none other than Jay-Z, “If everyone’s a crutch around you, you’re never gonna fall.” 

Edgar also shares his own motto: “Alone you can go fast, but together you can go far.” 

“I think that’s like a real mentality that we put into our company because we want to be in this together. And we want to rock and we’re gonna blow up together, and we’re gonna be all happy for each other’s success. Sometimes as a human, not even filmmakers, we get a little bit caught up in ego. But I’m lucky that I feel like I’ve worked on myself in the background that I come from. I’m just very grateful to have what I have.” 

DIGITAL SWORD POST-PRODUCTION

Edgar’s career really took off in 2020, which was also at the height of the pandemic. That year, he did 111 videos and business was absolutely booming. So, Edgar turned to his best friend Joan Pabon and said that they should start a post-house. 

So, Edgar and Joan approached their editor friend Cal Laird and asked him if he wanted to start his own company. Cal did but didn’t really know where to start. Edgar offered to give him the infrastructure of Blank Square to work within and build his new company, Digital Sword. 

When they decided how to split up the business by percentages, Edgar looked to Phil Knight and Nike with the 51/49 rule as an example. “This is where people can’t be greedy.” Since Edgar wouldn’t be editing, he offered outright to take a smaller percentage of the company. 

With Joan and Cal as majority owners, they came together and now have eight to ten editors working for them on a given day in a Hollywood office. They have an entire floor to themselves. Then, Edgar has one office for Blank Square there and they help offset the cost. 

“We all work together to make sure things are great. Like I have two rooms, they have four. But then when we go there, they feel like they have six rooms. And when I go take my clients, they feel like I have six rooms, because in a way we do. But that’s what is so important about trust and partnerships.” 

MENTORSHIP AND SHADOW PROGRAM

There’s so much you can learn on set but it’s a challenge to pick up everything from the ground level as a Production Assistant. Sometimes it’s best to be a fly on the wall and see everything the director is doing firsthand. Fortunately, Edgar Esteves has set up a shadowing program that brings you virtually on set with him. And all you have to do is text “Shadow” to the phone number he provides. 

“I just had this girl, Anastasia, and she came to the tech scout, the prebuild, the prelight, the shoot day, and she also came to the editing side. And she saw everything — she saw the conversations that I had with the artists, and I’m like, ‘And you got paid for that.’ So it’s like, learn. And she’s like, ‘What do I do on set?’ I’m like, ‘Nothing, learn. I’m paying you to learn.’” 

Edgar and his team at Blank Square turn down millions of dollars of work every year. They constantly receive quotes for $10,000 and $20,000 videos. Sure, they might be too low for Edgar but they could be a fantastic opportunity for rising filmmakers. So Edgar thought it would be a fantastic idea to share those opportunities with filmmakers that are growing in their shadow program. 

“Now that I’ve built the network of producers around me to lead them in the right way, and give them insight and be like, ‘Hey, now your treatment is too expensive. Here, change this idea before we send it in blah, blah, blah. And like having people like that, that’s a great tool. Because, you know, directors will be like, ‘Alright, here’s a $50,000 brief.’ And they’ll be like, ‘Alright, well, here’s a million-dollar idea.’ And it’s like, we would love to do it but we only have $50,000 as a client.” 

From this kind of mentorship and collaboration, directors young in their careers can learn the reality of budgets and what is possible for given budgets. 

WATCH THE FULL INTERVIEW 

This is only a segment from our interview with director/producer Edgar Esteves. To get the full picture of his experience forming successful businesses in the film industry, listen to the audio for free on Spotify or iTunes. 

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To watch the full video interview, become an All Access member today!

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The post Navigate the Film Industry like an Entrepreneur with Edgar Esteves appeared first on Filmmakers Academy.

Cinematically Recreating the Life of Mike Tyson — DP Brendan Uegama, CSC

Finding the Frame welcomes back its first guest, director of photography Brendan Kuroki Uegama, CSC, to talk about his nominations in three different categories by the Canadian Society of Cinematographers. His nominations are for Half Hour Drama on Hulu’s unauthorized Mike Tyson biopic miniseries, Mike, Music Video Cinematography on Drake’s “Falling Back”, and Dramatic Series Cinematography on CW’s hit drama series Riverdale. 

In the interview, Brendan Uegama discusses his collaboration with Director X, what inspired their approach, the technical choices they made, and how they recreated the world where one of the world’s most dangerous and notorious boxers became a legend. 

The series is like a vignette leaping from one time period and event to the next. The way it’s structured, a fight might take place for two or three minutes in an episode, then Tyson breaks the fourth wall or the free-flowing narration moves the plot along. 

Brendan Uegama and the filmmakers faced many challenges to an otherwise straightforward production. Filming was at the height of COVID which complicated the workflow and limited the resources available. Uegama chalks their success up to the production team and how they kept the ball rolling with the logistics. 

Keep reading to learn about Brendan Uegama, CSC, and his approach to the cinematography of Mike. Or, watch the segment from the full interview below! 

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ENERGETIC CINEMATOGRAPHY

For their two episodes, Brendan Uegama and Director X’s approach began with shotlisting everything in both scripts. Then, in production, they would walk around with their phones and previz all the angles before committing to them. Uegama typically prefers to use a real viewfinder with the lens, but with a tight schedule, their phones were the ultimate device to keep them on the same page.

Mike Tyson may not be the largest fighter but he’s an enormous presence and personality packed into a squat 5 feet 11 inches. Uegama conveyed that large presence by keeping the camera low on Trevante Rhodes.  

“One of the main things that I wanted to make sure we carried through from the beginning was the way that the camera moved,” explains Uegama. “The camera was very kinetic…. A scene with two people sitting here can often be just covered from 50/50 overs and overs. But in Mike, it probably would have started out in the hall and come rushing in and found us and come around. And so we wanted to make sure we can maintain that kind of energy and keep it going forward, and just find these new elements and new ways that we could do it for our episodes.” 

Uegama lensed fighting and boxing sequences at other times in his career so he was no flyweight when it came to rebuilding Tyson’s most iconic fight. 

When approaching fights with stunt coordinators, Uegama does the following:

• Find what strengths they can bring to the sequence
• Discuss the angles and how they can tweak the camera to work for them 
• Listens to what the coordinators need to sell the hits and contributes to it

CAMERA PACKAGE

The whole show was primarily shot on the ALEXA Mini LF with Cooke Full Frame Anamorphics. While they had Canon K35s for a little bit, 95% of what Uegama captured was on the Cookes. 

In fact, it was his first time working with the lenses and Uegama loved the experience so much that he decided to use them again with the Mini LF on the Amazon Original Series, Them. 

LIGHTING FOR DEPTH AND DIMENSION

When it came to lighting such a historical event, Uegama wasn’t trying to recreate the exact look, which he describes as generally bright and flat. This miniseries is an adaptation after all. And the visual language was centered on projecting the theatrical perspective of their version of Iron Mike. Ultimately, Uegama used a large soft box light overhead with PAR can lights on trusses. Then, he could choose which ones to switch on and off.  

“I kept trying to keep the contrast where I could,” explains Uegama, “but I definitely just try to make it nice and soft with stadium feeling but I didn’t try to keep it historical. And I think that was kind of the way that the first few episodes were, as well.” 

Overall, Uegama’s lighting approach for the show centered on soft top light. They used lots of light mats that they would secure to the ceiling above the actors and hide them where they could. These created pools of light that they could walk into when needed. Other times they would augment light coming from outside the window. 

“I really tried to keep it contained that way rather than [shining] lights right in their eyes,” says Uegama. “I wanted to make sure that their eyes caused a little bit of shadows and kept it a little moody that way.” 

MIKE TYSON SERIES VFX

The filmmakers used VFX to help sell the scale of the fights and the enormous crowds, using set extensions. At the time of shooting, they were subject to heavy COVID restrictions. “I think we could only have 120 people or something like that for background at a time,” recalls Uegama. “So we would place them where we needed when we would do close-ups of like Don King and the crowd… But otherwise, we relied on CG elements back there.” 

As the cinematographer going into the prep, Uegama was an open book with the VFX team as far as communicating the tasks, what they needed, articulating the ultimate goal, and what the shot will look like at the end. It’s all about conveying the details. Generally regarding VFX, Uegama tries to ensure they have what they need while ensuring that he also describes his own needs. To ensure the process is seamless, for instance, he will share important details down to the color palette. 

“I can see it sometimes where it feels like there’s one idea being done on the day, and then in post, six months later, another idea comes out. And it never fully integrates properly. And so the more that we can all be together on the same page, then that just makes everyone’s final job better. So, I don’t want to be the person that’s saying something strict on the day like, ‘No, I’m not gonna do it that way. You gotta figure it out.’ And then they can’t and the shot looks bad.”

SCENARIO: WHAT IF THE VFX ISN’T WORKING OUT? 

According to Brendan Uegama, you have to first define what you’re pinpointing and know what the solution looks like. If you approach a VFX challenge only recognizing the problem with no idea of how it can work or what you want the final image to look like, it means you didn’t do your due diligence as a cinematographer. 

“And that’s anything in film, right?” Uegama explains. “Like, if you go up to someone, a director, or anyone with an idea or with a comment like, ‘Oh, this shot is not quite working. I don’t know, I think we could do this better.’ And like, well, what is it? ‘I don’t know’ is not gonna help. So anything like that, just know what it is. Visualize it. You gotta be able to visualize everything. That’s what I try to do. Like, if I’m feeling something’s not right, take a moment for yourself. Think about what it is that’s bugging you. And then think about how you can make it look better, and then translate that to people. And the more people can understand the way you’re saying it, then the better.” 

Uegama goes on to explain how you should also get your director and other decison-makers on board. Because if your director doesn’t see it your way, then chances are it won’t come out the way you intended six months later. So, whether you’re looking for solutions to a problem or are concerned about how your imagery will turn out after post, your best tool is your mouth and how you articulate what you want. 

FILMING THE ICONIC TYSON-HOLYFIELD FIGHT

Brendan Uegama was up against recreating one of the most palpable moments in pop culture. For any Zoomers out there, it was that legendary time when Mike Tyson took a chomp out of Evander Holyfield’s ear. To build that level of intensity, Uegama extensively prepped with Director X in pre-production. 

“The good thing with Tyson is that his whole life is on YouTube,” explains Uegama. “I mean, we watched just hundreds of videos, interviews, recaps of fights, full fights, everything is all there.” 

All the historic footage they watched informed their cinematic language, provided much-needed context to get inside the mind of Tyson, and how to thoughtfully follow up each beat and shape the visual storytelling. 

The show highlights key moments of the fights that build upon the drama. For the Tyson-Holyfield fight in particular, Director X and Uegama wanted to reveal what was going on in Tyson’s head that led to the ear bites. “We wanted to kind of translate what was going on in his head at the time,” says Uegama, just as the script attempts to deliver Tyson’s perspective on the event. 

Holyfield was head-butting Tyson which Iron Mike felt was unfair and provoked his ire. To convey such details, Uegama considered where to place the camera. Since they shot on the Phantom camera, they could slow down moments as a way to allow entry into Tyson’s internal world. 

The art of boxing is very visual with every little action leading to a reaction. In this vein, Uegama explains “the headbutt coming in and the frustration that would happen in retaliation, and then the second headbutt and how he retaliated again…. We just broke it down into piece by piece.” 

VFX THE EAR-BITING SCENE

They shot the intimate moments inside the ring leading up to the ear-biting beat handheld on the Phantom. They shotlisted every action leading up to the headbutt, so they could “capture all those moments” so “that shot tells that story.” 

How that translates to the day of production: They would set up the shot for every little look and headbutt then bring the actors in to do it. From there, they made sure it was working and then go for the take. They would watch it on playback to ensure it was working, and if it wasn’t, they would tweak and take it again. 

HEADBUTTING CINEMATOGRAPHY

EAR-BITING CINEMATOGRAPHY

Their approach inside the ring was to take it shot by shot as opposed to running the entire fight. Since the Phantom camera only rolls for about 15 seconds, they would shoot the sequence in bursts, figuring out one angle before moving to the next. 

“That was actually a great way to get it to really feel as put together as it did. I feel like if we shot it on, say, the Mini and we were just rolling, it wouldn’t have had the same effect.” —Brendan Uegama, CSC

The inspiration was to get inside Tyson’s head and understand his perspective. Because in the end, you hear his frustrations about how the event went down. Tyson was headbutted twice by Holyfield and he felt like the ref wasn’t putting a stop to it. Uegama explains, “We wanted to make sure that what we were capturing was really personal to [Tyson], not to Holyfield.”

ADVICE FOR CINEMATOGRAPHERS

The advice Brendan Uegama, CSC, has for cinematographers is two-fold. First, take the initiative to understand the idea. Watch what everyone is doing around you and take the time to go through stills and the edits. Then, approach the other filmmakers and have conversations with everyone from the showrunner to the DP who may have started the job. 

In fact, that’s what Uegama did when he came on to the Mike Hulu series. He reached out to Isiah Donté Lee and they talked about everything from the lenses he used to working with the cast, so he could understand as much as he could before entering production.  

Depending on the show, whether it’s ongoing or alternating, you may have more contact with other DPs. That wasn’t the case for this one, however. But the script supervisor is also a helpful resource for answering questions about how past episodes were shot. 

WATCH THE FULL INTERVIEW 

This is only a segment from our interview with cinematographer Brendan Uegama, CSC. To see the full picture of his experience on Mike and Drake’s music video Falling Back, you can listen to the full interview on these podcast platforms: 

•  Spotify
• Apple Podcasts
• Google Podcast
• Podcast Index

To watch the full video interview for the ultimate experience, become an All Access member today!

As an All Access member, you get full access to all other Finding the Frame interviews as well as every course and lesson instructed by industry professionals. On top of that, you gain entrance into our exclusive community and can use the FA app to enhance your skills while on the job! 

The post Cinematically Recreating the Life of Mike Tyson appeared first on Filmmakers Academy.

