What Remains

December 8th, 2009

I recently had the privilege of being a camera operator on Eva Madden-Hagen's latest film, "What Remains". She recently won Film Nova Scotia and CBC's bridge award. The film portrays a newly engaged young women, excited to tell her grandparents the news, only to find out her grandfather has disappeared. (There is so much more to the plot than that. Im sure my brief explanation does no justice to what will surely be a beautiful film).

It was such a treat for me to be a part of this film. Rarely in our obsessive world of documentary film making do we at Hemmings House work on dramas such as this, so for me I was more than happy to deviate from the norm. Ironically, it was my documentary shooting style that got me the job in the first place.

The film was shot over 3 days in and around Halifax. There was a solid crew of about 30 professionals from around the city, all doing their part so precisely to make everything look just right.

It is such a cool feeling to be a camera operator on a film. People work so hard to get the the set looking awesome and you are the one who reaps the benefits. Your essentially the first person who gets to see what the film will look like. (in all truth the editor does, but still).

And shooting drama is so much different and easier than shooting documentary. In docs, you have one chance to catch that vital moment that you don't even know is coming. Whereas in a drama, you know exactly what is going to happen, then you get four or five chances to get exactly what you need. If you get it on the first go (which you should) then you can try other things.

All the while the crew is huddled around 2 small monitors watching your moves. This film was shot with two cameras about %95 of the time. Eva has done her homework and really wanted the film who have real gritty and 'dirty' cutaways and have a certain feel to it.

Christopher Ball was the Director of Photography. Chris has a world of experience and was great to work along side. He was also the other camera operator.

The whole film was shot on a Sony EX3 with a Pro35 adapter with a set of beautiful Zeiss primes. The other camera was a Sony EX1 mounted with a Letus 35mm adapter with Nikon primes. We had to do quite a bit of testing prior to shooting the film to ensure the 2 cameras would match up. Surprisingly, they matched up nicely. The Zeiss lenses were sharper than the Nikons and both sets has a slightly different colour temperature, but all in all they worked nicely along side one another. Because the two cameras are going to be cut against each other, it was paramount they we are closely matched as possible.














I had one steadicam shot to pull off in the entire film. This is always an anxious moment. Especially when everyone else on the set is watching you. It was a simple scene though of following two women from a bench in the backyard to getting in the car. They nailed it in a few takes, but I have to make sure I nail my shot because its rather long and continuous and this was one the rare moments where there was only one camera shooting the scene. The actors and actresses in the film seemed to nail basically every take, so it made everyone's job just a little easier.

The director Eva really did an awesome job on this one. She certainly checked her ego at the front door and was so focused on making the best film possible. She knew what she wanted, but was always open to suggestions. The producer Rebecca Sharratt assembled a very cool crew. The vibe around the set was a pleasure and everyone was so great to work with. Seemed like everyone decided to leave their egos behind on this one, which is the way it always should be. You know, you always hear about how many egos there are in the film industry. Of course there is like in any profession, but they are few and far between in my experience. It's got to be one of the things I love most about it. Collaborating with other people passionate about what they do, coming together and ensuring the sum of its part are greater than the whole.
"What Remains" will be airing on CBC at some point in the not so distant future. Keep your eyes peeled for it!

Cheers

Andrew's Video Blog # 2 from Hemmings House Pictures on Vimeo.

Blues on the Boulevard

April 2nd, 2009


There are two things I love the most about being a part of Hemmings House pictures. The first is that we are a group of young guys running our own business, doing what we love and earning a living.

The second is that we ALWAYS end up shooting the coolest gigs and no matter what you specialize in, you always play a major role in every production. This most recent one was no different. I think Greg said it best today when I heard him say: "This concert doesn't have a director, it was directed by Hemmings House Pictures!".

Another live concert. Seems to be our bread and butter. There is nothing else I would rather be shooting. I love it so much! This time it was for the New Brunswick Youth Orchestra, occompanied by Matt Andersen and "Les Muses".

