WEBVTT

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<v Speaker 1>You are listening to the IFAH podcast Network. For more

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<v Speaker 1>amazing filmmaking and screenwriting podcasts, just go to ifagpodcastnetwork dot com.

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<v Speaker 2>Welcome to the Bulletproof Screenwriting Podcast, Episode number three ninety four.

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<v Speaker 2>Whatever you do, be great at it.

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<v Speaker 1>Shane Hurlbutt broadcasting from a dark, windowless room in Hollywood

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<v Speaker 1>when we really should be working on that next draft.

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<v Speaker 1>It's the Bulletproof Screenwriting Podcast, showing you the craft and

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<v Speaker 1>business of screenwriting while teaching you how to make your

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<v Speaker 1>screenplay bulletproof. And here's your host, Alex Ferrari.

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<v Speaker 2>Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.

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<v Speaker 2>I am your humble host, Alex Ferrari. Now, today's show

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<v Speaker 2>is sponsored by Bulletproof Script Coverage.

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<v Speaker 3>Now.

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<v Speaker 2>Unlike other script coverage services, Bulletproof Script Coverage actually focuses

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<v Speaker 2>on the kind of project you are and the goals

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<v Speaker 2>of the project you are, so we actually break it

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<v Speaker 2>down by three categories, micro budget, indie film, market and

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<v Speaker 2>studio film. There's no reason to get coverage from a

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<v Speaker 2>reader that's used to reading tempole movies when your movie

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<v Speaker 2>is going to be done for one hundred thousand dollars.

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<v Speaker 2>And we wanted to focus on that. At Bulletproof script coverage,

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<v Speaker 2>our readers have worked with Marvel Studios, CIA, w MEE, NBC, HBO, Disney,

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<v Speaker 2>Scott Free, Warner Brothers, The Blacklist, and many many more.

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<v Speaker 2>So if you need your screenplay or TV script covered

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<v Speaker 2>by professional readers, head on over to covermiscreenplay dot Com. Now, Guys,

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<v Speaker 2>today on the show, we have cinematographer and educator Shane Hurlbutt.

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<v Speaker 2>And you might know Shane's work for movies like Semipro

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<v Speaker 2>with Will Ferrell, Swing Vote with Kevin Costner, the two

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<v Speaker 2>hundred million dollar plus budget Terminator Salvation, We are Marshall

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<v Speaker 2>Into the Blue, the Greatest Game ever played in the

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<v Speaker 2>list goes on and on, and Shane and I go

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<v Speaker 2>deep into the weeds on what a take to light

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<v Speaker 2>a good scene with no budget, with a lot of budget,

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<v Speaker 2>his experiences in the business, his journey from where he

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<v Speaker 2>started to where he is today, how he's changed his

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<v Speaker 2>point of view of how to run a set, how

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<v Speaker 2>he runs his team, and we also talk about his

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<v Speaker 2>amazing educational products for cinematographers and so much more so,

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<v Speaker 2>without any further ado, please enjoy my conversation with Shane

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<v Speaker 2>hurlbut I like to welcome to the show, Shane hurle butt.

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<v Speaker 3>How you doing, Shane Alex, how are you? I'm doing amazing,

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<v Speaker 3>I'm doing freaking fantastic.

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<v Speaker 2>I feel that's the pandemic talking sir, No, not at all.

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<v Speaker 3>I've had a I want to. I love to stay

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<v Speaker 3>positive in every way, shape and form. And one of

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<v Speaker 3>the things that I was told by a mentor years

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<v Speaker 3>ago is like, everyone always comes in to work and

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<v Speaker 3>they always ask you how you're doing, And I only

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<v Speaker 3>have two words, fricking fantastic. Every single day. It sets

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<v Speaker 3>the bar.

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<v Speaker 2>That's a great that's a great piece of advice, and

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<v Speaker 2>it does. It does. It does at the day because

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<v Speaker 2>if you're the cinematographer, you walk on set and your

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<v Speaker 2>crew is like, how're you doing, You're like, oh man,

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<v Speaker 2>it's gonna be a rough day. That's just exactly kill

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<v Speaker 2>kills the day.

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<v Speaker 3>Kills the day, kills the day. But when you say,

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<v Speaker 3>you know, because a lot of times I'll be walking

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<v Speaker 3>in and you know, electric could come in and say hey, Shane,

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<v Speaker 3>how you doing, I go, I'm fricking fantastic, how are you?

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<v Speaker 3>And they're like, whoa, this is gonna be amazing day

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<v Speaker 3>and it just never changes.

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<v Speaker 2>It's a good piece of advice as directors listening as well.

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<v Speaker 2>How you doing freaking fantastic?

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<v Speaker 3>I love it exactly. Yeah, stay positive, Stay positive.

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<v Speaker 2>So, Shane, your career has been varied. Man, You've gone

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<v Speaker 2>from indie stuff to all the way to two hundred

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<v Speaker 2>million dollar plus projects. You've you've done. You've done it

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<v Speaker 2>all pretty much, and that can't be done with in cinematography.

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<v Speaker 2>How did you get started?

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<v Speaker 3>Man, Yeah, that was an interesting journey. I thought I

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<v Speaker 3>was going to be a DJ.

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<v Speaker 2>I've never heard that before.

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<v Speaker 3>Oh yeah, it was a good one.

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<v Speaker 4>So I was.

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<v Speaker 3>I started doing the morning announcements at our high school

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<v Speaker 3>and everyone was like, wow, you got a really good voice.

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<v Speaker 3>You should, you know, go for radio. And up in

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<v Speaker 3>upstate New York, we had this radio station that had

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<v Speaker 3>this incredible guy. I think it was like ninety four rock,

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<v Speaker 3>you know, and it was a station that I listened

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<v Speaker 3>to all the time. So I started to become a DJ.

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<v Speaker 3>So I started doing dances and prom and homecoming and

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<v Speaker 3>all these different things and went all over the local

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<v Speaker 3>Upstate New York area. And then when I decided to

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<v Speaker 3>go to college, I was like you know, I don't

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<v Speaker 3>want to really burn my parents' money. They were kind

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<v Speaker 3>enough to say they would help me with my education.

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<v Speaker 3>So I was like, let me test the water, so

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<v Speaker 3>let me see if I like this. So I went

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<v Speaker 3>to a small community college just to see if I

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<v Speaker 3>really fell in love with radio. Well, the first year

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<v Speaker 3>was radio. Totally loved it. The second year was television,

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<v Speaker 3>and the television just blew my mind. That's where it

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<v Speaker 3>just started to open up these kind of ideas and

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<v Speaker 3>creative inspiration and everything. And then a friend of mine

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<v Speaker 3>was directing. He was in the USC directing program, and

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<v Speaker 3>he came back to our hometown and he was doing

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<v Speaker 3>a small movie that summer and I just wanted to

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<v Speaker 3>be a part of it in any way I could.

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<v Speaker 3>And I was a PA, and then I was a

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<v Speaker 3>little I was a grip and I was an electric

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<v Speaker 3>and I was doing everything I could. And at that

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<v Speaker 3>point I got in with a full ride scholarship to

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<v Speaker 3>Emerson College in Boston and I went there and that

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<v Speaker 3>was where I just fell in love with film. But

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<v Speaker 3>the funny thing is is I hated cinematography. I thought

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<v Speaker 3>I was going to be a producer because I could.

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<v Speaker 3>I could convince anybody to do anything I wanted. And

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<v Speaker 3>I was good with numbers, fair enough, right, I had

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<v Speaker 3>that passion. I was positive. I was like, all right,

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<v Speaker 3>you know, I could sell anything as well, you know,

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<v Speaker 3>so I was like all right, and you know, after

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<v Speaker 3>about three months of me wearing my mom got me

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<v Speaker 3>a nice three piece suit, and I was like pounding

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<v Speaker 3>the pavement in Boston, knocking on doors, and every one

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<v Speaker 3>of them was just slammed in my face saying, you know, no, no, no.