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Finding the Frame is not so much an interview series as it is a lounge-sesh with your favorite filmmakers. Hosted by Brendan Sweeney, prominent filmmakers from ASC cinematographers to Oscar winners visit the studio to dish about their careers and approach to the craft. 

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Rafael visited the studio at Filmmakers Academy to sit down with host Brendan Sweeney and discuss everything from his preference for shooting on film to that one time he courted Steven Spielberg for 2nd unit on West Side Story. 

WATCH FINDING THE FRAME WITH RAFAEL LEYVA

THE CHALLENGE OF ESTABLISHING YOUR CINEMATIC VOICE

Rafael Leyva is not the conventional kind of filmmaker who sends out his resume and waits for a response. Instead, he’s bold and takes chances, and even invests his own money and resources to create something special that will make him stand out from other filmmakers. In fact, there’s a little tale about Rafael that illustrates his “hustler” approach to filmmaking. 

After Rafael wrapped on a particular show, he was troubled when he wasn’t invited to the final DI. In fact, that’s why he likes to shoot on film. When shooting on film, cinematographers have much more control of the image. In digital, however, other people outside of the cinematographer’s power can dip their spoon, so to speak, into the imagery and ultimately change and affect the look. 

The show was a studio picture series and Rafael and his team shot it in a specific way on set. But by the time the finished product was streaming, he was stunned to see how different it looked. Rafael knew that if he was to establish his own visual voice, he would have to take some career chances. 

Meanwhile, that same day, Rafael discovered that Steven Spielberg and Janusz Kaminski were working on an adaptation of the musical, West Side Story. A lightbulb then went off in his head so he called his representation and told them about it. At first, they were like, “So?” But then, Rafael explained how as a Puerto Rican DP, he could really relate to the subject matter. So, they recommended that he write Steven and Jan a letter. 

Rafael ended up writing a letter to Steven Spielberg and a month later he was told that it was well received. When Rafael asked what was next, they told him to wait since they were still in development. 

“Obviously, I’m not gonna wait,” says Rafael, “because if you know me, I’m like super-hustler and I’m always striving to work with the best or at least to work in a standard of quality that I feel happy with.” 

INVEST IN YOUR FUTURE

At the time, Rafael decided to sell his car, lenses, and Nikon D50 and amassed $10,000. He then canceled his Christmas vacation to Puerto Rico and instead flew to Dallas because there was a private school that had access to the original costumes in a warehouse. Rafael brought the costumes back to Los Angeles and spent New Year’s Eve figuring out how he was going to pull it off. Ultimately, the money Rafael pulled together was used to pay for the art department, insurance, and location. 

For years Rafael refused to watch the original 1961 West Side Story because he found it offensive the way they portrayed Puerto Ricans. But when he finally brought himself to watch it, he realized it was a masterpiece with beautiful frames and master compositions. Then, he proceeded to shoot a lens test for Jan and Steven to show them what he can bring to the film. 

West Side Story spec, Rafael Leyva

West Side Story spec, Rafael Leyva

Rafael was friends with someone who was the choreographer of Dancing with the Stars. This relationship led to a really great experience where they filmed dancers from the show on the same film stock and used PVintage glass. The response from Steven’s team and right-hand producer was very encouraging. 

“It was all I needed,” explains Rafael. “I think the respect is everything and there’s a lack of it in our industry. It’s like really aggressive out there and I’m just like a big teddy bear.” 

THE ADVANTAGE OF FILM VERSUS DIGITAL 

While the digital era of filmmaking has opened the art form to anybody with a camera, the field has become much more saturated and competitive. In the past, film was celebrated because it was a feat to pull off. Today with the proliferation of the internet and streaming, we are no longer cognizant of the body of work being amassed. With the increased number of productions from innumerable sources, the respect for the art form has diminished in some ways due to its sheer volume. 

With film, on the other hand, there’s something more pristine and cinematic about not only its texture but the limited takes. “And I think that’s why I love it the most,” says Rafael, “because when people watch something that you’ve captured in time, like a moment photochemically, that’s so cool.” In other words, “there’s no keep rolling.” 

Time is everything when shooting film, from calculating the time before rolling out to the expense of the celluloid itself. What Rafael really prefers about film is the voodoo it takes to create along with the respect that comes with it. 

“The discipline of it is so amazing,” explains Rafael. “To me as a nerd, as a cinephile, as someone that loves to do pictures correctly, it just sets the tone. Like everyone from the crew to the actors, from the front of the glass [to] behind the glass, having film in the horizon, it’s just kind of like, well, this is like the real deal.” 

In addition to the emotional value of film, Rafael also thinks it’s the quickest way to shoot. 

“The way I do it is like, well, we don’t have to spend money on a DIT or hard drives… Like, you cut your grip package in half, because you don’t need that much diffusion.” —Rafael Leyva

THE PHILOSOPHY BEHIND THE FORMAT 

The format you shoot on should ultimately depend on the project. For example, Rafael notes how he believes The Revenant was shot favorably on digital, whereas he would propose that HBO’s The Last of Us should have been shot on film. There’s a visual contrast between the show and the film emulation in the video game. According to Rafael, 35mm 3-perf pushed one stop looks amazing and would have been a solid look for the series. 

Brendan Sweeney explains his personal philosophy with period pieces and how they should be shot on film to fit our visual connection through old photographs. In contrast to this philosophy, he cites All Quiet on the Western Front shot by James Friend. The cinematography of the film is absolutely amazing but it may have benefitted from celluloid film to provide more connective tissue tethering it to the time period. 

Agreeing with the first EPIC HIGH-FIVE in Finding the Frame history, Rafael professes his love for the “45-degree shutter Saving Private Ryan recipe” that delivers a visceral, kinetic, and emotional connection.

Other considerations when choosing a film or digital format are the color palette, locations, and time allotted for production. For example, the reds and blacks in film are superior and more vivid. Conversely, the low light capabilities of film are incredible. 

“I’ve been in situations where I know for a fact that I look at the frame and I’m like, ‘If I was shooting 35 and pushed the film two stops, it will not get nearly as beautiful as right now.” —Rafael Leyva

CRAFTING YOUR OWN CINEMATIC VOICE

While there are the filmmakers who champion celluloid, there are those digital pioneers like David Fincher who transitioned from film and now stand by the science and technology produced by RED Digital Cinema. Rather than try and emulate film, Fincher has made something wholly unique with films like Gone Girl, The Social Network, and The Girl with the Dragon Tattoo. It’s like a very tangible, hyper-realistic feel. Rafael describes it as “cinematic clean.” 

Obviously, the cinematic voice varies with each filmmaker. The way Fincher directs for low light suits the types of stories he tells, and it looks flawless. However, there are also filmmakers who are pushing the boundaries of filmmaking like Peter Jackson and Ang Lee who shoot higher frame rates like 48 fps and 120 fps. Photo-real cinematography may not always look the most traditionally cinematic but it helps push the potential of the medium into novel forms of storytelling. 

“I think we got to push the barrier. What’s the next frontier?” —Rafael Leyva

THE FOSTER RANCH

A project also shot on film was Rafael Leyva’s latest project, The Foster Ranch, a story about the dissolution of a family on the night of July 7, 1947. 

“In the last couple of years, I have developed a lot of sympathy and empathy for animals and mother nature,” Rafael says when sharing his feelings behind the project. “And I just kind of like feel uncomfortable in a weird way that humans are just like destroying everything. And just thinking that we’re not in a really good place, I wanted to do something that reflected on us.” 

The Foster Ranch, Rafael Leyva

The Foster Ranch, Rafael Leyva

To Rafael, 35mm with anamorphic lenses is the most superior format that delivers a punch. When shooting 4-perf, you need to know exactly what you want because you’re locked into a 239 aspect ratio. 

“I think about it now and seeing the way people reacted to the film and watching the film and the big screen. I would totally do it over again. Because it’s priceless and it’s shot on film. It’s just so cool.” —Rafael Leyva

WATCH THE FULL INTERVIEW 

This is only a segment from our interview with cinematographer Rafael Leyva. To see the full picture of his experience working with film and The Foster Ranch, listen to the audio for free on Spotify or iTunes. 

To watch the full video interview, become an All Access member today!

As an All Access member, you get full access to all other Finding the Frame interviews as well as every course and lesson instructed by industry professionals. On top of that, you gain entrance into our exclusive community and can use the FA app to enhance your skills while on the job! 

The post Film vs Digital: Celluloid in the Digital Era with Rafael Leyva appeared first on Filmmakers Academy.

Finding the Frame Podcast: Jason Baum

Award-winning Producer/Director Jason Baum drops into the FA studio to talk about his career, most notably the epic Grammy win for his work on Kendrick Lamar’s HUMBLE and his experimental collaboration with Roman Coppola and his company on the feature film, The Seven Faces of Jane.

Jason has worked with visionary directors like Spike Jonze, Ava DuVernay, Joey Soloway, and Hiro Murai.

THE ORIGINS OF JASON BAUM

Over the last few years, Jason Baum enjoyed much success, particularly with three projects with Kendrick Lamar, including HUMBLE. 

Just note this success was years in the making. Jason interned with Dave Meyers of Radical Media and as he gained notoriety as a producer, he kept in touch with the people there. Radical Media then began giving Jason some projects to try on his own. His success resulted in producing two Kendrick projects his old boss was directing. 

It was a large project involving shooting two music videos simultaneously, so Jason shared the responsibilities with co-producer Nathan Scherrer. Not only were they dealing with a crazy workload but the turnaround was lightning-fast since they were trying to keep the song locked down. From start to finish, they completed the video in 10 days. 

Mic drop…

To shoot, cut, and finish a music video in 10 days is quite ambitious. At the bare minimum, Jason would typically have two weeks for prep, between one and three shoot days, and at least a month of post. 

While Jason previously did some soft prep work like location research, once the trigger was pulled, it was a scramble to get everything permitted. It took them three days to shoot and they had the VFX and editorial teams on set to edit amidst shooting and temp VFX. Since it was such a short turnaround, they had to throw more money into expediting the music video. 

While working on HUMBLE and LOVE., Jason met Kendrick and his manager, Dave Free. Then early last year, Jason received a call from producer Jamie Rabineau about doing The Heart Part 5 and Count Me Out. It was just what he needed to spark his career. 

PRODUCING WITH AN ARTIST-DIRECTOR

What’s particularly interesting about The Heart Part 5 and Count Me Out is Kendrick’s close proximity to crafting them. Over the years, Jason worked with artists who direct many of their own videos, such as Sia, but he has also worked with first-time celebrity directors who require more hand-holding. Jason likens the experience to a mini-film school at times. 

“I’ve worked with a range of different people that are coming into directing and producing. A lot of it is really kind of being a chameleon for the situation, and really adapting to what the needs might be.” —Jason Baum 

Now, when it comes to Kendrick, he has a very long-standing relationship with Dave Meyers so their collaboration is a little more direct. In this situation, notes are passed on to Jason for him to execute. 

There’s no question Kendrick is making some of the best music out there. What Jason finds interesting about The Heart Part 5 is its simplicity to produce with just Kendrick standing in front of a painted backdrop. 

By comparison, Count Me Out is fairly large in scope and took a lot more to achieve. Pretty much every shot is a unique vignette so they had to find bases, anchors, and locations to work within their three shooting days. According to Jason, a lot of directors direct in a vignette kind of way, so it’s Jason’s job as a producer to support as much of the director’s vision as possible. 

THE PURPOSE OF CELEBRITY CAMEOS IN MUSIC VIDEOS

For the role of the therapist in Count Me Out, they cast the great Helen Mirren. The reason they sought an A-List celebrity is they needed someone that could deliver gravitas to the role. The problem with music videos, however, is that there’s hardly enough time to develop a character. 

For that reason, music videos rely on celebrity cameos because they need an actor who will either bring something from their past roles, or just their general persona will help elevate the project. If they cast an unknown actor, Jason reasons that it might not capture the attention of their audience as easily. So, they made a dream list and Helen was the one to accept. 

TRANSITIONING FROM MUSIC VIDEOS TO FEATURE FILMS

The transition from producing music videos into feature films like The Seven Faces of Jane and Beastie Boys Story wasn’t easy. Like anyone else, filmmakers get pigeonholed or considered for only one kind of thing. For example, you might only be seen as a music video cinematographer or you might only be known for the horror genre, but you want to try something new. 

Most people have diverse interests and want to do a lot of different things in their careers. For the longest time in building his own career, Jason only went after what he felt would lead to the next phase of his climb up the career ladder. 

Once he got to the point where he established some credibility in the music video world, however, he wanted to move back to his original desire to make feature films. To plot this new course, Jason first reflected on himself and his career to affirm that he truly wanted to pursue films. It would take sacrifices like accepting fewer music video gigs and taking smaller gigs. 

BUILDING CREDIBILITY WITH MUSIC

Jason’s transition kicked off on a film called Music, directed by Sia. He was hired as an associate producer and was ultimately a co-producer on the project. It was very unique that his music video client brought him into the feature space. Fortunately for Jason, he developed a close working relationship with Sia and her role as a director. 

In fact, she was the one that insisted that he work on the film. Being a pop star and a celebrity, she could have leveled up and found anyone else to work with. But she’s a very kind soul and knew what Jason brought to the table.

As a result, Jason really became close with the film’s producer, Vincent Landay, who has produced most of Spike Jonze’s films and music videos along with his commercial career. 

That set him off into some other feature and narrative opportunities, which resulted in Jason working with Spike on the Beastie Boys Story. His time on Music led him to an associate producer role on the Transparent finale for Amazon. So, as much as Jason thought he needed to move completely away from music videos to make films, it really was his music video career that helped jumpstart his transition to other areas of the film industry.

THE SEVEN FACES OF JANE

With his music video and commercial background, Jason works regularly with The Director’s Bureau, Roman Coppola’s company. Through that relationship, he’s done a music video for Paul McCartney. Roman then brought Jason on to The Seven Faces of Jane. It wasn’t a large-budget project; in fact, only $2 million. 