It was also nice to get out of the editing suite. The last few weeks have been very stressful. I am currently in crunch time editing 6 episodes for our latest TV series "Kardinal Sinners" at PowerPost in Halifax, Nova Scotia. Dealing with

the broadcaster and working through technical issues has been trying at times to say the least. So this shoot would be some welcome creative release that I was really looking forward to.

So when I heard we were going to be shooting a 7-camera setup, it made me all warm and excited! Steve and Greg did a great job in pre-production and lined up, what I think was our best shooting team ever.

We had six Sony PMW EX1's and one Ex 3. On wide on the balcony we had Alastair Meux. A guy who has more experience than everyone at HHP put together. Steve was on a 16 foot dolly behind the back row of the crowd for one of my favorite concert shots. When it tracks the back of people's hands and heads with the stage in the background. Such a cool shot!

Our veteran comedian, Mike Burchhill from IVS was with his 10 foot jib on stage left, while our new friend Michel Caissie from CBC in Moncton shot with his 18 foot jib just off stage right. Lauchlan was hand held, Greg on the monopod and I was on the Glidecam. Lock, Greg and I were responsible for covering the close-ups around the stage. Backstage we had our buddy James Shaw from Red Fish audio with his 24 track audio setup. Nothing is more important when shooting music (or anything for that matter) than to make sure your audio is stellar. Lastly we had our unsung heroes: Our Production Assistants: Tim Maloney, Nick LeBlanc, John Phillips and Nick Foster. These four guys were amazing! Without them we would have been in big trouble. They busted their asses all day and were so crucial to making this whole thing come together so smoothly. Big props to them!


I had a blast operating the Glidecam 4000. It had been a while since i've used one, so the night before the concert I was going up and down the halls of our hotel shooting James and Mike drinking beers to get some practice in, while taking frequent beer breaks myself. Then basically had it on from sunrise to sunset the day of the show, making sure I was as comfortable as possible with that thing on. Glidecams or Steadicams are my favorite types of shots. I love the three dimentional effect they give. There aren't too many big budget movies or television dramas that don't use one these days. Can't blame em. Im really pumped to have this thing around now, im going to be using it a lot.

The shoot went really well. It was light beautifully as well, which is always crucial. It was also a little stressful shooting with so many EX cameras cause we didn't have enough SxS cards to go around. Our PA's were working overtime making sure we all had fresh cards to shoot on...hence why they were heroes! Don't think we missed a second of the whole shoot....literally. The great thing about shooting with the SxS cards and going tapeless is that you never have to stop your camera to switch a tape. When one card is done, it automatically

records on the next one, meaning you don't miss one second of the show. This was always a minor issue with tapes. The future is here and the future is tapeless shooting!



Everyone really rocked this shoot though. It was different shooting a big orchestra like that. Normally we only have to worry about covering a band of four or five, but in this instance the were more than 80 people on stage! It was tough to decide who gets the closeup time.


Having two jibs is just way too cool! I can't wait to see how it turns out. I'm jealous I don't get to edit this one. Just thinking about cutting such cool looking footage gives me butterflies. It's a beautiful thing this business! As much stress, frustration and heart break that comes along with it, I wouldn't trade it for anything in the world!

There are thousands of people who would kill to be in our shoes, doing this and getting paid for it. No doubt its hard work, but is it ever work if you are doing what you love?

Which reminds me...it's officially two years since I started with Hemmings House Pictures with Greg in his basement. Now two years later we have an office in Saint John and Halifax and and a team that has grown 5 times over! Let's just hope our good fortune continues...

Cheers.

JSB: Live at the Marquee

February 5th, 2009

I'm now officially a resident of Halifax, Nova Scotia. I moved here five days ago to set up shop at Power Post Productions on Hollis Street. Continuing to work with Hemmings House and im excited for the possibilities that lie ahead with this move. Especially after Greg's positive results at the ReelScreen Summit in D.C. But im writing about another Halifax based project we were working on for the last nine months: JSB Live at the Marquee

I remember my first Jimmy Swift Band show eight years ago when they were called "Fly Jimmy Swift", which wasn't their first name, nor the first time they'd swung around to towns all over the place. I think I was 18 years old at the time. It was at the now non-existent "Barn" on the U.P.E.I. campus. My two friends and I rocked out in the front row the whole show. We had never seen anything like it. I recall days after the show hearing "First Tube" by PHISH and thinking it was JSB!