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<v Speaker 3>I went back and I said, all right, let me

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<v Speaker 3>go back to the internship that I had, which was

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<v Speaker 3>at a local grip electric and camera house in Boston.

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<v Speaker 3>And that's where I started, and I started to fall

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<v Speaker 3>in love with grip and lighting and camera, and then

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<v Speaker 3>I got to a point where within three months, I

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<v Speaker 3>was running the whole rental division. And then I decided

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<v Speaker 3>that I was started to go out on jobs because

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<v Speaker 3>I came from a farm, right, So that's my upbringing.

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<v Speaker 3>I was we had like a three hundred acre farm

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<v Speaker 3>in upstate New York, and so I could drive ten

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<v Speaker 3>ton trucks, forty footers, whatever it was, I could drive it.

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<v Speaker 3>I started driving trucks and I was the grip truck driver,

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<v Speaker 3>and I started going out. I was managing the rental

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<v Speaker 3>division and also going out on jobs, and quickly I

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<v Speaker 3>saw that the only way I was going to move

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<v Speaker 3>up in Boston is if the guy or the girl

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<v Speaker 3>that was above me died. So I knew it was

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<v Speaker 3>a very limited pool there. So I, you know, my

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<v Speaker 3>fiance at the time, who was my high school sweetheart, Lydia,

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<v Speaker 3>who I met at three years old. I said, Lydia,

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<v Speaker 3>let's go to LA Let's you know, make this mission,

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<v Speaker 3>this exodus out of the East Coast and go to

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<v Speaker 3>the West coast. And that's what we did. And I

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<v Speaker 3>started right back at the bottom again, working at a

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<v Speaker 3>small little rental house, and then I got a job

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<v Speaker 3>that they asked me to be the grip truck driver,

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<v Speaker 3>which meant I had to leave my job at the

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<v Speaker 3>rental house, which was you know, I finally had a

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<v Speaker 3>full time job, and I was starting to bring in

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<v Speaker 3>some money. Ooh, five dollars an hour. I'm with steel

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<v Speaker 3>toed boots and T shirts and jeans working in the warehouse.

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<v Speaker 3>But I finally said, okay, I'm going to go for it.

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<v Speaker 3>So I got on this feature, and this feature was

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<v Speaker 3>called PHANFASM two.

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<v Speaker 2>The ball is back nice And.

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<v Speaker 3>I worked as a grip truck driver and I was

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<v Speaker 3>averaging about eighteen hour days. I was getting three hundred

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<v Speaker 3>and fifty dollars a week, so it ended up being like,

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<v Speaker 3>you know, seventy nine sense an hour or something like

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<v Speaker 3>that when it was all said down. So that was

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<v Speaker 3>my break in. And when I was, you know, I

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<v Speaker 3>was because I knew the truck and organizing everything. I

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<v Speaker 3>got a call on set Terry Wimmer the key grip goes, Shaye,

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<v Speaker 3>run me in an eighteen by twenty four flag. So

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<v Speaker 3>I ran in the grabbed the flag off the truck

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<v Speaker 3>and ran it in. I was going down these steps

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<v Speaker 3>into the crematorium set and this best boy electric Brian Coin,

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<v Speaker 3>very good friend of mine, is an amazing director of

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<v Speaker 3>photography and director as well. He's walking up the stairs

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<v Speaker 3>and he goes, would you be scared? And I go, Brian,

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<v Speaker 3>what the hell are you talking about? I got to

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<v Speaker 3>run this flag down into Terry. He goes, would you

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<v Speaker 3>be scared? In the theater.

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<v Speaker 2>We'll be right back after a word from our sponsor.

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<v Speaker 2>And now back to the show.

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<v Speaker 3>Every nook and cranny is lit. There's no shadow. It

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<v Speaker 3>was like, damn. From that point on, all I looked

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<v Speaker 3>at was light. And I went from a grip truck

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<v Speaker 3>driver in nineteen eighty eight to shooting my first music

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<v Speaker 3>video for Nirvana, Come As You Are, in nineteen ninety one.

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<v Speaker 3>So in three years I aspired and it just from

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<v Speaker 3>then on it was just off to the races.

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<v Speaker 2>That's awesome. What was it like shooting Nirvana? Man, I

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<v Speaker 2>mean that must have been a god.

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<v Speaker 3>I did three I did Come As You Are, I

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<v Speaker 3>did in Bloom, and I did Lithium, I did Stone Temple, Pilots, Vasoline,

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<v Speaker 3>Interstate Love Song. You know, we did all the nineties,

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<v Speaker 3>all the great nineties, the drunj era. Yeah, I was

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<v Speaker 3>really hot on the grun era.

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<v Speaker 2>That's that's amazing. I have to ask you real quick

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<v Speaker 2>when you were when you were coming up in the

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<v Speaker 2>grip departments today, did anyone ever just point over to

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<v Speaker 2>a pile of cables that were about a mile long

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<v Speaker 2>and said, entangle those for me?

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<v Speaker 3>Oh?

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<v Speaker 2>Yes, so did I.

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<v Speaker 3>Absolutely? And yeah, there were a lot of lot of

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<v Speaker 3>crazy gigs. I got myself into condor operation was the

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<v Speaker 3>worst for me, because you know, they put you up

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<v Speaker 3>in that condor eighty ninety feet in the air, and

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<v Speaker 3>I'll never forget one day. It was one of those

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<v Speaker 3>stories that you remember back in your the history of like,

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<v Speaker 3>oh my god, I could have died kind of moment.

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<v Speaker 3>I was working on some really bad, you know, d

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<v Speaker 3>movie for deferred pay that was a big thing when

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<v Speaker 3>I was getting.

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<v Speaker 2>Did you get that? Did you get the defer paid?

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<v Speaker 3>Oh? Never did? Like twenty of them, man, like twenty

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<v Speaker 3>the PA never got paid to die. So I'm in

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<v Speaker 3>this condor and the wind starts kicking up and it's

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<v Speaker 3>got two eighteen k's in it, and the the gaffer says,

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<v Speaker 3>you know, we need to bring it down. So I'm like,

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<v Speaker 3>I go, I need to come down. This is way

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<v Speaker 3>before all the you know, high tech wind devices and

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<v Speaker 3>everything and all the beautiful safety things that we have

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<v Speaker 3>now that this would have never happened. But I was

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<v Speaker 3>freaking out because the basket was moving around like crazy

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<v Speaker 3>up there, and he's like, you know, you're not coming down.

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<v Speaker 3>It's it's fine, you know, And I said, okay, you know,

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<v Speaker 3>and all of a sudden, this big wind gust came up,

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<v Speaker 3>and all of a sudden that condor just started to

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<v Speaker 3>go no. So the thing starts slowly going and it's

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<v Speaker 3>starting to pick up steam and pick up steam and

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<v Speaker 3>pick up steam. And I'm just looking and I'm like, okay,

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<v Speaker 3>I'm gonna and it. It's over a ledge, right, It's

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<v Speaker 3>over like this ravine. No, and that thing is just

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<v Speaker 3>gonna go right over it. Right. So I'm thinking to myself, Okay,

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<v Speaker 3>that's gonna crush everyone down below me. And everything is

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<v Speaker 3>coming down. So at about twenty feet I disconnect my

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<v Speaker 3>safety harness and I jump, so I land, you know,

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<v Speaker 3>and roll, you know, just to the side of the

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<v Speaker 3>ravine so I don't go off of it, and this

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<v Speaker 3>lift literally comes down and parallels and everyone. It was

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<v Speaker 3>like it was watching paint dry, even though it happened

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<v Speaker 3>a lot faster, but it was like and then it

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<v Speaker 3>just hung there and and then all of a sudden,

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<v Speaker 3>it was like and then it just started gathering steam,

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<v Speaker 3>you know, and everything. And then it just went quack

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<v Speaker 3>like this, and the eighteen K.

