Behind the Scenes of Last Call
Myself looking over our DP, Michael Ray Gregory's shoulder to assess the lighting.
Photo credits: Sophia Bruno
This March I had the opportunity to be a gaffer for my friend Severine Ford's thesis film at Kent State University. Once again I was reunited with several friends and learned a great deal over the 6 days of shooting.
Days 1 & 2
The Garage
The first two days of filming were spent in a garage using rear projection to fake driving a car. One of the many rules in the Kent State University Production handbook is that projects are not allowed to film inside a moving car.
Rough lighting diagrams our DP made during pre-production.
Instead of using a stand for the 300B I ended up standing on a stepladder in the corner and would swing the light around to match the rear projector plates our DP captured with his drone. We added additional flags and gaff taped some cardboard to the reflector to keep the light from spilling.
Here you can see the idea in action. Eventually I didn't even have to look at the projection, the street lights were always 12 seconds apart.
Eventually we moved to filming inside the car, and this is where our Key Grip, Cassidy Devol, really shined. She was able to squeeze into different spots and knew exactly how to set up the lights and was quick to fix them when they inevitably didn't stick to the car's interior.
Our DP alongside talent with the FX6 mounted on a bendy tripod wrapped around the steering wheel.
The Garage shoot culminated in one last close-up with our actor in makeup simulating a car crash. I got the pleasure(?) of throwing debris in his face.
I tried my best to collect the debris after every take, but you can never really get it all. To this day there is still some some fake glass in that car.
(Sorry Sev!)
One of several takes. In this take the timing was just a bit off. Our talent, Brian Bartels, was a really good sport about it.
Day 2
The Road
1st Image From left to right: DP: Michael Ray Gregory, Director: Severine Ford, (behind in Hi-Vis) 1st AD: Gabby Zanin, Producer: Anna Martin.
2nd Image: The lighting set up for the wide shot. I don't believe this was even our final set up for the shot.
3rd Image From left to right: Script Supervisor: James Plested, Producer: Anna Martin, Dummy on the ground, and Myself.
One of the most challenging parts of the shoot in my opinion. It was cold, wet, windy, and very dark, but it was extremely rewarding to throw that dummy around.
Our DP Michael Gregory taking the opportunity to relieve some stress during a take.
Day 3-6
The Bar
For the next four days we had the pleasure of filming inside Water Street Tavern in Kent. A bar known for their fishbowl drinks and occasionally playing good music. We pumped this place so full of fog and haze the DP, Director and I all got sick and had to wear masks for the most of filming.
Inside of Water Street Tavern and Lighting diagram created by me after production for illustrative purposes.
The above lighting diagram combined with practical lights with dimmer switches was the base for most of our shots inside the bar with variations as shots got wider and more complicated.
For most of filming in the bar I only had one grip, Jessie Sines. He had been aboard for one of the garage shoots where I didn't really know him. Over the four days I came to rely on him, he did a tremendous job.
Forgot to account for paralax on the point n' shoot. From left to right: Myself, above: James Plested and Jessie Sines. Below Michael Ray Gregory and David Favorito. Cassidy DeVol, Harrison Pittle, our director, Severine Ford holding our gaff tape baby, Sev's friend whose name escapes me. Producer, Anna Martin, "Jackie" Alexis Shepherd, Gabby Zanin, and Laura McCann.
It was truly a great crew to work with and I was so honored to be a part of it. Looking forward to finally seeing it when it wraps up its festival run.
