Ben Monday

Thanks Saul. To clarify the equipment listed is just what I have on hand tonight, he was bringing his own lighting kit etc instead of me renting something. It was very nice of him to offer. We are shooting her getting ready and leaving tomorrow ... and the driving away in a few weeks at another location. I was thinking of getting rid of the overheads and just use what I have to light. I also have a large reflector for closer shots if I need to fill her face. The room is very bare, no stage as it's just a rehearsal room. The entire video will cut back and forth to the band getting ready to practice at a recording studio (that's shot in a few weeks). Thanks again ... I really appreciate the help from some pros in this less then optimal situation. Ben

I am a director and did a favor for a local band by shooting a video for them. Well the DP I lined up bailed tonight, the shoot is tomorrow. Due to conflicts I have to shoot the one scene tomorrow. I'd like as much help and advise I can get before walking into tomorrow with my limited knowledge. Here is what I am working with .... Final use will be web based, vimeo or direct streaming from my website. Shooting inside a dance studio 40x40 room, flour lighting (5 units, 20 ft in the air), one wall is mirrored other walls are off white. I am filming one dancer doing a routine. Shooting in HD with a Sony FX-1. Planning on shooting at 24p. I have and can use a Tiffen Black Pro Mist #1 filter. Also have Flour canceling filter, polarized filter. The only lighting available is a double headed work light and several clip on lights with 100w Incand bulbs. Any and all suggestions or tips are appreciated. I"m just looking to minimize damage (me shooting lol) and from what I've read in here ... this is a very experienced and helpful forum. Thanks in advance for your help. Ben

not to hijack anything here ... but along the same lines, does anyone know of a trained squirrel for hire?

Yes Mitchell ... I've been there. Looking back at the whole thing maybe I gave him too much rope to be "creative" but that doesn't excuse that type of behavior. As you know in the middle of production there is only one captain and that needs to be made very clear. I was hesitant to "release" my DP as we were very far into production and didn't feel like starting back at square one .... my bad. In the end he was caught very off guard when I told him his services were no longer needed. I got the Ego of it being "his" project and "he wouldn't allow it", that one was good. I really appreciate the job of the DP as I have tried it and it is no easy task. But we all need to know our position in the pecking order and keeping that mindset gets us the product in the end that the story was meant to be. I have many personal and technical issues on the topic, but suffice to say lay the law down on day one and put it all in writing, that way no one is disillusioned. DP's need to understand they are a very important part of the project but there are also important parts they have no control over that are also critical to telling the story. Editors and Music Directors play a significant role that can change the entire "feel" of the picture and are often the unsung hero's. Let's look at the big picture, no pun intended.

I'm not the seasoned expect here ... but why would you make anything you didn't have a deep personal connection to?? I've just made my first short, I didn't go into it with my eyes closed and knew my limitations. But anyone who sees it will know I put my heart and soul into it. It's a drama/thriller and not me at all, but it was something I immersed myself in and gave everything I had. I think it's the passion ... if you don't have that you can't make a great film and if you don't make a "great" film you will never see a dime or even a pat on the back. It may not bring you home a golden statue from anywhere, but the passion will come through in the final product. Just my two cents, from the kid in the peanut gallery.