When Jason first signed on, there was no script. Just an interesting concept. Can we create an enjoyable film with these disparate elements? It was a challenge but most importantly an opportunity to produce a narrative feature film. He hadn’t been given an opportunity to produce a feature up until that point. So, the potential learning experience it promised appealed to him. It was also a huge plus to have the support and resources of Roman and his company. 

The Seven Faces of Jane is based on the concept of Exquisite Corpse, a game that surrealist painters used to play. It’s also known as “Consequences” because it’s a collaborative art creation. So, the film explores that idea from a film context with a handful of directors directing one feature film.

They share one character named Jane, played by Gillian Jacobs, and we have eight directors that wrote or possibly co-wrote, depending on the person, different pieces of Jane’s journey. And then they constructed a feature film out of that. It’s not really an anthology of short films as it is really one film that just so happens to be directed by eight people. 

EIGHT DIRECTORS ON ONE FEATURE FILM

When they were directing, the filmmakers had no idea what was coming before or after them. This creates a tapestry of genres and tones that function together as an interesting artistic experiment. 

The way they managed eight directors and all their needs was by splitting them up into four and four between Jason and his co-producer Sarah Park. To be fair, each director shared the same constraint of two shooting days. On top of them, they had another producer, Allison Amon, overseeing Jason and Sarah. 

Principle photography was very short — only 15 days in August of 2021. They pitched it as a game to the directors. They had about a month to conceive of an idea and prep. Over the course of the month, they worked at putting all the pieces together.  

How exactly do eight directors fit into The Seven Faces of Jane? The star Gillian Jacobs got to direct the opening and the closing over the course of one day. They worked on it similar to a TV show in the sense that they edited while shooting it. So, it was a constant balancing act to meet everyone’s desires while keeping it on budget. 

While the visions of the directors were all different, they anchored it all with the same DP (Andy Catarisano), production designer (Natalie Ziering), costume designer (Elise Velasco), and production crew. Then, they opened it up in post-production, allowing the directors to work with whomever they wanted.

WATCH THE FULL INTERVIEW 

This is only the first part of the entire interview with Jason Baum. To see the full picture of Jason’s experience working with Spike Jonze on the 5x Emmy-nominated documentary feature film, Beastie Boys Story, become an All Access member today!

As an All Access member, you get full access to all other Finding the Frame interviews as well as every course and lesson instructed by industry professionals. On top of that, you gain entrance into our exclusive community and can use the FA app to enhance your skills while on the job! 

The post Finding the Frame Podcast: Jason Baum appeared first on Filmmakers Academy.

WATCH FINDING THE FRAME WITH CAMILLE FRIEND

Watch an excerpt from the interview with Camille Friend below! 

To watch the full interview and learn about Camille Friend and her approach as Head Hair Stylist, become an All Access member today!

COLLABORATING WITH DIRECTORS & ACTORS

Every project is different with unique creatives and perspectives. Fortunately, on Black Panther: Wakanda Forever, Camille Friend reunited with director Ryan Coogler. They previously worked together on the original Black Panther movie and constructed the look and feel of Wakanda. So, going into the project, they expanded on what they previously created. 

In the case of Coogler, he is a very hands-on director, according to Camille. She would text him and even if he didn’t get back right away, he always responded, even if it was 1 AM. 

From the beginning, they talked about every character and where they pick back up with them after mourning the death of T’Challa (Chadwick Boseman). 

“How was Marvel going to tell the story for not only for the fans, but also for us as the crew because we’d lost our King, too…. [Coogler] talked about how Wakanda Forever was the mother’s story — was the women’s story.”

Everything was interconnected. For example, Shuri (Letitia Wright) and Ramonda (Angela Bassett) shave their heads in mourning, leaning into the culture of West Africa, so a year later Camille considered what their hair would look like. So not only did she ensure that her actors looked absolutely brilliant, but she also made sure they fit into the continuity of the narrative. 

RULES OF ENGAGEMENT

In addition to the Wakandans, Camille also designed a Mesoamerican look for the Talokanil. Influenced by ancient Mayan ancestry, she wanted to do the right thing. This approach was highlighted in her discussions with her veteran barber, Victor Paz. 

When Coogler would provide notes about something not working, Camille would devise a way to not only make it work better, but also more efficiently. For instance, the clay wigs that the mining tribe wears once took a month to create just one. But she and her team cracked the code and was able to crank out wigs every two to three days. 

In the first Black Panther, they had a low supply of what she calls “natural textured hair;” i.e. a 3ABC or 4ABC — curly hair, coiled hair, kinky hair, etc. So, they had to carefully work with the supply they had. But due to what Camille coins as the “Black Panther Effect,” by the time of the sequel, these types of hair were much easier to acquire in the marketplace. 

HAIRSTYLE RESEARCH AND DEVELOPMENT

Throughout the movie, there were plenty of wet scenes. Especially with the Talokanil that they shot in tanks of water. They had a professor of Mayan culture who advised Camille on the different types of Mayan hairstyles. 

“This hairstyle would maybe be on a woman who wasn’t married,” recollects Camille, “this would be on a person who is married. Or, this would be on a person of this social status. Working through all those different layers of what the hair would look like in that culture, it’s a culture that is gone. So, it’s not something like you can just even go to Google and find things.”

It took Camille and her team a lot of work to research and bring about that authenticity. Then, they had to see what it looked like with the wardrobe and then with makeup and blue skin tones. She also had to consider how the hair would look underwater. 

READ MORE: Underwater cinematography in the Look of Avatar: The Way of Water and wardrobe with Deborah L. Scott.  

WORKING WITH HAIR UNDERWATER

Camille has a whole new respect for water. “It’s living and it’s breathing,” says Camille, “and how are we going to make the hair look beautiful underwater?” So, they did a lot of tests and worked closely with visual effects. 

If the hair is too loose, the hair flies across the face. They had to develop unique methods to contain the hair and keep it in place. In the end, it was a matter of trial and error. 

One day, Jake Garber, a friend of Camille’s told her a trick that had to do with mixing alcohol and glue. They thinned it out and used it like hair spray. 

First, they tested it on a wig and were pleased when it didn’t turn white. Unlike regular hairspray that clouded the water, the glue hairspray was the ideal solution to the problem. 

Even when working on a show that had scenes in the ocean, a mentor advised Camille to try medical adhesive silicone glue and different mixtures of glue to ensure that the hair stayed on underwater. 

WATCH THE FULL INTERVIEW 

This is only an excerpt from our interview with Camille Friend. To watch the full interview and learn more about Camille’s experience, become an All Access member today!

As an All Access member, you get full access to all other Finding the Frame interviews as well as every course and lesson instructed by industry professionals. On top of that, you gain entrance into our exclusive community and can use the FA app to enhance your skills while on the job! 

Join Filmmakers Academy All Access to watch the full interview!

The post Oscar Nominee Camille Friend on Black Panther: Wakanda Forever appeared first on Filmmakers Academy.

Mandy was nominated for her work on Elvis by the American Society of Cinematographers, BAFTA, and the Academy Awards. She also just broke the ceiling at the Australian Academy of Cinema and Television Arts as the first woman to win Best Cinematography. 

WATCH FINDING THE FRAME WITH MANDY WALKER, ASC, ACS

THE ORIGINS OF MANDY WALKER, ASC, ACS

From an early age, Mandy knew she wanted to be a filmmaker. More specifically, a cinematographer. She was first inspired by her mother who enjoyed art and painting, regularly exposing Mandy to art galleries. In high school, her father built her a dark room in a shed for her photography. And from there, her interest transformed into a calling. 

Behind the scenes of Elvis; Photo Credit: Ruby Bell

Starting at her high school TV station, Mandy was told “we don’t have girls on the camera here.” She didn’t understand what they meant so she continued to pursue her dream unperturbed. Later, while taking a cinema critique class in college, she told the professor that she wanted to be a cinematographer but didn’t know how to get into the film industry. The professor had a friend making a feature film and helped her get a job as a runner. 

Mandy soon after left college at 18 to focus on set jobs as a runner and 3rd AD for feature films. While working on set, she asked the camera teams if she could watch how they worked and talk to them about it. In the meantime, she practiced her craft with documentaries and music videos on the weekends for nothing. From there, she eventually became a loader, focus puller, and operator. Then, she began shooting her own projects over the next few years. 

Ultimately, starting as an assistant and learning how production functioned and how DPs worked was essential to Mandy’s early education. 

CINEMATIC INSPIRATION

As a teenager, Mandy’s father took her to the State Film Center where she was introduced to foreign language films. These new and wondrous films impacted the way Mandy saw cinema and the nature of cinematography. Not only did she absorb filmmaking of other places and cultures, but this experience opened her worldview and motivated her interest in cinematography. 

One film in particular that inspired Mandy was The Spirit of the Beehive and how director Victor Erice created such beautiful lighting with such little money. She remembers feeling as if she were in a beehive while watching it in the theater. The films of Wim Wenders and Robby Müller like Paris, Texas were also huge influences when Mandy was developing her eye. 

REACHING THE NEXT LEVEL

As mentioned earlier, Mandy really learned the craft by shooting documentaries and music videos any chance she could. She also shot projects for film school friends in her spare time. This is the time when she could try new things and master the fundamentals of cinematography. 

While filming the documentary As the Mirror Burns in Vietnam, Mandy was thoroughly tested to expose the film correctly without any visual reference throughout the entire production. It was 1990 and still over a decade before the digital age. It was a small crew — meaning only a cinematographer, director, producer, and sound recordist. No room for camera assistants. All Mandy had were two little redheads (800-watt tungsten lights) in a suitcase. So, she had to work with a lot of natural light and had no dailies the whole five weeks she was in production. 

With no reference for how she was doing, she exposed by thinking of the image and trusting her gut. All she had to go by were a few tests she ran before production. On the film stock, she saw where the subject would be blown out and how dark the shadows were. When she arrived back home and saw the results, she was pleasantly surprised. 

“I get exposure now,” she chuckles. 

To this day, Mandy approaches digital as she would film. When she first learned to expose, she did so with the Ansel Adams Zone System. So, that’s how she looks at an image, creating three dimensions with color tones, lenses, and other photography tricks. 

A FILM APPROACH TO DIGITAL FILMMAKING

Mandy Walker was not one of the early adopters of the digital revolution, because she wanted to stick with the best tools and cinematic procedures. It was after those cinematographers who pioneered the digital medium when Mandy hopped on, first with commercials and then with features. 

Behind the scenes of Elvis; Photo Credit: Ruby Bell

“I didn’t want to be part of the experimentation of the early part of it where I thought, ‘Well, this doesn’t look as good as film so why am I using it?’ And to me, I didn’t want to do that…. So I didn’t want to use it until I felt that it was in a place where it could do the right job for the movie and not compromise.”

—Mandy Walker, ASC, ACS

What Mandy appreciates about digital is how she can see the image on set with “fantastic monitors.” Now, she can watch with the director and get granular with the imagery. The image you see is the image that you’ll get, and that wasn’t always possible with film. 

What Mandy learned about film in a time when Australia didn’t have color timing in their dailies was discipline and understanding limitations. She only had one light workprint (meaning if she normally overexposed by two-thirds of a stop and then brought it down for dailies). So, if she got the exposure wrong, there was nobody adjusting it. Whereas, in the U.S., most feature films had color time dailies. So, if she made a mistake stateside, she saw it right away. 

In contrast, Mandy is very happy shooting in a digital format. According to Mandy, there are many things you can do to make your visuals stand out from the last film you saw. To create a different feel, cinematographers used to shoot different film stocks, push and pull the negative, and cross processing with a negative. It was a more physical process than it is today with digital. 

WATCH THE FULL INTERVIEW 

This is only the first part of the entire interview with Mandy Walker, ASC, ACS. To get the inside scoop on Mandy’s experience with the Elvis film, become an All Access member today!

As an All Access member, you get full access to all other Finding the Frame interviews as well as every course and lesson instructed by industry professionals. On top of that, you gain entrance into our exclusive community and can use the FA app to enhance your skills while on the job! 

Join Filmmakers Academy All Access to watch the full interview!

The post Cinematographer Mandy Walker Behind Making of “Elvis” Film appeared first on Filmmakers Academy.

Finding the Frame: Deborah L. Scott

Deborah L. Scott stopped by Filmmakers Academy for the latest edition of Finding the Frame. (Yeah, the Deborah L. Scott!) It was such a pleasure welcoming to our studio the costume designer who won an Academy Award for her work on Titanic. On top of that, she furnished the look for some of the most iconic characters in film history. 

Deborah sat down with Brendan Sweeney to provide some insight into her career as a costume designer and dish on her approach to working with James Cameron to come up with the Na’vi. All in all, this episode is jam-packed with essential knowledge that you will want to sip like a fine wine.  

Here’s a segment from the interview where Deborah L. Scott shares some inside details about her time on Avatar: The Way of Water!

AVATAR COSTUME DESIGN 

Deborah’s collaboration first began with James Cameron on Titanic earning the Oscar for Best Costume Design. By that point, she already established a working relationship with producer Jon Landau back in 1992 on the film Hoffa. So, by the time of Avatar, they were already familiar with her amazing work and contributions to the world of costume design. 

Another costume designer began the first Avatar film but left. Since it was partially this new kind of CG movie, the filmmakers were still determining the best approach. For instance, how much of the costume could the CG artists do? Then, one morning Deborah received a call from Landau and he asked her if she wanted to come over and look at what they’d been up to. 

By that point, Landau and Cameron had already traveled to New Zealand. When Deborah arrived, they showed her spectacular footage unlike anything she had seen before. Cameron told her that they had an issue and needed a costume for Sigourney Weaver. When she agreed, he told her that they were leaving that night to return to New Zealand. And just like that, Deborah joined the project. Of course, her duties soon far outstretched the one costume… 

“Here’s the other tip to anybody in the film business, have your passport up to date. It’s really important.” —Deborah L. Scott

Landing the Avatar Job

Deborah was originally only supposed to be on the project for a couple of weeks to create one costume. However, she ended up on the production for a year and a half — much of that following through post-production. That’s because Cameron and Landau, along with Deborah, realized the costumes that were rendered through a computer process needed the guidance of a seasoned veteran. While the CG artists are extraordinarily talented, they couldn’t quite capture a real garment in the way that Cameron knew an expert could. Together, they designed a lot of concepts but also had to backpedal in post to get it just right. 