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<v Speaker 5>Shot out of the dam lift and it was the

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<v Speaker 5>coolest lighting effect I remember see in my life, because

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<v Speaker 5>the ATK's went boom and then everything went jet black.

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<v Speaker 2>Oh my god.

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<v Speaker 3>The gaffer came over to me, and you started yelling

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<v Speaker 3>at me, like yelling at me. I was killed by someone.

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<v Speaker 3>I was going to kill everyone else too, because this

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<v Speaker 3>thing would have gone right over the ravine. It was

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<v Speaker 3>going to take out the whole camera department. Oh my god. Yeah, yeah,

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<v Speaker 3>he yelled at me. Yeah that was That's that's how

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<v Speaker 3>that's how it was done back then.

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<v Speaker 2>Oh my god. So you literally, I mean if you

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<v Speaker 2>would have been it could have easily instead of stopping

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<v Speaker 2>and you could have kept going because of your weight.

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<v Speaker 3>Oh yeah, it would have kept on going because uh

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<v Speaker 3>you know, here was the this We were shooting on

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<v Speaker 3>a road like this, and the condor was out like

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00:14:44.960 --> 00:14:48.879
<v Speaker 3>this backlighting end, yeah, poplight. So I was going like

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<v Speaker 3>this over the ravine with the eighteen case. So I

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<v Speaker 3>jumped just to the side of the road and rolled

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<v Speaker 3>down this thing, so it would have gone over caught

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<v Speaker 3>that neck, and then the whole door would have gone

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<v Speaker 3>over the edge.

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<v Speaker 2>Oh my god, it's insane. What what you was? This

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<v Speaker 2>was this the nineties? This eighties? Eight Yeah, oh yeah,

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<v Speaker 2>that's the eighties were how we survived. The eighties. As

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<v Speaker 2>a general statement, is right, It's like people kids today

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<v Speaker 2>are like looking around like, oh, oh this hurts or

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<v Speaker 2>that hurts. I'm like, are you kidding me? What we had?

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<v Speaker 2>You are just looking at our playgrounds in the seventies

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<v Speaker 2>and eighties.

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<v Speaker 3>I know, our playgrounds were literally torture chambers. Now they're like,

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<v Speaker 3>you know, they got the foam o the row everywhere.

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<v Speaker 3>So if you fall and your bounce and it's beautiful.

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<v Speaker 2>It was straight. It was straight concrete. It was straight

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<v Speaker 2>concrete five stories up on the monkey bars. You would fall,

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<v Speaker 2>crack your skull, or you would go to the top

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<v Speaker 2>story of the slide that was metal and then your

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<v Speaker 2>schwarts in the middle of the summer and get their

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<v Speaker 2>degree burns and your skins peel off because it's so

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<v Speaker 2>damn hot. You're like, now it's all plastic and it's

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00:16:05.039 --> 00:16:12.759
<v Speaker 2>all like, oh, it's that's what, Yes, exactly, That's an

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00:16:12.759 --> 00:16:17.120
<v Speaker 2>amazing story. That's an amazing story. So so you, I mean,

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<v Speaker 2>you've you've lit some very large sets and some very

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<v Speaker 2>big action sequenceys and thinking of Terminator, how do you

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<v Speaker 2>approach lighting these massive set pieces. I mean, these sets

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<v Speaker 2>are massive with you know, hundreds, if not thousands of

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<v Speaker 2>people running around the effects. You're thinking about practicals, I mean,

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<v Speaker 2>just as a cinematographer, how do you approach mentally to

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<v Speaker 2>to cover that and light it and then cover it?

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<v Speaker 3>Yeah, so you know the big the kind of big

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<v Speaker 3>footprint you know, lighting setups or something that I absolutely love.

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<v Speaker 3>You know, it's kind of you think about it. I

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00:16:59.240 --> 00:17:01.480
<v Speaker 3>kind of take it apart. Like a let's say a

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<v Speaker 3>football field, right if you can shoot three directions on

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00:17:05.960 --> 00:17:08.880
<v Speaker 3>it with the light. If I if I light it

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00:17:08.920 --> 00:17:12.720
<v Speaker 3>from this direction, then it's a sidelight to this way,

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<v Speaker 3>it's a sidelight that way, and it's a back lit

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00:17:15.920 --> 00:17:20.200
<v Speaker 3>this way. So you got three areas that you can

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00:17:20.279 --> 00:17:24.119
<v Speaker 3>cover from creating one big light source. Let's say so

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<v Speaker 3>let's say Terminator Salvation for example, the processing plant that

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<v Speaker 3>we did where you know, all those people are being

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00:17:31.480 --> 00:17:34.599
<v Speaker 3>pushed by that bulldozer thing that you know, I embedded

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00:17:34.640 --> 00:17:37.079
<v Speaker 3>these spikes in it and these lights that eruughed and

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00:17:37.119 --> 00:17:40.319
<v Speaker 3>it starts pushing the people and we kind of, you know,

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<v Speaker 3>I wanted everything is all about the you know, lighting

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00:17:45.839 --> 00:17:50.519
<v Speaker 3>the background first, then lighting the mid ground, then eventually

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00:17:50.559 --> 00:17:54.640
<v Speaker 3>the fore ground where the actors might be playing. So

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<v Speaker 3>my big thing for that was, Okay, how can I

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00:17:58.759 --> 00:18:07.559
<v Speaker 3>create this incredibly you know, really scary tone in this

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00:18:08.720 --> 00:18:12.039
<v Speaker 3>terminator salvation processing plan. So I was like, all right,

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<v Speaker 3>what if I get some metal haldline lights and get

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<v Speaker 3>like sixty of them and line them up on basically

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00:18:21.359 --> 00:18:26.319
<v Speaker 3>creates stadium lights. So we created these massive fifty five

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<v Speaker 3>foot pettybones with I think it was like twenty metal

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<v Speaker 3>halides on each one, and they were like in racks

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00:18:33.960 --> 00:18:39.480
<v Speaker 3>of you know, five across, four high, and we catapulted

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00:18:39.519 --> 00:18:42.160
<v Speaker 3>those up. And what I wanted to do, and you

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00:18:42.400 --> 00:18:44.759
<v Speaker 3>don't see it in the movie because they cut it

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00:18:44.799 --> 00:18:49.039
<v Speaker 3>out beforehand, but what these things did is they aim

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00:18:49.319 --> 00:18:52.400
<v Speaker 3>straight up in the air and they were all full

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00:18:52.519 --> 00:18:57.279
<v Speaker 3>spot and it almost looked like a tractor beam. And

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<v Speaker 3>that was the whole idea, is through the fog and

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00:19:01.400 --> 00:19:05.279
<v Speaker 3>the dirt and all that stuff, this was the guiding

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00:19:05.359 --> 00:19:08.839
<v Speaker 3>light for you know, the transporters to come in and

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00:19:09.279 --> 00:19:12.279
<v Speaker 3>settle down into the area. It was like this tractor beam.

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<v Speaker 3>And then I racked them straight up and then as

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00:19:15.559 --> 00:19:18.319
<v Speaker 3>they came in and landed, these things started to tilt

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00:19:18.400 --> 00:19:23.079
<v Speaker 3>down and just you know, expose the whole bed of

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00:19:23.279 --> 00:19:27.519
<v Speaker 3>several transporters that are dropping all these people off. So

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<v Speaker 3>that was my first big approach for lighting something that

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00:19:30.880 --> 00:19:35.480
<v Speaker 3>was like five football fields long and a football field

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<v Speaker 3>wide is just the motivation of what the emotion is, like, Okay,

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<v Speaker 3>these are the machines. Let's go metal haldline. Let's turn

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00:19:44.160 --> 00:19:49.079
<v Speaker 3>it that blue green kind of nastiness. Let's inject these

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00:19:49.440 --> 00:19:54.200
<v Speaker 3>white beaming lights that flare the lens and are foreboding

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<v Speaker 3>and dangerous for people.