I, like many other fans, have been hooked to their music, especially their live show. So when JSB frontman Craig Mercer approached Greg about a live DVD idea at last year's ECMA's, we were all over the idea! But it had to be bigger and better than anything we'd ever done, or anyone would ever imagine. I truely feel we accomplished our goal....


Like anything, we we're way too busy on other projects to really be %100 ready to shoot such a show, but in true HHP fashion, we flew by the seats of our pants (to an extent) and went for it!

We secured at jib from our friends at IVS in Saint John, and a full Steadicam rig from our Director of Photography, Kelsey Smith.

The show was amazing! I remember being so nervous for hours before we started shooting...and having to pee a
a thousand times before I felt I was comfortable. It always happens to me when im nervous/pumped for anything. So we all got ready inside the Marquee while a late winter storm was dumping down on the streets of Halifax.

I was positioned at the front left of the stage, Lauchlan to my right. Greg on stage with Kelsey on the Steadicam, Steve and Craig wide right, and wide left respectively with Tidby roaming around whevever he pleased. Topping it off we Darrell maning the jib crane, coming inches from taking people's heads off with each swoop. The roof at the Marquee is quite low.



We all shot a wicked show and I had to settle in to start editing. A process that spanned over 9 months of being excited, heartbroken, pumped, anxious, frustrated, excited again, devastated, worried, beyond stressed, and so unbeleively proud and excited all over again! That's the film making process in a nutshell....well for me anyways!

Once I started post production, I had so many issues with formats. In our haste of being so excited prior to the show, coupled with a few errors on other peoples part, I was left with footage shot at 1080, 60i....720p, 30 fps...and 720p, 24 fps undercranked footage! ARGH!!!!!!!! What a nightmare. I compare to an artist sitting down to make a painting, with three different kinds of paint; Water based, oil and acrylic....non of which mix together properly on the canvas. (I don't think they do anyways....but you get my drift).

Although its not such an issue recently due to certain software updates, any young filmmaker out there.....DO NOT MIX FORMATS.....if at all possible. Make sure all your footage is either interlaced or progressive and at the same frame rate. Seems simple enough right? That's exactly what I said....but I was left to deal with the mess as the head editor.

It took me a month to sort it out. I called everyone in the business for a solution. Most responses being, " Wow...I have no idea how to fix that...you're kind of on your own on this one pal". But with some help with my friends at PowerPost and a few clever work arounds, we eventually started cutting.

And cut we did! I cut most of the show with Lauchlan taking shifts on it when he could. The band then wanted changes. Then Greg took it for a ride once we had the whole thing in near picture lock and stepped it up a notch!

Then the band wanted more changes, so we did them. Then between Lauchlan and myself, we spent almost 5 months putting in time whenever we could. It was essentially cut, but we wanted it to really capture the energy of the show, so that meant making 6 cuts in less than a second, or whatever. We have so many edits that last like 5 frames etc...its crazy. In the end there are thousands of tiny cuts all throughout a concert like this. Meaning during colour correction, we had thousnads of shots of correct. But JSB's music is so inspirational to cut to. I would start cutting this all over again if I could. It was just that much fun!

Personally I was really influenced by a few livd DVD's i've seen in the past; in particular: Coldplay Live 2003, which unreal! STS9 : Live As Time Changes, and Rage Agianst the Machine: Battle of Mexico City. These 3 DVD's are so well done and so original. So our goal was to create something amazing and origianl, with the flavours of our favorite productions.

In the end the band was really pumped about the DVD and so were we. Having the band members react so well was realy encouraging. Aaron the keyborad player did an amazing job on the audio as well. Such a huge part of a production like this....in my opinion, more important than the video. We even got a big plug on our favorite podcast Jaybird's Endless Boundries. Check out EB 572.

Creating live music productions is our companies passion. We all love it so much and have such a blast doing them. This particular DVD for JSB was a real honour and a blast for all of us. I can honestly say I will never get tired of shooting and cutting live music! It seriously just gives me butterflies just writing this.

Cheers.