DESIGNING COSTUMES FOR CG & LIVE-ACTION 

Merging live-action with CG involves an in-depth post-production process more complicated than anything Deborah has ever done before. Avatar The Way of Water dwarfs the first film due to its larger scale and a greater number of characters. Not only is there more extensive world-building, including underwater physics, but a different clan with a different culture. 

In terms of design, the process is the same as any other movie: read the script, work with the director and the production designer, and allow the ideas to flow. Then, Deborah worked with illustrators to put those ideas on paper. The illustrators and designers that Deborah worked with were proficient with a computer-driven workflow. That said, both Deborah and Cameron are old school. So, they printed like crazy and were very much hands-on in a way that you cannot always get on a computer. Deborah shared a lot of different designs for Neytiri and considered what they could mix and match.  

There was a lot on Deborah’s plate, including performance capture (which was new to her) and performance capture underwater (which was never done before). In addition to the steep learning curb, Deborah was also expected to help make the suits to allow them to film underwater. If you are familiar with performance capture on a dry set, then you know that the suits contain markers needed for the post-process. Although, underwater, these markers have their own challenges. Learn more about those challenges with The Look of Avatar: The Way of Water. 

Designing Underwater Suits

On the first day, the technicians plopped a pile of what looked like Christmas lights and said they needed to figure out how to put them on an actor underwater. The process ended up taking seven months before they had a viable suit. The first suit made looked like the Michelin man and they could barely move their arms and legs. Those suits would never work because the actors required full articulation of the body. Fortunately, seven months later Deborah was able to provide the sleek silver suits that were viable to film with. 

“We even had sensors on toes because they’re barefoot. So the articulation the camera can pick up on just toes wiggling in the water is amazing.” —Deborah L. Scott

In addition to constructing underwater performance capture suits, Deborah and her team made all of the live-action costumes, along with every single prop, mask, breathing mask, and helmet. They worked out of Weta Workshop in New Zealand for altogether five years, which Deborah describes as “an incredible artist collective.” Deborah had some past experience with Weta, working there briefly on Spider-Man and the first Avatar film, so she knew what to expect. But she truly admired the artistry and the people there that could design anything she wanted. 

“We started this whole process of understanding the designs,” says Deborah, “understanding the language of the people that we were creating, understanding the characters, the family, the clan, the world. We started producing costumes like crazy because we knew we were going to need them.” —Deborah L. Scott

Proof of Concept and Tests

According to Deborah, Cameron is a madman when it comes to proof of concept. So, their work underwent extensive testing in pools all over the country. The work was extremely hands-on in that regard. So, if he asked her if the costume will work underwater, she could show him that it would. The same went for wind tests. If Cameron asked, “Will that stay in her hair?” They would turn up a Ritter fan full blast to make sure the piece stayed on. That means that even if a piece of wardrobe was created with CG, the filmmakers proved that it would react to the physics in the same way that it is portrayed in the movie. 

Deborah also helped craft the Navi from head to toe. She and her team tirelessly worked on the hand props, their hair, and their body art to ensure authenticity. That’s why her work along with all of the digital artists was what made the Navi look so real on screen. 

DEVELOPMENT & ATTENTION TO DETAIL

With the first movie’s Omaticaya clan, Deborah had solid inspiration from which to build for The Way of Water and its Metkayina clan. It was important to Deborah and Cameron that the Metakyina were physically distinctive from the Omaticaya with the basic costume rules of their society. Cameron was particularly thoughtful of their physical adaptations to the water like their fins and eye membranes. 

“Proof of concept all the time. So, don’t ever try to fake it because you’ll be caught. And you’ll be asked, and you’ll have to prove it. So, we did and that was actually a really fun part of it.” —Deborah L. Scott

It wasn’t about just making something pretty, Deborah ensured that every piece was functional. They performed numerous tests with different kinds of fabrics and materials to inform the designs. They would then determine how it all flowed underwater, if the materials were neutrally buoyant or weighed down, and even considered how many beads were too much. The motion of the costume is what brings it to life, says Deborah. 

Whether a character is swimming with the current and waves or on dry land with the air and wind, there’s a basis of reality regarding how certain garments move. Thus, their work helps inform the simulators and animators to understand how unique pieces interact with the world around them. 

Research & Inspiration

They researched indigenous island cultures from around the world and how they live including their priorities, how they craft, and how they use their environment to create clothing. The Polynesian culture inspired the Metkayina above all else. Their approach to research took them to the library and even referenced other movies to establish a design premise. 

According to Deborah, the internet is a double-edged sword. It’s a useful tool but it could also be misleading. So, she had to have the discernment of a lawyer. In addition, they purchased a tremendous amount of books and Deborah tried her hand at carving, sculpting, and macrame — which was all new to her. Fortunately, she assembled an incredible group of people who learned the visual language of the movie and were essential in hand-crafting it all. 

COSTUME DESIGN APPROVAL PROCESS

One of the most difficult factors about working on a film of the size and scale of Avatar is meshing the departments together. Every department is enormous and works at a mile a minute. There was an approval process with Cameron for both practical and aesthetic needs. 

“We had many meetings about hairstyles, for example,” says Deborah. “Like, here’s what I have to offer you, Jim. I’m thinking this character could be X, Y, or Z. When I started on the project, the initial drawings for Sigourney as her character of Carrie, she had very long braids. She looked a lot like Neytiri. Well, I changed that. So, through a process, we got into this kind of feathery short haircut that much better represented her character, I think — and Jim thought, and Sigourney thought. So, that worked out really well but there’s all those approvals.”

Costume Design in Post-Production

There were incredibly long stretches of time when Cameron was busy with other areas of the production. Your hand isn’t held with productions of this size but they do greatly benefit from a longer post-production process. So, if you make a mistake, you have time to back up and start over. 

Avatar the Way of Water | 20th Century Studios and Lightstorm Entertainment

In post-production, Deborah feeds her designs, costumes, and all the details to the VFX house. There’s a dialogue between them with the VFX team sharing what they create on a daily basis and Deborah transferring a human-made costume with a tall person along with the look and feel of the costumes to ensure accuracy. 

From Deborah’s point of view, the VFX team takes in the information from the 2D art, which is typically front and backside. This is made into a template (a proportional look) since they didn’t know what the characters would look like during the stage of the initial drawings. It was a long process full of back-and-forth correspondence before they got to the end of it. From there, the VFX team scans all the sample costumes and their artists create 3D versions. After that, Deborah advises them to digitally tailor the costumes to fit how she intended. 

WATCH THE FULL INTERVIEW 

If you want to watch the full interview with Deborah L. Scott and learn about her experience working on Avatar and her career as a costume designer, now’s the time to join All Access. 

As an All Access member, you get full access to all other Finding the Frame interviews as well as every course and lesson instructed by industry professionals. On top of that, you gain entrance into our exclusive community and can use the FA app to enhance your skills while on the job! 

The post Finding the Frame: Deborah L. Scott appeared first on Filmmakers Academy.

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Keep reading to learn more about Nicole, her journey as a cinematographer, and process for the upcoming Netflix series. 

INSPIRED BY EUROPEAN CINEMATOGRAPHY  

Photography was the first love of Nicole Hirsch Whitaker. In fact, she thought it was her path in life. She dreamt of being a fine art photographer. Nicole was never really inspired by popular American cinema and wasn’t aware of avant-garde filmmakers. 

While in high school, that changed when she was introduced to European films. They were very unlike American films. What she saw in the European films aligned with her photographically and it dawned on her. Cinematography was a viable career path that allowed Nicole the artistic freedom to creatively explore. 

BEGINNING IN THE FIELD OF CINEMATOGRAPHY 

Growing up in Los Angeles, Nicole had the ability to work on sets through family connections. She attended NYU at just 17 years old. A few years later at the age of 20, she served in an internship program for a filmmaker who was both a director and cinematographer at a commercial company. 

Nicole was thrown into the fire where she did everything from editing to producing and shooting. It was in that “crash course” environment that she worked for two years before moving back to Los Angeles to start her work as a cinematographer. 

For about 15 years, Nicole shot commercials while dabbling a bit in narrative to further kindle her love in the medium. However, by this point in her career, she couldn’t even imagine not telling stories. 

INFLUENCED BY ART 

When Nicole first started photography, it was something that just came to her naturally. She immersed herself in the work of other photographers and lots of artwork. Her mother is an artist, she was raised in museums in Los Angeles, surrounded by art, and they traveled the world. Like osmosis, she absorbed what she saw into her own work. 

However, there is no single artist that Nicole tried to model herself after. Rather, she saw each work collectively as her inspiration. For instance, she would see a photograph by Man Ray and want to create interesting treatments, macros, and double exposures, and consider her creative decisions outside the box. 

CONNECT WITH LIKE-MINDED FILMMAKERS 

For Nicole Hirsch Whitaker, the creative process for cinematography was about connecting with like-minded filmmakers, like directors, who have a similar vision. That way, she wouldn’t have to try to fit in someone else’s bubble. 

Nicole notes that there are times when you will be excited about a big job, but ultimately, it might not be right for you. It’s important to make sure that when you’re starting a project, you’re on the same page as everybody. 

It’s tricky because sometimes you think you are and then you start the project and they’re like, “Wait a minute, I didn’t want that. I wanted this…” And then you either realize that you’re not the right person or find a way to work through it. 

TRANSITIONING TO NARRATIVE STORYTELLING

It was a long process for Nicole. While filming commercials, she shot a couple of movies and TV shows – but not much. The streaming wars changed that. More content than ever before was produced. She never really wanted to film TV before but then Nicole told her agents that she would like to give it a go. At first, they said it was going to be impossible since she didn’t have many TV credits. She advised them to just put her out there. She feels confident in a room and could convince someone to hire her. 

Fortunately, Nicole’s husband is also a director of photography and was working on a show where he was given an episode to direct. Her husband and the showrunner agreed to give her the opportunity and she ended up shooting two episodes while he prepped as well as the one he directed. 

After that, Nicole was able to land more TV gigs. It was all a matter of getting her foot in the door. Otherwise, it wouldn’t have been so easy. From there, the floodgates opened and she had tons of meetings. 

WHEN IS IT TIME TO SEEK OUT REPRESENTATION? 

Nicole sought out representation right away because she knew how important it was for her career. She had done lots of second unit work and put together a reel. She showed an agent with a small agency who agreed to represent her and she landed a commercial job within a month. 

After some time, Nicole went to a bigger agency and then to an even bigger agency after that. Agents are helpful because they help guide you in terms of jobs, especially when considering the scale of jobs, travel, and duration. It’s helpful to bounce ideas off the agent and help with negotiations. 

However, even with an agent, you still must do the work. It’s not as simple as, “I have an agent, now I will get lots of work.” In reality, it’s more of a collaboration. This involves dinners with people and keeping up with friendships. A solid social life with fellow filmmakers (especially cinematographers and directors) will help you go far. Nicole has greatly benefited from recommendations due to her relationships. 

Many cinematographers helped Nicole in her career. For example, even before Nicole began work on the live-action adaptation of the One Piece anime series, she reached out to cinematographers who worked with boats. This included Paul Cameron about Pirates of the Caribbean and one of her key grips who worked on Life of Pi. The advice she received was astronomical in helping her plan for her upcoming production. 

Until the crew starts, DPs are mostly working by themselves. While production designers and special effects have whole departments, the director of photography doesn’t have much support to rely on in pre-production. 

That said, on a show like One Piece, Nicole had her crew six weeks before production began. Even still, she felt limited in the amount of research and development it took to pull off. Before that, she worked for three months by herself and communicated with lighting and camera houses to come up with ways to shoot the project. 

LIVE-ACTION ONE PIECE SERIES

“We’re having so much fun,” says Nicole from the production office. Before that, the production was stalled due to the pandemic and then she was in her aforementioned months-long prep. Nicole is just in charge of the first block of production, which amounts to 62 days. 

Hawk developed lenses for One Piece in collaboration with Nicole from scratch, who describes that as “just beautiful.” Nicole also praises Netflix for its amazing support for the series adaptation. 

For the last three shows Nicole did prior to One Piece, she was the beginning director of photography. The challenge is creating something that’s new and different while also something that other directors of photography can follow. You don’t want to do something so difficult that they can’t achieve it with a shorter schedule. 

WHAT’S IT LIKE ADAPTING AN ANIMATED SERIES?

First off, Nicole watched the 1,000+ episodes of One Piece, which was not as hard as it seems since her son is a huge fan. In fact, she was already familiar with the source material having read the manga to her son. 

The adaptation also consisted of a back-and-forth collaboration with the director. They wanted it to stand out on its own and not just be a carbon copy of the anime. Together, they referenced different films along with photography and the look of the show. 

Just like DC and Marvel, One Piece has an enormous audience. Specifically, Marvel has done an excellent job of adapting characters to fit the culture of the day. 

“There will always be fans and critics. You can’t please everyone but at the heart of it, the most important thing is the story. And if the story isn’t there, and that doesn’t grab the viewers, it doesn’t matter what you do. We can only hope that we’re going to gain a new audience and people that find it fascinating and interesting.”

CAMERAS AND LENSES

Nicole is a die-hard fan of Alexa camera systems. Unless it’s dictated for some reason or she has taken over a show for someone else, she always shoots Alexa LF. Nicole has also enjoyed the Sony FX3 – especially after the masterclass she did with Shane Hurlbut, ASC. They have used it for specialty shots and Nicole recommends it for younger filmmakers since it’s smaller and less expensive than most. 

When it comes to lenses, Hawk and MasterBuilt are Nicole’s go-to companies. As mentioned, Nicole has been in collaboration with Hawk for her last few projects. More specifically, their LF anamorphics. Nicole has also turned to MasterBuilt Lenses’s 14.5 lens which looks like an 8-millimeter lens with no distortion.  

