|
|
The
Creek Bed
| Before the Shoot |
| |
| |
This
is the set on the creek bed where the homless encampment is.
Notice all of the graffiti in the background. The cops told
us it was a gang war zone. Andy S. they they were full of
it. Some 30 year old white guys came by and spray painted
when we were filming.
|
|
| Brad Shooting
On the Dolly |
| |
| |
Brad Leong is behind the camera. Character Joe is sitting. |
|
| Brad
Shooting on the Dolly |
| |
| |
This
is the same shot. You can see the crane hanging out over the
top right. |
|
| Director In
Action |
| |
| |
Brad
in action. That's Dan in the back pushing the dolly. Producing
is tough work.
|
|
| The
Crane |
| |
| |
Here
is a top down view of the crane that was used for some vertical
shots. Brad Leong designed and constructed this baby. Pretty
amazing, yes? |
|
| Top
Down View of the Dolly |
| |
| |
Here
is a top down view of the dolly around the tent. Notice the
firepit. |
|
| The
Fire Pit |
| |
| |
Andy
Scott built this pit, one of dozens of contributions to the
set. He got this skill from Boy Scouts - yeah, right. |
|
| Evening
Production |
| |
| |
Here
is what the set looked like during the evening. They used
a huge lamp, among several to get the look they wanted. |
|
| Leaving
Our Mark |
| |
| |
Mouse
found some spray cans on the ground, so she left the "God
Bless" signature. |
|
Venice Beach
| Ingenuity:
Assembling the Crane |
| |
| |
Here
is the team working together to assemble the crane. Brad King,
professional producer and advisor, was on the set. He was
overwhelmed by the crane which gave them a bird's eye view
of the beach. |
|
| Looking
to Heaven |
| |
| |
This
is lead character Joe looking to the sky, searching. Eon Mora
is pulling the dolly while Brad shoots. |
|
Baldwin Hills
| Setting
Up Above LA |
| |
| |
Sunset
on top of Baldwin Hills above Los Angeles. A stunning view.
|
|
| At
the Grave |
| |
| |
Evening
shoot on top of Baldwin Hills. Lead character Joe at his mother's
grave as his father, Tom, walks away. |
|
Inside the Tent
| Setting
Up the Tent |
| |
| |
All
scenes inside of the tent were shot in a garage at advisor
Jim Knight's house. This gave them more control over lighting. |
|
| Make
It Look Real |
| |
| |
The
crew worked on making the inside look like a tent where homless
people lived. |
|
| Production
Underway |
| |
| |
Here
is the action underway. |
|
| The
Videotap |
| |
| |
There's a videotap that
hooks up to the Panaflex by way of a crystal which splits
the frame to the viewfinder and a CCD, it was really helpful
for seeing the framing |
|
| Inside
the Tent |
| |
| |
Joe
inside the tent with the character Saint. |
|
| End
of Another Late Night (or early morning) |
| |
| |
The
truck loaded at 3:15 AM after shooting in the garage. |
|
|
|