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<v Speaker 2>And we'll be right back after a word from our sponsor,

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00:20:04.640 --> 00:20:05.920
<v Speaker 2>and now back to the show.

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<v Speaker 3>And then do it in a way that you know,

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<v Speaker 3>I put a very subtle amount of fill, so it's

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00:20:13.759 --> 00:20:16.839
<v Speaker 3>still had that dark, dark nature to it, but you

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00:20:16.880 --> 00:20:20.599
<v Speaker 3>could barely see into the shadows areas to to uh

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00:20:20.880 --> 00:20:24.000
<v Speaker 3>you know, to see uh that emotion from their faces

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00:20:24.039 --> 00:20:27.440
<v Speaker 3>and stuff. So, you know, lighting the big venues is

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00:20:27.920 --> 00:20:31.160
<v Speaker 3>usually starting with just one big source. And where is

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00:20:31.200 --> 00:20:34.920
<v Speaker 3>that one big source coming from. I could go to

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00:20:35.079 --> 00:20:41.599
<v Speaker 3>like Greatest Game where I would take a huge grand

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00:20:41.680 --> 00:20:44.720
<v Speaker 3>ballroom and Copley at like the Copley Place, and it

347
00:20:44.799 --> 00:20:50.599
<v Speaker 3>was up in Montreal, and we found this amazing ornate

348
00:20:51.039 --> 00:20:56.480
<v Speaker 3>turn of the Sentry ballroom and it's like the the

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00:20:56.519 --> 00:21:02.240
<v Speaker 3>bones are there, there's beautiful warm practicals and everything. But

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00:21:02.599 --> 00:21:06.039
<v Speaker 3>if it's just that and just the window light it

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00:21:06.160 --> 00:21:09.400
<v Speaker 3>doesn't feel grand. So it's like you have to bring

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00:21:09.480 --> 00:21:12.880
<v Speaker 3>that out with you know. I put a huge source

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00:21:12.920 --> 00:21:14.839
<v Speaker 3>on the right hand side that was out of frame,

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00:21:15.720 --> 00:21:21.720
<v Speaker 3>that was twelve by twelve, you know, bleached muslins and

355
00:21:21.759 --> 00:21:25.039
<v Speaker 3>I pounded eighteen k's into them and then shaped it

356
00:21:25.160 --> 00:21:28.519
<v Speaker 3>with siders and toppers to feel like more window light

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00:21:28.920 --> 00:21:32.599
<v Speaker 3>that we don't see, like the ballroom goes on forever,

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00:21:33.119 --> 00:21:36.519
<v Speaker 3>right right, right right, And again that's also the thing

359
00:21:36.559 --> 00:21:40.119
<v Speaker 3>of selling the illusion. Right, So this we still have

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<v Speaker 3>a beautiful wide shot from the second story and we're

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00:21:42.839 --> 00:21:46.079
<v Speaker 3>pushing in ever so slightly, but wow, there's this light

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<v Speaker 3>coming in, so the ballroom must be going on for

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<v Speaker 3>even more, you know. So lighting also these elements create

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<v Speaker 3>the illusion of bigger locations than they actually are. So

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<v Speaker 3>just by bringing in that kind of cold tone mixed

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00:22:03.640 --> 00:22:06.400
<v Speaker 3>with the warm practicals and the sconces that are on

367
00:22:06.440 --> 00:22:10.000
<v Speaker 3>the wall, it was a very easy light in that

368
00:22:10.160 --> 00:22:14.839
<v Speaker 3>location because it just basically was started with practicals and

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00:22:15.000 --> 00:22:19.720
<v Speaker 3>one huge source. I try to kiss it, keep it simple, stupid,

370
00:22:20.359 --> 00:22:25.240
<v Speaker 3>Like the more you add lights, the more complicated everything gets.

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00:22:25.480 --> 00:22:29.319
<v Speaker 3>So I try to, you know, start with one big

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00:22:29.359 --> 00:22:32.839
<v Speaker 3>source and then slowly add on to that. And the

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00:22:32.880 --> 00:22:37.920
<v Speaker 3>background is something that is everything to me. So I

374
00:22:38.000 --> 00:22:41.240
<v Speaker 3>light that first and create all the depth and dimension,

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00:22:41.279 --> 00:22:43.920
<v Speaker 3>whether it's boca, whether it's you know, out of focus,

376
00:22:44.000 --> 00:22:48.240
<v Speaker 3>other highlights or or whatever it is that plays with

377
00:22:48.319 --> 00:22:51.079
<v Speaker 3>light and shadow back there to give it depth and dimension,

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00:22:51.119 --> 00:22:54.759
<v Speaker 3>that three dimensional quality. And then I slowly move to

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00:22:54.799 --> 00:22:57.880
<v Speaker 3>the mid ground and then to the foreground where the

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00:22:57.920 --> 00:23:02.279
<v Speaker 3>actors are moving. And I generally try to light an area,

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00:23:02.720 --> 00:23:06.920
<v Speaker 3>not marx. One thing that Harris Savits uh taught me,

382
00:23:07.759 --> 00:23:11.359
<v Speaker 3>and he was so spot on with this. He goes, Shane,

383
00:23:11.839 --> 00:23:15.480
<v Speaker 3>light an area, not a mark, because you want the

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00:23:15.599 --> 00:23:18.720
<v Speaker 3>actors to feel that they can move in this area

385
00:23:19.119 --> 00:23:23.160
<v Speaker 3>and that it feels not so perfect and and a

386
00:23:23.200 --> 00:23:26.920
<v Speaker 3>little like it's beauty raw, I would say. And that's

387
00:23:26.960 --> 00:23:31.599
<v Speaker 3>where I'd say, Ben Heutman, you know, he's a he's

388
00:23:31.640 --> 00:23:36.319
<v Speaker 3>another amazing director of photography, and he lights exactly like that.

389
00:23:36.799 --> 00:23:40.559
<v Speaker 3>It's imperfect, but it's still beautiful. You know, it has

390
00:23:40.680 --> 00:23:44.319
<v Speaker 3>that rawness to it. And Uh, and you do that

391
00:23:44.480 --> 00:23:47.720
<v Speaker 3>by just lighting an area and not necessarily lighting marks,

392
00:23:48.039 --> 00:23:50.640
<v Speaker 3>because lighting marks, you're gonna they're gonna nail their mark.

393
00:23:50.680 --> 00:23:52.440
<v Speaker 3>And you can have the perfect wrap on the key

394
00:23:52.519 --> 00:23:55.559
<v Speaker 3>light and the perfect back light and nice fill and everything.

395
00:23:55.839 --> 00:23:58.039
<v Speaker 3>But when you have to light a larger area for

396
00:23:58.119 --> 00:24:03.160
<v Speaker 3>them to move in, the perfections of the light actually

397
00:24:03.240 --> 00:24:07.319
<v Speaker 3>add to authenticity and reality, and I feel it feels

398
00:24:07.319 --> 00:24:08.079
<v Speaker 3>more organic.

399
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<v Speaker 2>There's a movie that when I speak to cinematographers of

400
00:24:11.960 --> 00:24:15.880
<v Speaker 2>all status from the early you know, guys just trying

401
00:24:15.880 --> 00:24:19.759
<v Speaker 2>to come up to establish established cinematographers like yourself, there's

402
00:24:19.799 --> 00:24:21.720
<v Speaker 2>a movie. And there's many movies that we can point to,

403
00:24:21.839 --> 00:24:24.680
<v Speaker 2>but there's one movie that I personally love, but it

404
00:24:24.759 --> 00:24:27.440
<v Speaker 2>is kind of like this holy grail of cinematography. In

405
00:24:27.480 --> 00:24:30.119
<v Speaker 2>many ways, there are many holy grails of cinematography, but

406
00:24:30.160 --> 00:24:33.559
<v Speaker 2>this is one searching for. Bobby Fisher is one of

407
00:24:33.599 --> 00:24:36.279
<v Speaker 2>those because and I always ask him, like, it's it's

408
00:24:36.279 --> 00:24:40.279
<v Speaker 2>a family film. It's like, it's not grand, it's not flashy.