BUILD RELATIONSHIPS WITH RENTAL HOUSES

The minute Nicole knew what she needed, she called Peter Martin at Hawk in Germany. She told him the kind of lens that she was looking for but it didn’t exist yet. Peter asked how much time he had and Nicole told him five months. So, Peter told her that he could build the lenses that she needed. 

After some meetings, Netflix was onboard and then the production was onboard after that since they had to pay for five sets of lenses from scratch. If Nicole did not have that relationship with Hawk, it never would have happened. Otherwise, she couldn’t just call up a lens manufacturer and have them create the lenses. 

THE LANDSCAPE FOR FEMALE CINEMATOGRAPHERS

When Nicole began her career, she didn’t even think about the landscape of women in the industry. She just wanted to do what she did best. There wasn’t any distinction because there were so few female cinematographers at the time. At that time, she did a lot of commercials and was hired by female commercial directors and producers. 

It wasn’t until she was older that she realized that she probably would have worked more as a man. However, at the same time, she had kids and wanted the time to spend with them. 

“I kind of think that was like a perfect storm for me,” says Nicole. “A lot of the times when I go to work, I’m still the first female DP for a lot of people I’ve ever worked with. It’s not like it’s super common. I mean, I’m starting the show, and then there are three men following me. It is frustrating trying to get your foot in the door but, at the same time, I just can’t believe how many women there are now as compared to when I started. There was no one to talk to which is probably why I just never thought about it, you know?”

TIPS FOR FILMMAKERS

If Nicole Hirsch Whitaker had to do things differently, looking back, she would have started in narrative much sooner. However, at the time, with kids, commercials were easier to manage. Although, if she had not had kids when she was younger, she would have liked to shoot more stories – even if they were just shorts to learn the craft. 

Commercials are very “sexy” and you can make more money, recalls Nicole, and she even took a pay cut with narrative. You can get caught up doing one thing in this business and it becomes easy. “It’s what you do [versus] what you love, but just for me personally, I wish I had been down more of a narrative track from the beginning. Then again, it’s like, I’m still so happy with what I did. I got to travel and see everything.” 

Nicole encourages upcoming filmmakers to know themselves and what they want to do. For example, Nicole knows that she wouldn’t be a very good documentary DP. She knows that she is too particular and cannot deal with on-the-spot moments. 

Ultimately, Nicole’s advice for filmmakers is to try a little of everything. Because you’re going to learn something new from every medium. 

The post “One Piece” Cinematographer Nicole Hirsch Whitaker appeared first on Filmmakers Academy.

Watch the full interview!

MICHAEL DALLATORRE 

Michael Dallatorre was born in Nicaragua and moved to South Central Los Angeles at the age of three. Dallatorre and his family moved through different neighborhoods of South Central, like Inglewood and Compton. 

In high school, Dallatorre was very active in extracurricular programs from football and track to student government. He also took part in the theater program and was featured in the signature production, Watts Side Story. A non-profit performing arts group called Colors United captured the making of the production in the documentary, Colors Straight Up, which was nominated for an Academy Award. Not only did Micheal act but he lent a hand to the production, moving equipment, interacted with the camera crew, and met Theo van de Sande, ASC. 

When his friend, Sal Alvarez, PAed on Justin Lin’s UCLA thesis film, Shopping for Fangs, he invited Dallatorre to tag along. Every weekend, Dallatorre began taking the bus all over Los Angeles to work on thesis films for USC and AFI students. Increasingly exposed to the filmmaking process, he was drawn to the camera department. 

PANAVISION 

After graduating high school, Dallatorre joined a summer program called Inner-City Filmmakers. The filmmaking program granted aspiring filmmakers access to Kodak and Paramount. It was soon after that Dallatorre attended Los Angeles City College. However, while in school, Dallatorre took a job at Panavision and discovered he was getting much more of an education through real-life applications. 

While continuing to work on student films, Dallatorre found himself often traveling from Compton to Woodland Hills to prep at Panavision. He made friends with the Panavision personnel and one day asked, “How do you get a job here?” The answer was simple – “Just ask Darlene in the back. She’ll give you an application.” A month later, Panavision called Dallatorre back for an interview and hired him. 

Work became so busy at Panavision that Dallatorre had to make a decision: Panavision or school. He learned so much at Panavision and made so many crucial contacts with camera assistants that the decision was simple. He chose Panavision and was invited to sets nearly every weekend by camera assistants looking for help. “The amazing thing that Panavision gave me was that they let me use their equipment,” recalls Dallatorre. “That blew my mind.” He worked in the shipping department and when he requested a Panaflex with super speeds. The response was a simple, “Sure.” 

Much like Michael Dallatorre, Filmmakers Academy mentor Derek Edwards started his filmmaking career at Panavision. Schedule a mentorship today!

Dallatorre met plenty of loaders who had thousands of feet of short ends. So, between Dallatorre and other Panavision workers, they would take the short ends and practice shooting film over the weekend. Most of the Panavision higher-ups began their careers in the shipping department, like Phil Raiden, Bob Harvey, Jim Roudebush, and David Dodson. 

After starting in shipping, Dallatorre moved up to the prep floor within a year and worked as a prep tech for nine years. He graduated to lead prep tech where he toiled for over four years before transitioning to the marketing department where he ran the new filmmaking program. Altogether, Dallatorre worked at Panavision until 2019, amounting to 18 years. 

CONNECTING WITH HARD-WORKING FILMMAKERS 

It was while working at Panavision, Dallatorre met future collaborators. He met the director of Emergency, Carey Williams, all the way back in 2003 when he saw a music video Dallatorre shot and really liked it. Williams contacted the band and got Dallatorre’s information and they started working together and subsequently became friends. 

They loved each other’s visual style but most of all they both worked hard.

“I want people that I work with to work as hard as I do,” says Dallatorre. “So, if you’re lazy, I don’t want to work with you.”

Sure, they made mistakes but they were learning, meeting people, and growing as filmmakers. In a similar vein, Dallatorre met David Yarovesky, the future director of Brightburn, around 2007. This relationship would change the trajectory of his cinematography career. 

THE PATH OF A CINEMATOGRAPHER 

Dallatorre realized he was on the right path as a cinematographer when he landed a Doublemint commercial featuring Chris Brown. It was a project where everything seemed to click. The commercial was shot on green screen and the filmmakers used animatics to determine how they would shoot it. The product was a digital pack of gum that Brown would interact with while one of his songs played. 

FILMING BRIGHTBURN

However, his career really took off with Brightburn. By that time, it was his fourth feature but his previous films were all under half a million dollars. Brightburn, by comparison, had a $6 million budget with James Gunn supporting them. On top of that, the premise was really interesting as it turned the Superman origin story on its head. 

“That was one of those moments where I really was like, okay, I need to not only continue what I’m doing but also I need to up my game because I’m stepping into a whole other league.” 

Dallatorre had previously worked on short films with Yarovesky, so when he booked Brightburn, he asked the DP if he was interested. After reading the script, Dallatorre knew it would be a challenge but was more than ready for the opportunity. Before going into a film, Dallatorre has a “date night” with his directors where he orders a few pizzas and watches some movies that relate to their project. 

CAMERAS AND LENSES

They shot the film on the Arri Alexa Mini and the Alexa XT Plus and used the Panavision T-Series Anamorphic Lenses. Dallatorre loves the sharpness of the T-Series. Most anamorphic lenses tend to have the same nice fall off but the whole image isn’t sharp. Then, that creates a lot of work in VFX. The lenses also feel “poppier” to Dallatorre, “kind of like a comic book.” He likens it to a comic book frame where there’s a blurry background while the character is sharp and in focus. Dallatorre also loves the color rendition of the T-Series and how it handles flares. 

Dallatorre shot some blind tests before landing on the cameras and lenses. “Basically, I will shoot a test with different cameras,” says Dallatorre, “but not put on the slate what the cameras or lenses are. So, [directors] can’t have a preconceived conception.” That way, rather than choose their lenses based on a movie they liked, Dallatorre allows them to look at the tests and choose for themselves what that particular project looks like. 

VFX

Dallatorre had lots of experience shooting music videos on green screens, so he understood keying and blue versus green. They had the help of the VFX studio Trixter along with a VFX producer and VFX supervisor. And according to Dallatorre, watching them work became a masterclass in VFX. 

For the scene where Tori Breyer (Elizabeth Banks) hides under the table and Brandon (Jackson Dunn) flies through the house three times, that was actually seven shots. The VFX team determined where to put Banks and then took her out to film the practical side of the scene. This entailed three cannons that shot projectiles through the frames. Then, they shot plates and put blue where the kitchen lights were to make them swing and blue where Banks was positioned. 

“I started to learn blue screen versus green on some of those because the green light reflects a lot,” recollects Dallatorre. “And it almost acts – not necessarily like a white card – but it’s got more luminance than the blue. And the blue would almost work as a negative fill.”

They ended up using more blue because of the film’s contrast.  

FILMING STUDIO 666

Studio 666 is a horror comedy band movie that features the Foo Fighters. It’s like an 80s slasher throwback full of practical effects and gore. Anyone who knows Dave Grohl knows that he does everything at 110% and according to Dallatorre, you want to reciprocate that work ethic. When Dallatorre met the film’s director, BJ McDonnell, who had a clear vision for the film. 

Since it wasn’t a studio film, there wasn’t anyone who they had to check in with. They also had talented veterans working with them like Tony Gardner, who did the makeup effects for such films as 127 Hours, Zombieland Double Tap, and Hocus Pocus 2.

The filmmakers got to work fast. They only had two weeks of prep so McDonnell gave Dallatorre a lot of latitude to make decisions. He chose the Alexa Minis and Panavision Zeiss super speeds – his go-to setup. His colorist was Mitch Paulson at Company3 who he has worked with on four projects. They used a film emulation LUT that looks like 5219. Dallatorre has used the LUT on everything from Brightburn to Emergency. 

Filmmakers Academy interviewed the producers of Studio 666. Learn more about how the filmmakers pulled off the crazy practical effects!

FILMING EMERGENCY

Emergency captures situational humor while also creating a social discourse. The film’s director, Carey Williams, took part in a Film Independent program called Project Involve. It’s an amazing program that chooses five directors, five cinematographers, five writers, five editors, and five producers to mentor. Carey was part of the program and first hatched the idea for the project which was then created as a short film. The film went on to win awards and built up enough steam for the feature film adaptation we now know as Emergency. 

Williams is very visual and purposeful with his framing. Together, Dallatorre developed his language with Carrie and as they progressed through prep, saw the locations in Atlanta, and developed the visuals. One of the things that Dallatorre does when he breaks down a script is highlight the emotional beats. For instance, if there was a disconnect between two characters, Dallatorre would use different lenses to help convey it. 

Dallatorre used his horror background in depicting the police – or lack thereof. Rather than show the faces of police officers, he pitched to Williams to never see them. Instead, they show aspects of the police so they feel like a force that looms over the protagonists. 

The colors were very intentional. For instance, the party that Sean (RJ Cyler) goes to at the end is red because that’s the color of the emergency room sign light hitting him. In Atlanta, the police emergency lights are blue, so Dallatorre petitioned to make theirs red and blue. That way, between the white of the hospital to the red and blue, it articulates the colors of the American flag. 

Cameras & Lenses

They used the Alexa Mini LFs with the large format Panaspeed lenses because most of the movie takes place in a van. They shot the majority of the van on an LED stage, so all of the interiors are LED. Williams wanted to feel the intimacy of the characters. They used a longer lens with a wider field of view.

They chose the 35s in the van which have the same field of view as a 21, but provided a more rectilinear image so it didn’t feel as distorted. Instead, you felt like you were in the van with them. “Then because the lenses let you get close focus so well,” explains Dallatorre, “we could be in the van 20 inches away from someone and focus and it would not look weird.”

ADVICE FOR FILMMAKERS

Michael Dallatorre’s advice to up-and-coming filmmakers is to be passionate about what you want to do. He feels very blessed and grateful to be able to live his dream as a cinematographer. According to Dallatorre, you must have a vision. Every project he has takes something from him. Working on films takes time from not only your life but time spent with loved ones. 

The key to when you’re starting is to try and find the people like you. If you work hard and they work hard, that is someone you will want to work with. Build the community of filmmakers that you want to work alongside. “Shoot as much as you can,” says Dallatorre, “and really, really study.” 

In the past, Dallatorre didn’t have resources like Filmmakers Academy to show him how to film something to look a certain way. Filmmakers today can easily access courses and mentors to learn exactly how to achieve the image they’re after.

“You have people like Shane [Hurlbut, ASC],” continues Dallatorre, “who shows you everything you need to know along the way.” 

Dallatorre didn’t feel like a true cinematographer until three years ago when he left Panavision and joined the union. Now that he has an agent and shot feature films, he no longer feels like the Panavision guy who shot stuff. At 43 years old, Dallatorre puts it bluntly, “it takes time, it takes a lot of work, stuff isn’t going to go right a lot of the time, and you’re going to run into pitfalls… you just got to keep going.” 

It’s a lot of hard work getting there but when Dallatorre gets to see his work on the big screen and the effect it has on the audience, “it’s just everything.”

FOLLOW MICHAEL DALLATORRE

Michael Dallatorre has a few projects in the works, including a TV show produced by Ava DuVernay called Cherish the Day. 

For more, follow Michael Dallatorre on Instagram at DP_MikeD. 

The post Finding the Frame: Michael Dallatorre appeared first on Filmmakers Academy.

Watch the full interview!

THE ORIGINS OF MATTHEW CHUANG, ACS 

Matthew Chuang was just a kid when he relocated from Tawain to Australia. He was inspired by all the classic blockbusters like Star Wars, Indiana Jones, and Jackie Chan films. While spending time at the video store, he became fascinated by films like La Haine and filmmakers like Wong Kar-Wai. Growing up with restauranter parents, Chuang didn’t realize that a career as a filmmaker was possible for him. He didn’t quite have the marks to go to college for design or architecture because he was too busy filling his time with movies instead of studying. So, when he was 17, Chuang’s father recommended that he go to a small film school. 

