Bloopers and outtakes from “The Warehouse”:
You can see the actual film by clicking here.
Today we shot a short film back at the old warehouse. I say we, because this time, I was not alone. I wanted to go back to this place with actors, a director and some sort of story.
Joe Francazio, Adam Gotsens, Anthony Guerrero and I shot “The Warehouse”. This was a story about two childhood friends who visit an old warehouse that they spent time playing in during their youth. Now, twenty years later, the two 30 plus year olds want to see what has happened to the rotten place. They find that it has been gutted, abused, and weathered. They also realize that they are not alone.
I brought my dolly track (made from 1 1/4 inch PVC pipe) and my platform (made with 16 skateboard wheels in a V-configuration) to ride down the track. This allowed me to drift left or right, forward or back to give the uneasy feeling that I wanted in this piece.
I added a few items in the nasty foreground, like this old tire, to give the shots composition and depth.
Using the tips of my fingers, I carefully slid the contraption to the right. I was careful that small twigs or pieces of debris did not enter under the wheels. I wanted the shot super smooth. A small bump would be unsightly and it would have driven me nuts every time I watched the film.
The cool thing about this dolly system and the 28mm lens I was using was that I could also hang the camera over the front edge of the carpeted platform and push the entire thing forward down the tracks. I begun this shot after just clearing the dolly pipes at the bottom of the frame. I love this effect. It works even better when using a tripod on top of the platform.
Notice the wireless receivers for the microphone systems to the right of the camera on the dolly platform. I was constantly focusing my attention to audio hits and dropout. I was worried that the audio might not sound that good since we buried the lav mics under the actors jackets. You do hear a crackle here and there. We will have much better audio on our next project.
I gave some direction, but Joe told the actors what to do and how to speak their lines. Sometimes I would have to explain my camera move to the actors so that they could understand the shot and hit an invisible mark I placed on the ground. Adam and Anthony were excellent, and they often nailed it in the second take.
One of my favorite shots in the film was the composition of the actors standing at the warehouse’s entrance. It was cold this morning and as you can see, there was ice on the ground under my dolly track. This reflective surface at the bottom of the frame was perfect and the slow creep I did with the dolly made the shot.
Here is the camera and the Letus35 Extreme. I have a Star-D crappy 28mm f2.8 wide angle lens on the front with a circular polarizer filter. I shot the entire film through this lens and filter. I left the filter on the camera even under the lowest lighting conditions to see what would happen. The result is a slight haze and a softness to the bright beams of sun that broke though the skylight, rusted roof and broken walls. This camera works very well in low light and in a few of the shots, I bumped the gain to 9 dB.
Special thanks to director Joe Francazio for taking these production stills. Unfortunately, we got so cramped for time (shot the entire film in 3.5 hrs) that the production photos stop here. I wish I had gotten a shot of the four of us together to finish this blog.