409
00:24:41.319 --> 00:24:44.039
<v Speaker 2>And but when I talk to cinematographers about that film,

410
00:24:44.319 --> 00:24:45.799
<v Speaker 2>it was Conrad, right, was Conrad Ad Hall?

411
00:24:46.359 --> 00:24:46.960
<v Speaker 3>Conra and Hall?

412
00:24:47.079 --> 00:24:50.279
<v Speaker 2>Yeah, Yeah, he was doing things that no one had

413
00:24:50.359 --> 00:24:52.640
<v Speaker 2>done before. He was using mirrors. Do you know what

414
00:24:53.079 --> 00:24:54.319
<v Speaker 2>he did and how he lit that?

415
00:24:55.359 --> 00:24:58.319
<v Speaker 3>Yeah? I worked with Conra at Hall a little bit

416
00:24:58.359 --> 00:25:01.839
<v Speaker 3>for a very short stint as like a gaffer kind

417
00:25:01.880 --> 00:25:06.200
<v Speaker 3>of slash grip scenario. And one of the things I

418
00:25:06.279 --> 00:25:09.839
<v Speaker 3>was amazed with is he's a hard light lighter. That's

419
00:25:09.880 --> 00:25:15.680
<v Speaker 3>what he does. Hard light is his best uh, that's

420
00:25:15.720 --> 00:25:19.920
<v Speaker 3>his toolbox. And what he does is every light on

421
00:25:20.119 --> 00:25:25.200
<v Speaker 3>set is full spot. Really, there's no full flood. So

422
00:25:25.640 --> 00:25:28.839
<v Speaker 3>if he's trying to cast shadows, yes, of course he's

423
00:25:28.839 --> 00:25:31.160
<v Speaker 3>gonna full flood it so he can get the hard shadows.

424
00:25:31.200 --> 00:25:34.079
<v Speaker 3>But when he's lighting a face, that light is full

425
00:25:34.160 --> 00:25:38.119
<v Speaker 3>spot and then it's scrimmed down to exactly the right level.

426
00:25:38.839 --> 00:25:41.240
<v Speaker 3>So we were constantly like, I was like, when I

427
00:25:41.359 --> 00:25:42.880
<v Speaker 3>walk on side, I was like, what is with all

428
00:25:42.920 --> 00:25:45.880
<v Speaker 3>these double and triple scrim bags on the damn lights?

429
00:25:46.400 --> 00:25:49.319
<v Speaker 3>Who the hell needs that many scrims, you know? And

430
00:25:49.319 --> 00:25:51.400
<v Speaker 3>then all of a sudden he's like, you know, spotting

431
00:25:51.440 --> 00:25:53.279
<v Speaker 3>the thing in and I'm like, damn, that's bright, And

432
00:25:53.319 --> 00:25:56.640
<v Speaker 3>all of a sudden, the full house became the thing.

433
00:25:56.720 --> 00:25:59.480
<v Speaker 3>Two doubles in a single boom, you know, full house.

434
00:25:59.519 --> 00:26:02.279
<v Speaker 3>It okay, another full house, and I'm like, how the

435
00:26:02.319 --> 00:26:04.480
<v Speaker 3>hell does that even fit in there? And there, you know,

436
00:26:04.759 --> 00:26:08.160
<v Speaker 3>grip clipping the things on the outside you know, take

437
00:26:08.200 --> 00:26:11.000
<v Speaker 3>it down. But that was how he lit and searching

438
00:26:11.039 --> 00:26:15.599
<v Speaker 3>for Bobby Fisher used tons of that hard shadow and

439
00:26:15.759 --> 00:26:20.559
<v Speaker 3>hard light to really show the emotions of them and

440
00:26:20.759 --> 00:26:23.880
<v Speaker 3>all the characters. And you know, another great one is

441
00:26:24.200 --> 00:26:29.640
<v Speaker 3>Road to Their Dish. You know that's all hard light,

442
00:26:30.039 --> 00:26:33.920
<v Speaker 3>and you know the way he positions them and the

443
00:26:34.559 --> 00:26:38.799
<v Speaker 3>you know, once working with him, my moonlight is always silver.

444
00:26:39.480 --> 00:26:44.519
<v Speaker 3>It's like he really dialed in the silver moonlight. There

445
00:26:44.559 --> 00:26:47.799
<v Speaker 3>was nobody that did silver moonlight like him. And that's

446
00:26:48.079 --> 00:26:50.960
<v Speaker 3>that's something that I responded to and I've always done

447
00:26:51.079 --> 00:26:54.880
<v Speaker 3>my silver moonlight is where it's at. And you know

448
00:26:54.960 --> 00:26:57.960
<v Speaker 3>another person that does that very well is Bob Richardson.

449
00:26:58.839 --> 00:27:04.200
<v Speaker 3>Like snow Falling on Seedars is probably within the top

450
00:27:04.359 --> 00:27:08.319
<v Speaker 3>five greatest cinematic achievements ever.

451
00:27:08.920 --> 00:27:11.079
<v Speaker 2>Well, I don't know if you've ever seen I haven't

452
00:27:11.319 --> 00:27:11.680
<v Speaker 2>seen one.

453
00:27:12.440 --> 00:27:17.519
<v Speaker 3>Snowfalling on Seatars is an absolute masterpiece. Wow. And you

454
00:27:17.599 --> 00:27:20.279
<v Speaker 3>know it's people always say, Shane, what is this with

455
00:27:20.440 --> 00:27:24.480
<v Speaker 3>your style of only lighting from one side? I'm like, guys,

456
00:27:25.440 --> 00:27:28.799
<v Speaker 3>just look at snowfalling on Seedars. It's it's got it,

457
00:27:29.279 --> 00:27:31.960
<v Speaker 3>you know, It's like, because what I love is that

458
00:27:32.720 --> 00:27:36.839
<v Speaker 3>just that timeless light from one side. The film never

459
00:27:36.920 --> 00:27:40.519
<v Speaker 3>crosses over to this side. Everything is lit from one

460
00:27:40.559 --> 00:27:43.519
<v Speaker 3>side of the other. And then you use the background

461
00:27:43.559 --> 00:27:47.519
<v Speaker 3>to separate the dark side and that thing.

462
00:27:47.559 --> 00:27:49.440
<v Speaker 2>You don't feel that, and you don't feel or you

463
00:27:49.440 --> 00:27:50.000
<v Speaker 2>do a little film.

464
00:27:50.079 --> 00:27:53.119
<v Speaker 3>I fill from over camera. I never fill from the

465
00:27:53.160 --> 00:27:56.400
<v Speaker 3>opposite side. Reallything is one hundred and eighty degrees.

466
00:27:56.519 --> 00:27:59.920
<v Speaker 2>Yeah, interesting, so you never So you don't do standard

467
00:28:00.079 --> 00:28:03.640
<v Speaker 2>real point lighting as as they've taught in school. It's different.

468
00:28:03.839 --> 00:28:07.799
<v Speaker 3>No, it's it's three point lighting, all from one side. Interesting,

469
00:28:09.079 --> 00:28:12.519
<v Speaker 3>back light is on the same side as the key light,

470
00:28:12.920 --> 00:28:16.200
<v Speaker 3>the same side of the fill light, so everything is coming.