Post Film School

After graduating from film school, Chuang and a small group of filmmakers bought a Panasonic AJ-HDX900 Professional High Definition Camcorder and shot a film on the weekends, which would become Braille. Now, Chuang relents, “It’s not a great film,” but that they “definitely learned a lot on that film.” The film was made on a budget of $40,000 and allowed him to try out different cinematic techniques. According to Chuang, there’s no better way to learn filmmaking than “baptism by fire.” 

Chuang was pulled toward working with the visuals as opposed to directing like most other filmmakers. However, in his early days, he directed personal projects like short films and music videos in order to learn the craft. Like most filmmakers, he networked and built his rapport with other filmmakers and eventually began operating on commercials in and around Europe. 

A Leap of Faith

It took a few years for Chuang to take the next step in his career. When he was around 26, he still lived at home with his parents and was unemployed for some time. His self-confidence was at an all-time low. So, like the sad romantic of a Wong Kar-Wai film, he relocated to Melbourne, partially because of a girl that he met in Japan. Unfortunately, the girl was not interested in Chuang, and to make things worse, he didn’t know anyone else in the city. In the letter rejecting him, she wrote that he seems to be the kind of person who really goes for what they’re after.

That line struck Chuang because he never really felt that way. However, it stuck with him and he thought that maybe he should, in fact, be that person. This led him to move to where there was opportunity and worked with anyone who gave him a chance. “I’m not here to just mess around,” says Chuang. Instead, evolving beyond his early 20s, he learned to pursue his passion head-on. 

Learn more about Matthew Chuang’s leap of faith by moving to Los Angeles in the full interview!

PREPPING CINEMATOGRAPHY FOR BIG PROJECTS 

Your preparation for a project “depends on the filmmaker,” says Chuang. When working with very artistic directors like Ana Lily Amirpour and Justin Chon, Chuang tries first and foremost to understand their point of view. He likes to know why they make certain decisions so he can best support their vision. 

Chuang’s first collaboration with director Ana Lily Amirpour was for the short film, KENZO ‘Yo! My Saint’. He recalls talking over ideas with the director at a cafe. She told him what turned her on about cinema, like longing, lust, and the concept of someone still within you after your relationship has long since expired. The project was deeply personal for the filmmakers. When filming the project, Chuang recalls very emotional Lily standing at the monitor.

KENZO ‘Yo! My Saint’, Photo Credit: Matthew Chuang, ACS

“I love what she does with filmmaking because it’s so personal to her and she’s invested emotionally into this. She’s going by her feelings. It’s not overthought, it’s not too calculated, it’s just like her instincts and how she feels. And, to be honest, they’re the time of filmmakers that I’ve seen that – and I guess the seed started to grow and that evolved with Blue Bayou with Justin [Chon] and it evolved even further with You Won’t Be Alone with Goran [Stolevski]. Lily was one of the first filmmakers where you can feel what you are shooting. I think she was calling it a cinematic orgasm.” –Matthew Chuang, ACS

Feeling Blue Bayou and Future Projects

As he progressed with Blue Bayou and You Won’t Be Alone, Chuang pushed even further in how he ‘felt’ the project. He acknowledges that it’s from spending a lot of time with the director, producers, and crew.

He relents that this isn’t always the case with every project, such as commercials that might have a predetermined design. But, Chuang tries to stay open and explore. 

CINEMATOGRAPHY COMPOSITION & SPECS

Filmmakers like Terrence Malick and Emmanuel Lubezki operate with set rules of engagement. However, this may change by the project. Matthew Chuang shares his experiences on both Blue Bayou and You Won’t Be Alone. 

BLUE BAYOU

For Blue Bayou, the director Justin Chon wanted things to be “very free,” says Chuang, because they were making a film about real people. 

There were two DPs [Chuang and Ante Cheng] and they would light the spaces and then “keep the mechanics of filmmaking outside of what the actors were doing.” This pre-meditated design allowed for a free-flowing composition. They shot the film on 16mm so their lighting approach was to use natural sources like windows and practical lighting. 

Blue Bayou, Photo Credit: Matthew Chuang, ACS

Chuang describes how New Orleans was in and of itself a character. “We definitely spent time to get to know the people there and embrace that. They were very warm and we wanted to support that within the film, and to really show a very distinctive character to New Orleans and to embrace the character and the textual quality visually. The weather is insane there so we all wanted to represent that light…. Shooting on 16 definitely supported that.” 

Shooting 16mm

The filmmakers used an ARRI AMIRA for digital capture and an ARRI Arriflex SR2 with a 416 magazine to capture 16mm. They also shot with Canon EOS 250D and 500D as well as with Ektachrome. For lenses, they shot on Zeiss Super 16mm Super Speeds and Canon lenses. 

Justin Chon and Chuang were inspired by other filmmakers who used 16mm like John Cassavetes as well as Mexican New Wave films like Y tu mamá también. Chuang pitched Chon on using Zooms to help convey his character who was adopted from Korea from a young age and full of self-doubt, so “it helped bring out what Justin was doing with his performance.” 

Meanwhile, the AMIRA was used for sequences like the night exterior motorcycle heist. They didn’t have the resources to light the street, so the AMIRA was predominately used out of necessity. At other times the AMIRA was used when the filmmakers split off into multiple units in order to make their schedule work. 

YOU WON’T BE ALONE

Conversely, You Won’t Be Alone was about a witch in 1800s Macedonia who lived in a cave for years. She doesn’t know how to behave around other people due to her extreme isolation. In conversations with the writer/director Goran Stolevski, they realized the story felt so crazy that they had to ground it with the actors. “I never seen human behavior or body language in that kind of way, so we agreed to support and to allow the actors to do their thing.”  

Behind-The-Scenes of You Won’t Be Alone, Photo Credit: Bethany Ryan

Chuang spent a lot of time in pre-production going through the space with his RED Komodo and his set of Cooke Speed Panchro lenses to try compositional ideas. By doing their homework, so to speak, when the actor moved to a certain spot, Chuang was already familiar with the location and lit from the position of the camera while still capturing the performance but framing it in a way that was abstract. 

They used longer 40mm to 75mm lenses, sometimes with the 75 of the diopter because Goran wanted to get close. 

SHARING THE ROLE OF CINEMATOGRAPHER

On Blue Bayou, Matthew Chuang shared the role of director of photography with Ante Cheng. Previously, Justin Chon and Ante Cheng worked on two films that went to Sundance: Gook and Ms. Purple. Originally, Ante Cheng worked with Justin Chon on Blue Bayou but the film kept getting delayed. So, Matthew Chuang was brought in and helped build the film, as well. Then, when Alicia Vikander was cast, suddenly the film became much bigger. As the writer, director, and lead actor, Chon realized that we needed the support of both DPs, since it was all of their largest film at that point. 

Naturally, other filmmakers – like one of Chuang’s favorites, Wong Kar-Wai – used multiple DPs in his films. Chuang says that you need to put your ego aside and when both cinematographers met, they decided to really embrace each other. Even to the point of sharing the same Airbnb. They made their decisions together and remained on the same page creatively. Combined, they made the pact that “it needs to be better than if one of us had shot it.” 

ADVICE FOR FILMMAKERS 

Matthew Chuang’s advice for budding filmmakers is to be open. This means opening yourself to new ideas and opening yourself to making mistakes. 

“A lot of people run on fear,” says Chuang, and playing it too safe could be overly confining. Even the best filmmakers like Lily, Justin, and Garn have moments of doubt, and Chuang tries his best to support them. And, this also works vice versa for when Chuang feels doubt. According to Chuang, filmmakers must support each other in such moments. 

“Filmmaking is a very collaborative thing so you do need the support of a lot of people devoted to that.” 

WATCH THE FILMS SHOT BY MATTHEW CHUANG 

Blue Bayou is a 2021 Official Selection of Festival de Cannes and is currently playing in theaters. Learn more about how you can watch. 

You Won’t Be Alone is a 2022 Official Selection of Sundance Film Festival and is currently streaming on Peacock. 

More Finding the Frame Interviews

• ALICE BROOKS, ASC
• BRENDAN UEGAMA

The post Finding the Frame: Matthew Chuang, ACS appeared first on Filmmakers Academy.

Watch Finding the Frame with Alice Brooks, ASC

What Inspires Cinematographer Alice Brooks, ASC? 

Alice finds inspiration in paintings, photographs, and music. In fact, she joined the LA County Museum of the Arts which has a museum service council. 

In college, Alice had taken art history classes but found it even more rewarding to attend classes that focused on the art that was curated by the museum. “To actually really see the paintings in real life versus in a book was incredible.” 

On the other hand, Alice doesn’t love watching movies when prepping for movies. Sometimes she watches older movies, but nothing in the past 10 years because of something a colorist once told her. The colorist said that when coloring movies, they realized that nearly every one looked the same. That’s when it occurred to Alice that she was only doing what was the latest trend. Rather than replicate the latest “hot” movie, she prefers to concentrate on what’s right for the story that she’s visually telling. 

For Alice, her journey as a filmmaker began at a young age.

From Childhood Actress to Aspiring Cinematographer

“Fantastic,” is how Alice describes her childhood. Where other kids went to ballet or gymnastics after school, she would go to auditions. “I got to be part of things that were just bigger than the world around me,” says Alice. Between the ages of five and 10, she appeared in nearly 40 national commercials. 

At the time, Alice always gravitated toward the camera people. During a commercial for Prodigy, an early internet product, Alice was with two other child actors in front of a computer. They played video games on the computer while the filmmakers set up the lights. Suddenly, they told Alice and the others that they could go home. Crushed, she assumed she was fired. However, when they saw the commercial, she realized that they had a reverse shot on the computer as if they were interacting with the internet instead of the games. They looked like they were having a fantastic time! That’s when Alice realized that there are interesting ways to tell stories with the camera. 

When Alice turned 10, she and her family relocated to Los Angeles from New York City. For the next five years, she continued to audition but she didn’t book as many jobs as she once did. Conversely, her sister worked regularly and appeared in many TV series. So, after school, Alice would go to whatever soundstage her sister worked on and do her homework in the dark. As she watched the filmmakers, she thought the lighting was magic. 

It was after an audition for the Sandra Bullock film, While You Were Sleeping when Alice’s life changed forever. 

She auditioned seven times for the role of the sister and when she reached her last audition with the director, she knew in her heart that she didn’t get the part. Afterward, Alice and her mother walked on the beach in Santa Monica while they waited for rush hour to end. While on the beach, Alice told her mother that she no longer wanted to be an actress. Instead, she wanted to be a cinematographer. At that moment she looked down and spotted a little gray and white feather. She picked it up and carried it all around the world as a reminder of the moment she declared her dream. 

Now a member of the American Society of Cinematographers, Alice grew up inspired by the cinematography of Caleb Deschanel. More specifically, it was two of the films that Deschanel lensed that stood out to a young Alice – The Natural and The Black Stallion. Alice noted that the films were her “go-to movies for many, many years.” Now, the imagery of those films is what continues to inspire Alice to this day. 

The Black Stallion

Developing Her Cinematic Eye 

In high school, Alice essentially lived in the darkroom developing her film stills. She even had her own key. At the time, her sister was on a TV series called Cracker: Mind Over Murder, shot by Roy Wagner, ASE. During that time, Alice took it upon herself to study Roy’s work. 

“I hadn’t seen anything like what [Roy] was doing on TV before,” recalls Alice. “It was very dark, lots of these long Steadicam shots, and some things that started on the second floor and came down to the first floor or vice versa.”

Meanwhile, Alice wanted to attend the University of Southern California. Now, aspiring filmmakers send their reels and show video work, but back then the application process for the film school involved a two-page essay and stills to judge your storytelling abilities. Today everyone has a camera in their pocket. But when Alice first started out, like most families, she just had an old VHS camera. When she attended USC on a full scholarship, that would change. 

“I got my Super 8 camera and started shooting on that first and then we shot 16 and 35,” says Alice. When she graduated, she had two short films under her belt – but realized she needed more work. Not interested in paying for grad school, she instead stuck around USC and offered to shoot the grad students’ films. At the time, there weren’t as many people who wanted to be cinematographers. So, over the course of a year, she shot nearly 30 films! 

Alice Brooks and Jon Chu’s First Collaboration 

At the end of that year, Jon M. Chu asked Alice to shoot his now-iconic student film and musical, When The Kids Are Away. It was this project where she bonded with the future Crazy Rich Asians director and would later collaborate on such films as Jem and the Holograms, In the Heights, and the upcoming musical film adaptation of Wicked. 

Jon Chu’s student film was unlike most. It was a musical – and the first one that Alice had ever shot. Now, Alice grew up loving musicals starring Fred Astaire and Ginger Rogers, and her mother was also a singer and a dancer. So, naturally, Alice was no stranger to show tunes playing around the house. But there hadn’t been any major musicals that had captured the zeitgeist of that particular era. When Alice shot When The Kids Are Away, it was just before Moulin Rouge and Chicago. 

However, they were in film school so they had knowledge of cinema, musical theater, and musical genre movies. The two key pieces to ensure a successful production was the choreographer and the Steadicam operator. The choreographer, Raymond Del Barrio, was a seasoned veteran who performed in Robin Hood: Men in Tights and Sister Act 2: Back in the Habit. 

They storyboarded some shots and maneuvered a Busby Berkeley shot over a table with the mothers cleaning and removing plates from the table. 

Busby Berkeley shot

Years later, they would do another Busby Berkeley overhead for In the Heights, except in a swimming pool.

Busby Berkeley shot, In the Heights

In fact, they reproduced many shots from When The Kids Are Away for In the Heights. In the last shot of the opening number for the film adaptation of the Broadway musical written by Lin-Manuel Miranda, there are 500 people dancing in the streets. It was quite the leap from their student film back in 2002 when Jon and Alice had 30 people dancing in the streets. 