471
00:28:16.279 --> 00:28:19.119
<v Speaker 3>So the backlight is not a dead back, it's a

472
00:28:19.200 --> 00:28:22.920
<v Speaker 3>three quarterback. And then you add the softness of a

473
00:28:23.000 --> 00:28:24.640
<v Speaker 3>key or a hard light of a key, so you

474
00:28:24.680 --> 00:28:27.960
<v Speaker 3>gotta so that's like a key on key scenario, as

475
00:28:27.960 --> 00:28:30.640
<v Speaker 3>I call it, because you're keing with the back light

476
00:28:30.720 --> 00:28:33.400
<v Speaker 3>as well as wrapping the fill. And then what I'll

477
00:28:33.400 --> 00:28:36.839
<v Speaker 3>do is I'll do this kind of kind of a

478
00:28:36.960 --> 00:28:42.079
<v Speaker 3>J shape that goes from hard to semi hard to

479
00:28:42.440 --> 00:28:47.559
<v Speaker 3>soft just super soft all the way around. And that's

480
00:28:47.680 --> 00:28:50.359
<v Speaker 3>kind of you know, if I'm doing any kind of

481
00:28:50.359 --> 00:28:53.480
<v Speaker 3>scenario where people are walking into frame or I'm lighting

482
00:28:53.599 --> 00:28:59.000
<v Speaker 3>an area. That's kind of how I attack it. It's like,

483
00:28:59.200 --> 00:29:01.759
<v Speaker 3>you know, it starts and then it moves around to like,

484
00:29:02.240 --> 00:29:05.920
<v Speaker 3>you know, just a cream source with magic cloth. Nice.

485
00:29:06.319 --> 00:29:09.440
<v Speaker 2>Nice. That's a very very interesting way of going about it. Now,

486
00:29:09.519 --> 00:29:13.519
<v Speaker 2>there's an we get caught up so much with cameras

487
00:29:13.640 --> 00:29:16.559
<v Speaker 2>or cinematographers and filmmakers get caught up with like, what's

488
00:29:16.559 --> 00:29:19.480
<v Speaker 2>the latest K? What's the latest this? What's how many?

489
00:29:19.680 --> 00:29:22.079
<v Speaker 2>I need? Forty five K? Really do you need forty

490
00:29:22.079 --> 00:29:24.200
<v Speaker 2>five K? Do you do you really need? Are you

491
00:29:24.240 --> 00:29:28.119
<v Speaker 2>shooting Imax? Really for five hundred for fifty thousand dollars? Independent?

492
00:29:28.160 --> 00:29:28.839
<v Speaker 2>Independent feature?

493
00:29:28.839 --> 00:29:29.079
<v Speaker 3>You need?

494
00:29:29.200 --> 00:29:32.960
<v Speaker 2>You need the forty five K? So what is your

495
00:29:33.559 --> 00:29:35.599
<v Speaker 2>The one thing I always tell filmmakers when they're like

496
00:29:35.640 --> 00:29:37.839
<v Speaker 2>what should I invest in? I go glass. If you're

497
00:29:37.880 --> 00:29:42.039
<v Speaker 2>gonna invest it's always glass. Glass doesn't go unless you

498
00:29:42.039 --> 00:29:43.839
<v Speaker 2>you're shooting forty five K. Then you might need to

499
00:29:43.839 --> 00:29:47.079
<v Speaker 2>figure out a glass that's big enough to cover the sensor.

500
00:29:47.319 --> 00:29:52.000
<v Speaker 2>But but what glass do you are drawn to for

501
00:29:52.039 --> 00:29:54.440
<v Speaker 2>your projects? Is it a per project basis or is

502
00:29:54.480 --> 00:29:57.440
<v Speaker 2>there a specific kind of glass that you really like?

503
00:29:57.480 --> 00:30:00.200
<v Speaker 2>Because I know cinematographers in their glass is very they're

504
00:30:00.279 --> 00:30:04.519
<v Speaker 2>very specific about We'll be right back after a word

505
00:30:04.559 --> 00:30:12.039
<v Speaker 2>from our sponsor and now back to the show what

506
00:30:12.119 --> 00:30:12.720
<v Speaker 2>they really love.

507
00:30:12.839 --> 00:30:16.160
<v Speaker 3>Yeah. Absolutely, you know it is based on per project

508
00:30:16.200 --> 00:30:19.400
<v Speaker 3>because I feel that the glass is the soul of

509
00:30:19.440 --> 00:30:24.200
<v Speaker 3>the movie. The camera is the tool, you know, it's

510
00:30:24.279 --> 00:30:29.519
<v Speaker 3>it's kind of the let's say it's the the foundation

511
00:30:29.880 --> 00:30:34.640
<v Speaker 3>of of of of you know, and that the foundation

512
00:30:34.880 --> 00:30:38.759
<v Speaker 3>and let's say it's the mortar, but the bricks, the

513
00:30:38.799 --> 00:30:44.039
<v Speaker 3>soul of the building is the glass. And you know,

514
00:30:44.160 --> 00:30:48.480
<v Speaker 3>I've gone like every project like let's say, greatest game

515
00:30:48.519 --> 00:30:52.839
<v Speaker 3>ever played, right I you know, working with Bill Paxton,

516
00:30:53.119 --> 00:30:56.559
<v Speaker 3>you know, we we stumbled onto a look of this

517
00:30:56.599 --> 00:31:00.359
<v Speaker 3>book called Bound for Glory, which was all these reclaim aimed.

518
00:31:00.759 --> 00:31:07.920
<v Speaker 3>They found them in some person's addict in Kansas City, Missouri.

519
00:31:08.200 --> 00:31:12.480
<v Speaker 3>That were all these old codachrome prints from the FSA

520
00:31:12.559 --> 00:31:16.720
<v Speaker 3>area era. And because the FSA had shot black and

521
00:31:16.759 --> 00:31:20.640
<v Speaker 3>white throughout the whole time. But when Kodak came out

522
00:31:20.680 --> 00:31:26.359
<v Speaker 3>with codochrome in the late nineteen thirties, they sixteen hundred

523
00:31:26.400 --> 00:31:30.759
<v Speaker 3>prints were struck and these were printed in this book

524
00:31:30.759 --> 00:31:34.160
<v Speaker 3>Bound for Glory, and both Bill and I really resonated

525
00:31:34.200 --> 00:31:36.200
<v Speaker 3>that this is going to be the look for the

526
00:31:36.240 --> 00:31:39.039
<v Speaker 3>Greatest Game. We wanted it to feel period, but we

527
00:31:39.240 --> 00:31:43.599
<v Speaker 3>also wanted it to have a contemporary style to camera.

528
00:31:44.200 --> 00:31:47.079
<v Speaker 3>So it's like we delivered a period look, but the

529
00:31:47.079 --> 00:31:50.000
<v Speaker 3>camera we flew with the camera, you know, with the

530
00:31:50.119 --> 00:31:53.160
<v Speaker 3>ball and went into the hole and we showed the

531
00:31:53.200 --> 00:31:58.559
<v Speaker 3>power of each individual golfer got inside their head. And

532
00:31:58.960 --> 00:32:01.440
<v Speaker 3>so I did a lot of search on you know,

533
00:32:01.720 --> 00:32:04.599
<v Speaker 3>old glass, and I went to Panavision and I just

534
00:32:04.799 --> 00:32:09.720
<v Speaker 3>dug into their archives for about three days, and I

535
00:32:09.839 --> 00:32:16.240
<v Speaker 3>came out with these old Zeiss ultraspeeds Mark two's. They

536
00:32:16.279 --> 00:32:20.880
<v Speaker 3>were like made in the late sixties, and their coding

537
00:32:21.119 --> 00:32:24.960
<v Speaker 3>was not the greatest, and when you put them down

538
00:32:25.160 --> 00:32:29.000
<v Speaker 3>to a T two they started to really full pull

539
00:32:29.160 --> 00:32:32.240
<v Speaker 3>point one three. There was even there was a lens

540
00:32:32.359 --> 00:32:36.799
<v Speaker 3>that was specifically done for Stanley Kubrick, and that was

541
00:32:36.839 --> 00:32:40.279
<v Speaker 3>a fifty mil at a T one, right, so I

542
00:32:40.319 --> 00:32:42.480
<v Speaker 3>had I always had that one in my arsenal. I