Alice notes how she and Jon still remember the moment fondly:

“Actually, Jon – a few months ago – he was digitizing all his mini DV tapes from our time at school. And he’s like, ‘Look what I found.’ He found all of the behind-the-scenes of us on that set. And he’s like, ‘Look, we’re standing exactly the way we stand and we’re doing exactly what we do now.’ Then he had this interview with me [during a production meeting before filming] and he said, ‘Alice, what would you tell your future self?’ I said a whole bunch of things. And then I said, ‘Remember this moment – remember the moment before you’ve got 30 people dancing [in] the middle of the street at sundown.’ And then 20 years later, we do it on In the Heights, except instead of 30 people on the street, it’s 500!” 

When The Kids Are Away was also the project when Alice began her longstanding relationship with Panavision. Rather than shoot on film, Jon wrote a letter to Bob Harvey at Panavision and explained that he was shooting a short film and really wanted to get his hands on the first Panavised version of the Sony F900 Digital Camera. Bob provided the camera to Jon for two weeks and it was Alice’s first experience shooting digital. 

Panavised Sony F900 Digital Camera

Companies like Panavision build relationships with cinematographers early on in their careers with their New Filmmaker Program. “That’s the beauty of this industry,” says Alice. There were only a couple of Panavised F900s, so to let them use the camera for two weeks was an incredible opportunity and generous of Bob Harvey at Panavision. 

Recognize Each “Break” 

After Alice finished what she calls her “free year” of graduate school, she rode the momentum of the success of When The Kids Are Away. She acquired an agent which was helpful for her resume – but really doesn’t help filmmakers find jobs at that stage in their careers. From there, Alice shot lots of movies around the $100,000 mark, and gradually received projects with higher budgets. 

She was at Barack Obama’s first inauguration when she received a phone call from Jon Chu informing her that he had a project, which would become the Hulu series The LXD. Jon told Alice that the project only paid $100/day but it was something special. The only catch was that Alice had to be in Los Angeles in two days, so she jumped on a plane with no script or anything to go on. There was something in Jon’s voice that she trusted and so she rightfully felt that this was going to change the trajectory of her career. 

The project turned out to be a wonderful experience for Alice. She describes working on LXD as a “complete playground.” The premise of the show was superheroes who channeled their powers through dance. So, they explored telling stories through dance moves and worked with choreographer Christopher Scott, who would later serve as the choreographer of In the Heights. After the first five episodes, Paramount came on board and the show’s budget increased. They shot three seasons and 30 episodes altogether. “It was probably the most wonderful special time of my life,” Alice pleasantly recalls. “And everyone who worked on that project feels the same way.”

Cinematographer Alice Brooks Lenses Multiple Genres 

In the intervening years, Alice shot the fast-paced action series Tainted Love with director Avi Youabian. The two also worked together on the Walking Dead web series Red Machete where they won an Emmy, and a project for Amazon called Tom Clancy’s Ghost Recon Wildlands: War Within the Cartel. By this point, Alice had dipped her toes into a number of genres from action to horror. Her next stop was kids’ movies, starting with Jem and the Holograms. The film was based on the children’s cartoon from the ‘80s and the titular Hasbro doll. For that film, she would once again team up with Jon Chu. 

Jem and the Holograms movie

“Jem, for Jon and me,” explains Alice, “was a concert movie. It’s five musical numbers – five concert numbers. And so, that was another way we started to play and learn about how to tell a story through song and dance.” 

This launched a period in Alice’s career where she shot lots of kid’s movies, including Alex and Me with Eric Champnella – about a girl who bumps her head and then suddenly sees soccer mega-star Alex Morgan who coaches her. 

The film That Alice Brooks was Destined to Shoot 

Alice first met Lin-Manuel Miranda while filming In the Heights – the film was an adaptation of the musical he wrote for Broadway before Hamilton. Miranda was a producer for the film adaptation but she didn’t interact with him much during the film.  

Alice Brooks on the set of In the Heights, 2021

But, on the final day of filming, Alice received a call from her agent who said that Lin would love for her to read the movie he was directing and then meet with him. The name of the project was tick, tick… BOOM! 

Three days after wrapping In the Heights in August of 2019, Alice hopped on a Zoom call with Lin and talked about the project. tick, tick… BOOM! is the story of Jonathan Larson, the writer of the musical Rent. The film is told in three parts. Set in 1990, Larson (Andrew Garfield) workshops his musical Suburbia (which was never made) and follows the anxieties of turning 30 without achieving the success as a playwright that he so desperately craves. 

In 1990, Alice was 10 years old and just left New York City for Los Angeles. In many ways, she could identify with Jonathan Larson a la her playwright father and dancer mother. They even lived in a similar tenement apartment building with a walkup staircase and a bathtub in the kitchen. Her father’s artist friends were always at their home, and Alice remembers all of the creative ideas, the laughter, and even the sorrow. She would witness her father’s heartbreak while he tried to make it as a playwright himself. So, when Alice read the script, she knew she had to make the movie. In fact, much of her lookbook that she handed to Lin was full of photos of her own childhood. 

Storyboarding and Workshopping tick, tick… BOOM! 

They began prepping tick, tick… BOOM! just before Christmas and spent a couple of weeks looking for locations with the production designer, Alex DiGerlando. According to Alice, it was a collaborative process. They returned to work in January and continued prepping on paper. Then, Alice asked Lin to go through the script with her. 

“Oftentimes, if a director is willing – because [Lin-Manuel Miranda comes] from this acting perspective – I asked [him] to give me an intention in each scene. The camera is another character. So, what is the feeling? What is the intention that we want to convey to the audience? And I asked for one or two words, very simple intentions. And then after we go through that process, then we sit down with the storyboard artist.” –Alice Brooks, ASE 

Then, Alice creates a spreadsheet with the intentions that she gathered from the director. She typically uses these intentions to inform her decisions as an intuitive storyteller. Typically, this next stage involves the director, storyboard artist, and cinematographer. However, Lin likes to bring in more people for a broader perspective. So, he also included the AD, production designer, and writer. Then, the six of them sat around the table, and Lin and Stephen read the scenes out loud, acting them out, and then they would talk about the scenes. Alex, the production designer, used his set models and paper plans to show them the sets that they were working with. From there, the writer Steven Levenson would alter the script based on their ideas. 

TICK, TICK…BOOM! (L-R) Director Lin-Manuel Miranda and Andrew Garfield as Jonathan Larson. Photo Credit: Macall Polay/NETFLIX ©2021.

Alice likens working with Lin-Manuel Miranda to making a stage show:

“There were several things that like came about in these storyboard sessions. And I attribute this kind of working environment to the way you make a stage show. And that’s the world Lin has been in for the last 20 years where you don’t have to know all the answers right away. You get to try things on.”

The storyboard artist would draw the storyboards and send them to the filmmakers and then they could provide notes and the artist would make the requested adjustments. They essentially workshopped the movie with storyboards. 

Lin-Manuel Miranda Embodied the Spirit of Jonathan Larson

It was Lin-Manuel Miranda’s passion that inspired Alice during the making of the film. Larson’s story was very personal to him as he first saw Rent on Broadway when he was 16 years old. That’s when Lin realized that he can write musicals from his own voice and perspective with music that he enjoyed. 

“This was a story he was so, so passionate about,” notes Alice of Lin-Manuel Miranda, “and that passion just filled everybody up. And we all sort of started falling in love with Jonathan Larson through Lin’s eyes.”

Today we all frequently have cameras turned on us, whether it’s for social media, documentation, or even traffic lights – but that was not the case for people of the early ‘90s. Luckily for the filmmakers, Larson’s friend had a beta cam and she filmed him constantly. The filmmakers had eight hours of beta cam footage of Larson from the mid-80s until his death. Lin would fast-forward through footage and point out details so everyone knew exactly who Jonathan Larson was. 

Filming in Jonathan Larson’s Real Apartment

The filmmakers were able to nearly replicate Jonathan’s apartment. That’s because two weeks before his untimely passing, he feared that his apartment would catch fire due to a gas fireplace that was illegal in his apartment. So, he went around with a friend’s beta camera and taped every single item in his apartment. His friends also kept his things. So, the keyboard and all of the paintings on the walls were his. Even some of the wardrobe that Andrew Garfield wore, like the blue flannel shirt, was Jonathan’s. 

TICK, TICK…BOOM! Photo Credit: Macall Polay/NETFLIX ©2021.

The only difference was that Jonathan’s bedroom didn’t have a window. He gave his roommates the window rooms so he could get more rent. However, Alice wanted him to have a room with natural light. 

The Camera and Lenses of tick, tick… BOOM!

The film was shot with the Panavision Millennium DXL2 on Panavision G-Series anamorphic lenses. 

For any movie, Alice tests lots of cameras and lenses and then projects them. According to Alice, sometimes she has a strong feeling about what camera lens she should use while other times the director has a preference. Even though this was Lin’s first movie, he was hungry to learn about the process. So, he joined Alice and she pointed out features of the cameras and lenses without leading him. That’s how they eventually landed on the Panavision camera and the G-Series lenses. 

TICK, TICK…BOOM! (L-R) Director of Photography Alice Brooks and Director Lin-Manuel Miranda. Photo Credit: Macall Polay/NETFLIX ©2021.

They chose a large format camera because they wanted to feel intimate with Jonathan. They sought tight, claustrophobic shots and the G-series lenses provide a really good close focus for anamorphic lenses. That allowed the filmmakers to get tight with him in the small set areas. 

The schedule was also tight so Alice didn’t want to fly away walls. However, she felt the feeling of claustrophobia and closeness to Andrew Garfield’s character was important. On the flip side, when he explores musical numbers in his dreams, the space opens wide. Alice felt the anamorphic lenses allowed them both possibilities. 

The Color Process of tick, tick… BOOM!

They finalized most of the looks with the DIT, Abby Levine, before entering principle photography. Then, after work, Alice would sometimes visit the lab and work with the dailies colorist to ensure everything was coming in according to plan. 

The color of the movie changed between reality and the dream world in the film. For instance, when Jonathan and Michael (Robin de Jesus) are heading from his apartment to Michael’s new apartment, the look turns from desaturated to saturated. 

For 30/90, it starts on stage during a live performance and then suddenly moves into Jonathan’s 1990 world. Lin, at this point, wanted everything to feel heightened during the musical number versus Jonathan’s normal world. Then, during the second musical number No More, Jonathan’s apartment fades into more desaturation. 

To do this, the colorist Stephen Nakamura mentioned a new tool in DaVinci Resolve called the Color Warper. During editorial, all of the saturation was removed and a brown tint was placed over the image. However, it felt cheap and didn’t feel like a good version of what the filmmakers intended. Alice liked the color warper tool because it “pulled out selective colors and inversed colors in a way.” So, they next showed the results to Lin so he could weigh in and affirm whether he liked it or not. Ultimately, Lin wanted the move to Michael’s apartment to feel like transitioning into the Wizard of Oz, where suddenly they’re in Oz and everything is grand and the light is beautiful. 

tick, tick… COVID!

The production began a little over a week before the start of the COVID-19 pandemic in 2020. 

“March 11, Lin and I looked at each other at the end of the day and said this was the best day of our lives, says Alice. “Then, the next day everyone came to work and the world had changed. Suddenly, it became real that COVID was here and something was about to happen. And, we were shooting at Jonathan Larson’s real apartment.”

They shot their exteriors at Larson’s apartment and on the stairwell along with some POVs. In fact, the first shot following lunch was the POV shot from his apartment window looking down at Susan in the phone booth. However, during lunch, the producers alerted them that Netflix was meeting about the pandemic. The next thing they knew, there was hand sanitizer all over the set and they were instructed to keep their distance from one another and wash their hands. It was difficult in the cramped space of the location. Discerning what was about to happen, Alice was devastated. She thought the movie was over. 

“I didn’t understand that we were about to have this huge pandemic, but I was so devastated that we weren’t going to finish this movie. And then, sure enough, after midnight when we wrapped, they said everyone was going to go home for two weeks. And everyone knew two weeks wasn’t realistic. So, then there’s this period of being really sad.”

By that point, they had hardly shot anything. Then, they began doing what they dubbed, “Tick-Tick Zooms.” Once a week, on Tuesdays, they invited 500 cast and crew members to hop on Zoom calls. “At first, they began as online therapy sessions with, ‘What are you doing? How do you feel being locked in your apartment? How are you getting toilet paper?’ Things like that,” explains Alice. “And then it became trivia and games. And it was a time where we all bonded and kept the sort of joy that we had found on that movie.” 

TICK, TICK…BOOM! (L-R) Director of Photography Alice Brooks and Director Lin-Manuel Miranda. Photo Credit: Macall Polay/NETFLIX ©2021.

The Tick-Tick Zooms got them through the next six months. Then, sometime around June, Alice received a call from Julie Oh, one of the film’s producers. She told Alice that production may re-open their offices at the end of July. According to Alice, this was an “Oh my God” moment. She was thrilled to have the opportunity to finish their film. They were certain that the film would shut down again – but that day never came. In fact, they shot for 42 days and no one contracted the virus.

The difference between shooting a musical versus a traditional narrative

A distinct difference between traditional narrative movies and musical films comes down to audience expectation and believability. Here’s how Alice puts it: “When you go see a stage musical, everyone has bought a ticket and you’re going to see this because you love going to the theater and you love seeing musicals. You all have this collective agreement that people can break out into song and dance. But that’s not the same agreement for a movie musical. And so, the key to a successful musical is when you transition seamlessly from reality into this musical world, and how you build that storytelling language.” 

Alice and Lin worked very hard on the transitions from dialogue scenes into the musical numbers. Even people who don’t typically enjoy traditional musicals appreciated the film for this very reason. Outside of Andrew Garfield’s brilliance, the filmmakers focused on the transitions and figured out how the three peaks in the 1990 musical world and stage musical all blended together seamlessly. 

Alice learned about animatics from Jon Chu on In the Heights. Jon took their storyboards along with the dance rehearsal footage, which was a combination of Alice and Christopher Scotts (the choreographer), and the records from the music department. Then, he cut the scenes together and created animatics. 

It was a few weeks into the storyboarding process when Alice realized she needed animatics when communicating with the gaffer, key grip, and camera operators. She remembered how important they were to In the Heights. And even though tick, tick… BOOM! didn’t have as many musical numbers, they were still especially important to the transitions. 