543
00:32:42.559 --> 00:32:45.559
<v Speaker 3>grabbed that one. I had the fifty five. We called

544
00:32:45.559 --> 00:32:48.680
<v Speaker 3>it the jacked up fifty or the double nickel. They

545
00:32:48.680 --> 00:32:53.000
<v Speaker 3>were all these weird focal lanes A twenty A twenty nine,

546
00:32:53.400 --> 00:32:57.839
<v Speaker 3>twenty nine Wow twenty nine, which was is the greatest

547
00:32:57.839 --> 00:33:05.240
<v Speaker 3>steadycam lens on the planet. The uh it had you know,

548
00:33:05.960 --> 00:33:09.720
<v Speaker 3>like the double nickel to fifty five, it had sixteen

549
00:33:10.400 --> 00:33:13.640
<v Speaker 3>you know, just all these very weird focal lengths. And

550
00:33:13.759 --> 00:33:16.720
<v Speaker 3>we did a series of tests and I it took

551
00:33:16.759 --> 00:33:21.799
<v Speaker 3>me twenty different sets to find a matching three set right,

552
00:33:22.119 --> 00:33:24.839
<v Speaker 3>either yellow or just all jacked up. And they were,

553
00:33:25.000 --> 00:33:26.920
<v Speaker 3>you know, everyone was like, why are you shooting with

554
00:33:27.000 --> 00:33:30.400
<v Speaker 3>these things? Shane? These things were fifteen dollars a day

555
00:33:30.440 --> 00:33:33.920
<v Speaker 3>to rent. That's it. Fifteen dollars a day.

556
00:33:34.279 --> 00:33:34.680
<v Speaker 2>Wow.

557
00:33:35.240 --> 00:33:39.559
<v Speaker 3>And then once they were like Panavision kept on saying, wow,

558
00:33:39.640 --> 00:33:42.039
<v Speaker 3>Shane's really you know when I did Semi Pro, I

559
00:33:42.119 --> 00:33:44.799
<v Speaker 3>used that same glass and it did we are Marshall,

560
00:33:44.839 --> 00:33:47.200
<v Speaker 3>I use that same glass because it has a great

561
00:33:47.400 --> 00:33:50.880
<v Speaker 3>period look. And they're like, what is going on with Shane?

562
00:33:50.880 --> 00:33:52.680
<v Speaker 3>Why is he always shooting with these things? We got

563
00:33:52.720 --> 00:33:57.359
<v Speaker 3>to investigate these. So then they took them and turned

564
00:33:57.400 --> 00:34:01.079
<v Speaker 3>them into the classics now so I think they call

565
00:34:01.119 --> 00:34:05.440
<v Speaker 3>them the vintage primes. So all the Mark twos were

566
00:34:05.559 --> 00:34:10.159
<v Speaker 3>rehoused because one thing shooting with them, which is difficult.

567
00:34:10.199 --> 00:34:13.239
<v Speaker 3>Some lenses said this, some lenses said that, someone said this.

568
00:34:13.360 --> 00:34:14.800
<v Speaker 3>You know, they were all over the map, so it

569
00:34:14.880 --> 00:34:18.199
<v Speaker 3>created all these doughnuts and all these Yeah. Yeah, they

570
00:34:18.239 --> 00:34:21.400
<v Speaker 3>slows the filmmaking process down every time you change a lens, right,

571
00:34:21.880 --> 00:34:25.480
<v Speaker 3>So they pee vintaged these, put a new coding on

572
00:34:25.599 --> 00:34:30.280
<v Speaker 3>them and then rehoused them so they're all the same

573
00:34:30.360 --> 00:34:31.639
<v Speaker 3>millimeter diameter.

574
00:34:32.280 --> 00:34:32.400
<v Speaker 5>Uh.

575
00:34:32.719 --> 00:34:35.199
<v Speaker 3>And you know, now they go for one hundred and

576
00:34:35.199 --> 00:34:38.800
<v Speaker 3>fifty dollars a day, but it was the same glass

577
00:34:38.840 --> 00:34:41.760
<v Speaker 3>I use for per fifteen dollars a day. And you

578
00:34:41.800 --> 00:34:44.440
<v Speaker 3>can still get the Mark twos that are not pee vintage,

579
00:34:44.559 --> 00:34:46.719
<v Speaker 3>and I go to those a lot as well. I'm

580
00:34:46.760 --> 00:34:50.760
<v Speaker 3>always constantly, you know, bringing my set that I had resurrected.

581
00:34:50.920 --> 00:34:53.440
<v Speaker 3>I'm like, can you find the serial numbers from back

582
00:34:53.440 --> 00:34:55.519
<v Speaker 3>in the day of yore? And they're like, yes, we

583
00:34:55.559 --> 00:34:57.960
<v Speaker 3>have them in your system. Here they are, And those

584
00:34:57.960 --> 00:35:00.400
<v Speaker 3>are the lenses I end up shooting with. So I

585
00:35:00.480 --> 00:35:04.800
<v Speaker 3>love the old vintage glass. I'm not the big anamorphic guy.

586
00:35:05.400 --> 00:35:10.000
<v Speaker 3>I know. Anamorphic is a massive craze right now, everyone's

587
00:35:10.199 --> 00:35:14.960
<v Speaker 3>all into this thing. I couldn't be further from that.

588
00:35:16.199 --> 00:35:21.679
<v Speaker 3>I like spherical spherical feels more real, Spherical feels more intimate.

589
00:35:22.800 --> 00:35:26.000
<v Speaker 3>And when you get those wide angles pushed in close

590
00:35:26.079 --> 00:35:28.639
<v Speaker 3>and really into the scene, which you cannot do with

591
00:35:28.719 --> 00:35:32.960
<v Speaker 3>anamorphics because they cannot focus, you don't feel intimate with

592
00:35:33.000 --> 00:35:36.960
<v Speaker 3>the actors. I always feel anamorphic lenses, you're a pedestrian.

593
00:35:38.000 --> 00:35:41.079
<v Speaker 3>Why would you want that? Now? Of course there's tons

594
00:35:41.079 --> 00:35:44.320
<v Speaker 3>of movies that don't feel like pedestrian that have been

595
00:35:44.320 --> 00:35:46.880
<v Speaker 3>shot on anamorphics that are awesome. This is just my

596
00:35:47.000 --> 00:35:50.400
<v Speaker 3>point of view. This is how I look at lenses

597
00:35:50.480 --> 00:35:53.239
<v Speaker 3>and how I feel because I'm much more of a

598
00:35:54.559 --> 00:35:59.639
<v Speaker 3>person that not a long lensier, stand back and lens in.

599
00:35:59.679 --> 00:36:04.480
<v Speaker 3>I like to be much more immersive. Not really started

600
00:36:05.079 --> 00:36:08.840
<v Speaker 3>with all the sports movies. I started to do because

601
00:36:08.920 --> 00:36:12.800
<v Speaker 3>I felt, you know, getting inside the action and inside

602
00:36:12.840 --> 00:36:17.840
<v Speaker 3>the game was much more powerful than showing the audience

603
00:36:18.199 --> 00:36:23.400
<v Speaker 3>what they've already seen on television right from the outside. Now,

604
00:36:23.480 --> 00:36:26.239
<v Speaker 3>what you have to do is a beautiful balance of

605
00:36:26.360 --> 00:36:30.119
<v Speaker 3>lensing from the outside to show geography and getting into

606
00:36:30.119 --> 00:36:32.440
<v Speaker 3>the game. You can't just do in the game because

607
00:36:32.639 --> 00:36:34.800
<v Speaker 3>nobody knows where the hell you are on the field,

608
00:36:35.199 --> 00:36:38.960
<v Speaker 3>So you do those outside in shots and that's something

609
00:36:39.000 --> 00:36:42.360
<v Speaker 3>where I call it the inside out right. It's like

610
00:36:42.519 --> 00:36:46.239
<v Speaker 3>I try to first take apart the scene from doing

611
00:36:46.239 --> 00:36:50.360
<v Speaker 3>it all inside inside the game so you feel completely intimate,

612
00:36:50.800 --> 00:36:53.920
<v Speaker 3>and then you say, what do you need to tell

613
00:36:53.960 --> 00:36:56.920
<v Speaker 3>the story? Geography, and that's what you use from the outside.