Matching Locations for a Dance Sequence

One of the musical numbers where the filmmakers didn’t use animatics was Come to Your Senses. This is where Susan (Alexandra Shipp) is singing on the rooftop while Karessa (Vanessa Hudgens) sings the same song at a workshop. The script originally called for a split-screen but the filmmakers quickly decided against it. 

tick, tick…BOOM! (L-R) ANDREW GARFIELD as JONATHAN LARSON and ALEXANDRA SHIPP as SUSAN. Cr. MACALL POLAY/NETFLIX © 2021.

They first filmed Susan on the rooftop on their first week back from the pandemic and then Karessa’s scene at the workshop six weeks later. So, they had to be certain where they would place the cameras ahead of time. The rooftop was shot on a set and the workshop was a real location. Since it was a real location, they had challenges with distance. Firstly, they had to figure out where Jonathan’s chair was in relation to Karessa at the workshop. Then, they matched it. On the rooftop, they taped everything out to try and make sure that they didn’t feel too far apart. But, then they realized that they did feel too far apart. So, they returned to the workshop space and pulled them in closer together. 

They also only had a certain amount of height at the location versus the rooftop stage. So, that was why at the end of the sequence, they ended on Susan, pulling out to reveal the city; whereas, for Karessa, they end on her back. There were challenges with the camera height. Everything else was the same exact camera position. 

The Nuances of Working with Talent on Musicals

Typically for most narrative films, you might get the actors for a couple of days or weeks before shooting. However, with musical films, actors must attend dance boot camp, music boot camp, vocal boot camp – and in the case of Andrew Garfield – piano lessons. Then, they start doing pre-records. At this time, Alice would sit in a corner and watch the pre-records because they gave her insight into the way the actors performed the scenes. 

TICK, TICK…BOOM! (L-R) Andrew Garfield, Director Lin-Manuel Miranda and Director of Photography Alice Brooks. Photo Credit: Macall Polay/NETFLIX ©2021.

“That to me was really important because when you pre-record, essentially it’s the performance,” describes Alice. “Because they’re going to lip-sync – although, we do live singing too – but it gives you sort of an idea of what’s about to happen.”

They actually prepped much of the movie at a dance rehearsal space in Midtown so that they could pop into dance rehearsals. In addition, Alice attended table reads and on-foot rehearsals. In fact, in the scene when Susan and Jonathan have their big fight at the apartment, they shot it after they were cleared to return after their hiatus. However, nine months earlier during their prep in January, Alice filmed them on her iPhone at the location with no furniture and without hair and makeup. But, they chose the same exact frames which was impressive. If she wanted, she could cut the same exact scene with her iPhone footage.  

Advice to Filmmakers

Alice’s advice for filmmakers pursuing their first musical film is to make the choreographer your best friend. Together, you two can design incredible shots because they understand how the dance will work in a location. You might not quite get that. 

Alice explains, “When you start to get in their head, then you’re able to see, ‘Okay… we’re in this rehearsal space, but I see how you’re crafting it for the actual location.’ And then, you can start designing the shots from there.”

In addition to befriending the choreographer, Alice recommends attending pre-records because they will give you a huge leap forward in your prep process. 

Follow Alice Brooks 

You can follow Alice Brooks, ASC on Instagram at _alicebrooks_

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Watch Finding the Frame: Brendan Uegama 

Below, watch the full interview from Finding the Frame, a Filmmakers Academy exclusive interview series. FA Creative Director Brendan Sweeney sits down with DP Brendan Uegama to talk Moonshot. 

Brendan Uegama 

Brendan Uegama is a DP from Vancouver, British Columbia who grew up skateboarding, snowboarding, and shooting photography. Uegama’s interest in cinematography began when he and his friends would film and cut together videos of daring X-Games-like escapades.

In fact, his first film involved motocross. He traveled the California coast and up through Washington to British Columbia for an entire year. After that experience, he knew he wanted to be a filmmaker.

So, Uegama attended film school where he studied cinematography and worked up the ladder of short films, corporate videos, and other projects where he could make a little money and gain experience.

It was while working on a film called Are We Done Yet when Uegama met his wife. In fact, she made it possible for Uegama to meet the film’s cinematographer Jack Green, who he was dying to meet. Green was a gracious, nice person who took the time out of his day to show him the camera and lights and even asked Uegama’s opinion.

It was at that moment with Green that Uegama learned to always be gracious as a filmmaker. He realized that they are all a team working toward the same goal – to make a great film!

Launching to Moonshot

Uegama fully relocated to Los Angeles six years ago in 2016. Before Moonshot, Uegama got his first big break on the shows Riverdale, an adaptation of the popular Archie comics, and Chilling Adventures of Sabrina. It was during this time that Uegama was able to build his contacts and network which led to him meeting the right people in order to get offered Moonshot. Ultimately he shot three different shows within five years – with the third being Katy Keene. 

You never know what project or contact will lead to a new opportunity. At the beginning of 2021, Uegama was introduced to one of Moonshot’s producers Mike McGrath by producer Sarah Schechter who put him in touch with the director, Chris Winterbauer. Following an interview in April, it was a month before he got the phone call to fly to Atlanta. Two days after wrapping the show Truth Be Told, Uegama flew out for the interstellar rom-com. 

Director Chris Winterbauer (L) with DP Brendan Uegama (R) – Photo Courtesy of Brendan Uegama

What drew Uegama to Moonshot’s script was its science fiction plot in addition to being fun and unique. Uegama was also inspired by Winterbauer’s passion for the project. He described it as “contagious.” According to Uegama, Winterbauer knows exactly what he wants and has “a good creative eye.” Like most good leaders, he’s open to ideas with the mindset that the best idea wins. They storyboarded most of the film together and Uegama wrote ideas for each scene to facilitate the collaboration and even included images and ideas for color. Then, he would pass them along to Winterbauer and the production designer Eddie Matazzoni to fuel their process. This allowed Uegama to express what he wanted ahead of time. 

The prep for Moonshot was very quick – not more than five weeks for Uegama and seven or eight for Winterbauer. The principal photography itself consisted of 35 days. However, they talked about everything. Winterbauer had a system in his office with a different color piece of paper for each scene lining his office (amounting to around 100). So, when you would sit down you could identify where every scene was and it helped keep things organized during their collaboration. They would sit down every day for a few hours and storyboard, shot list, and draw out ideas. Then, during the weekends they would continue to hash out their ideas to maximize their five weeks in prep. 

Moonshot Cinematography

In the beginning, Sophie (Condor) and Walt (Sprouse) are at odds with one another, starting when Walt walks into the room and steps on the orb. However, as the film progresses and they board the ship together, their relationship blossoms. To convey this, the filmmakers used more separation between the characters at the beginning of the film and connected them more through composition and two shots as they grew closer. 

Moonshot was shot on Alexa Minis and employed three different types of lenses for each act. 

• Act-1: Earth – MiniHawk Hybrid Lenses
• Act-2: Spaceship – Super Speed Lenses
• Act-3: Mars – Summilux-C Lenses

In prep, while working with Castle Camera, they first considered the Hawks for everything in space but ultimately chose the Super Speeds because they delivered a unique kind of bokeh. The filmmakers also wanted to convey the difference between Earth and Mars. For Earth, they wanted it to feel clean and on Mars, it had to feel dusty. So, they reverse-engineered that concept through the lenses. They used no atmosphere on Earth, a little on the spaceship, and then went the heaviest on Mars. By using the Hybrids on Earth, Uegama felt that it gave them texture without “going smokey” so they could get it to where they liked while also allowing the actors to look their best. 

On the spaceship, they knew that they would primarily work within tight spaces. For example, Sophie’s room was very small and the filmmakers realized that they would quite literally be up against the wall. So, they decided to shoot more wide open so they could get a soft background. 

Uegama also loves how the Super Speeds bloom in the highlights. He finds that the Leicas (Summilux C) are the most solid lenses overall and chooses them often, including on a handful of shows, commercials, and the feature film Child’s Play. Per Uegama, they are the ideal amount of crisp without being too sharp, perfect to balance and physically work with, and they provide a creamy texture without being too cool. “We felt with Mars,” says Uegama, “that was the perfect kind of solution. And I knew that those lenses work really well with heavier smoke, as well – which I do a lot.” 

Moonshot Lighting & World-Building

Moonshot parted from science fiction films like Star Wars, where it made the idea of space travel feel like a reality. One of the films that were a visual inspiration for Moonshot was Her. It was one of the first films that they discussed during their first meeting and that both Uegama and Winterbauer drew a connection. At its heart, Her is a rom-com, according to Uegama; however, it doesn’t look or feel like the average kind. 

Even though the world is very close to our own, there is still the challenge of making it seem not only normal but a few years away from 2022. This was partially made possible through their approach to lighting and collaboration with Matazzoni (production designer), Winterbauer (director), John ‘Fest’ Sandau (gaffer) – and, of course, Uegama. They knew two things: 

1. Move quickly while being efficient in order to incorporate as much as possible in the movie so they wouldn’t spend too much time lighting.
2. It looked right and felt appropriate to the world in which they were telling the story.

Lighting Examples

Uegama recalls one of the earliest phone calls that he had with Matazzoni was about placing all of the panel lights down the sides of the ship in the hallways. Matazzoni wanted to add lighting between the floor and the wall mats, and the idea developed from there. 

For everything that they built, they would refer to the floor plans to figure out how they could incorporate the lights as well as what to do with them. For instance, how might they move? They came up with the idea of lights coming to life on the ship when the day turns from afternoon to evening. At that point, the ship would presumably shut down into a different mode of operation and the colors would flash from warm or tungsten lights to something cooler that would represent night or evening. 

For the scene on Mars when Walt steps out of the room into the hallway with traveling light, Uegama came up with the concept during his first day in prep. They were considering ideas for what the concept of the floor would look like. The floor was styrofoam with glass laid on top of it in a small hallway. They carved out tracks into the styrofoam in the ground and laid LED ribbon. They used it in two ways: 

1. To illuminate the hallway. 
2. To guide Walt to where he needed to go to meet Kovi (Zach Braff). 

Moonshot CG

Moonshot is Uegama’s biggest CG project to date. He had done some CG on Child’s Play but not nearly to the same degree. Communication was key as they produced renderings that would then be subject to more ideas and discussion. Uegama would then add his expertise in regards to lighting and communicating what he was planning to do in production. Ultimately, what made the process successful was maintaining an open conversation. 

Uegama worked with Amber Kirsch (visual effects producer: New Line) and John J. Budion (visual effects artist) among many others on the visual effects team. There he ensured consistency of the lighting source and things of that nature. The team would send him proofs of about 100 shots at various times. This allowed him to weigh in and ensure everything remained consistent.  

When it came down to articulating his idea to the art department or CG team, Uegama used a combination of hand-drawn images, photographs, and other resources. He used whatever means he could to communicate his ideas to them. Then, they would do the same thing back, initiating a creative back and forth of ideas. 

For example, when Sophie and Walt sit in the shuttle, it starts as a dark room. Then, a simulation appears around them with a virtual Jupiter and solar system. This virtual element is also supposed to light Sophie and Walt from 180-degrees. 

Moonshot – Warner Bros. Pictures 2022

While lighting the scene, Uegama and his team had to figure out how to light for the visual effects that the CG team would build six months later. These consisted of incarnations of the Big Bang and Titan (one of Saturn’s moons). So, they made a QuickTime video with all of the different colors and moments of how the story would develop in a linear fashion. Then, they surrounded the set with LED screens and projected the video so the actors could watch them. In post, they would then paint them out. However, this approach allowed the filmmakers to get real reactions from the actors. 

Favorite Moonshot Scene

One of Uegama’s favorite scenes to craft in Moonshot was the spacewalk. As far as the visual effects, it was the flagship look in making it feel big and cinematic. It was also a touching moment between Sophie and Walt. This was essential to the plot where they start to come together. 

Uegama fondly remembers the scene as one that was fun to make. Taking place in a black room with markers, it involved a combination of wirework, a techno crane, and human-sized turntables. It took a little bit of everything, including lots of collaboration, to pull it all together. 

There was a shot where Walt and Sophie are floating up toward the camera, and it’s a straight down shot. They first tried the shot by lifting them up toward the camera but that didn’t work.

So, their key grip, Chris Birdsong, built a turntable that was bolted to the studio floor, they placed the actors on it, and then they slowly spun them while dropping down with the crane. 

When it was all said and done, they took a month in prep planning the scene. When that didn’t work, they went with Plan B. 

Brendan Uegama’s Tips for Filmmakers 

Uegama believes that photography is an excellent way to discover a sense of composition. It’s the way you convey the perspective of the audience in the film, after all. Photography is a useful tool that allows you to hone such skills. A large part of a cinematographer’s job is to tell a story with the image that best complements the words in the script. 

What aided Uegama in his quest for success as a filmmaker in the industry was never becoming complacent or giving up. With every project, he pushed to take his craft a step further from where he was. You might not always move forward in the way that you would like, but just moving in general and staying active within the craft can have a tremendous impact. As Uegama put it, you just need to build it “brick by brick.” 

As a cinematographer, it’s essential to effectively collaborate and communicate with talent, whether they’re seasoned veterans or new to the industry. Uegama tries to explain the whole idea without being overly technical about it. He prefers to talk about what you are trying to achieve as opposed to saying, ‘walk here, stand there, etc.’

Uegama first talks about the scene and explains what they’re doing whether it involves close-ups or moving in with cranes. That way, the actors knew what the camera team was doing around them. 

The Bottom Line

In parting, Brendan Uegama has great advice for filmmakers who are pursuing larger projects. Stay open-minded and take ideas from everyone. When you truly love what you’re doing and are obsessed with it, it’s much more than just a career. 

Whether you’re a director, cinematographer, actor, or anything in between, there’s a lot of competition. “So, you have to put everything into it,” says Uegama. If you love what you do and shoot for the moon, there’s no question that you’ll land among the stars. 

Moonshot is now available on HBO Max! 

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