614
00:36:57.559 --> 00:37:01.679
<v Speaker 3>So it's not like, Okay, let's establish it. You know,

615
00:37:01.760 --> 00:37:04.559
<v Speaker 3>it's not outside in, it's inside out. Now.

616
00:37:04.679 --> 00:37:07.679
<v Speaker 2>Did you ever have you ever shot with the kinnoptic kinnoptic?

617
00:37:07.840 --> 00:37:07.960
<v Speaker 5>Uh?

618
00:37:08.000 --> 00:37:10.920
<v Speaker 3>Oh my god, I got that thing to me.

619
00:37:11.079 --> 00:37:14.679
<v Speaker 2>No, not the camera, the lens, the kinnoptic. The Oh I.

620
00:37:14.599 --> 00:37:18.320
<v Speaker 3>Thought you were talking about that weird Chinese No.

621
00:37:17.920 --> 00:37:21.480
<v Speaker 2>No, no, no, no that one. No the the uh

622
00:37:21.480 --> 00:37:23.280
<v Speaker 2>this because this is my I love vintage lenses, so

623
00:37:23.320 --> 00:37:25.280
<v Speaker 2>I'm a vintage hound for lenses.

624
00:37:25.679 --> 00:37:25.880
<v Speaker 3>Uh.

625
00:37:25.920 --> 00:37:29.079
<v Speaker 2>The Kinnoptic nine point two, which is what Kubrick shot, Uh,

626
00:37:29.360 --> 00:37:33.880
<v Speaker 2>shining inside the inside the maze, shining following the following

627
00:37:33.920 --> 00:37:37.760
<v Speaker 2>the boy, and then in clockwork orange if you the

628
00:37:37.800 --> 00:37:41.079
<v Speaker 2>panning right before the uh they break in, they pan

629
00:37:41.239 --> 00:37:44.639
<v Speaker 2>from that, that's all it's It's a it's a nine

630
00:37:44.679 --> 00:37:48.119
<v Speaker 2>point two without without fish eye. So then I got

631
00:37:48.159 --> 00:37:51.159
<v Speaker 2>the sixteen version of that. Sorry, guys, we're gonna geek

632
00:37:51.159 --> 00:37:54.239
<v Speaker 2>out for a second. I got the sixteen I got

633
00:37:54.239 --> 00:37:56.360
<v Speaker 2>the sixteen millimeters version of that, which is a five

634
00:37:56.400 --> 00:37:59.719
<v Speaker 2>point seven and connected into the Black Magic Pocket ten

635
00:37:59.760 --> 00:38:03.519
<v Speaker 2>eighty and it's stune. I shot my last feature with it.

636
00:38:03.519 --> 00:38:08.239
<v Speaker 2>It's done. It's just no, no, no fish eye. But

637
00:38:08.320 --> 00:38:10.800
<v Speaker 2>you need light. It's great for outside, inside you gotta

638
00:38:10.800 --> 00:38:12.920
<v Speaker 2>pump some light into it. But it's I always thought

639
00:38:13.000 --> 00:38:15.480
<v Speaker 2>some of dps about that, and they're like, you mean

640
00:38:15.519 --> 00:38:17.119
<v Speaker 2>no fish eye, Like it's such an old lines that

641
00:38:17.159 --> 00:38:20.039
<v Speaker 2>it's it's I call it the Kubrick because Stanley loved,

642
00:38:20.440 --> 00:38:22.159
<v Speaker 2>love shooting with that. Have you ever shot with it?

643
00:38:23.039 --> 00:38:25.039
<v Speaker 3>No, I haven't. I got to check that thing out.

644
00:38:25.119 --> 00:38:28.639
<v Speaker 3>I mean, I I do love the Cowas always was

645
00:38:28.679 --> 00:38:32.599
<v Speaker 3>a fan of the Cowas. I I really like those

646
00:38:32.719 --> 00:38:37.440
<v Speaker 3>I like the old you know, the the a lot

647
00:38:37.480 --> 00:38:41.800
<v Speaker 3>of the the seist that they took, like the coatings off.

648
00:38:41.960 --> 00:38:45.199
<v Speaker 3>Oh yeah, yeah no, and all those guys have uh

649
00:38:45.280 --> 00:38:47.880
<v Speaker 3>you know, done a lot of re engineering on a

650
00:38:47.880 --> 00:38:51.400
<v Speaker 3>lot of the older glass. But I I do, like

651
00:38:51.440 --> 00:38:54.079
<v Speaker 3>I said, it's project by project. But one thing that

652
00:38:54.119 --> 00:38:57.800
<v Speaker 3>I've been doing a lot lately is using Laika and

653
00:38:57.960 --> 00:39:00.559
<v Speaker 3>I've always been a fan of Laika. If you look

654
00:39:00.599 --> 00:39:04.840
<v Speaker 3>at all the Panavision glass, Panavision were Lights glass. It

655
00:39:04.960 --> 00:39:08.840
<v Speaker 3>was not Panavision glass, it was Light's glass. So and

656
00:39:08.880 --> 00:39:11.719
<v Speaker 3>that's what I really responded to coming up in my career,

657
00:39:11.760 --> 00:39:14.880
<v Speaker 3>I was all about the Panavision Primo Prime. So when

658
00:39:14.920 --> 00:39:19.000
<v Speaker 3>the new Sumicrons and sumaluxes came out with the Laikas,

659
00:39:19.920 --> 00:39:23.519
<v Speaker 3>I did tests on both and I found that, you know,

660
00:39:23.559 --> 00:39:27.239
<v Speaker 3>the Suma luxes with the one three give you an

661
00:39:27.280 --> 00:39:30.679
<v Speaker 3>amazing you know, shallow depth of field and much more

662
00:39:30.679 --> 00:39:38.039
<v Speaker 3>of a flatter field. They're very clinical. But the Sumicrons

663
00:39:38.199 --> 00:39:43.039
<v Speaker 3>at a T two and basically ten thousand dollars less

664
00:39:43.039 --> 00:39:47.719
<v Speaker 3>a lens, they have more of the imperfections, and they're

665
00:39:47.760 --> 00:39:53.239
<v Speaker 3>better with skin, and they they don't flatten out a face.

666
00:39:54.000 --> 00:39:55.480
<v Speaker 3>The face has dimension.

667
00:39:57.039 --> 00:39:59.559
<v Speaker 2>We'll be right back after a word from our sponsor

668
00:40:03.159 --> 00:40:04.440
<v Speaker 2>and now back to the show.

669
00:40:06.480 --> 00:40:10.119
<v Speaker 3>So those have been like my secret weapon for a

670
00:40:10.159 --> 00:40:12.760
<v Speaker 3>lot of the work that I've been doing lately. Is

671
00:40:13.000 --> 00:40:18.000
<v Speaker 3>I just love the sumicrons and they I don't need

672
00:40:18.039 --> 00:40:22.320
<v Speaker 3>a one three. I love my T two, no problem,

673
00:40:22.760 --> 00:40:25.760
<v Speaker 3>you know, but then you go for like need for speed.

674
00:40:25.840 --> 00:40:29.519
<v Speaker 3>I shot with cook S fours. I love that Fathers

675
00:40:29.519 --> 00:40:34.920
<v Speaker 3>and Daughters Cooks fours terminator. I shot with Panavision Primos.

676
00:40:36.440 --> 00:40:41.360
<v Speaker 3>I loved the way they flared. I loved the yeah contrast,

677
00:40:42.000 --> 00:40:44.679
<v Speaker 3>also the contrast of those lenses. They have a real

678
00:40:44.880 --> 00:40:49.480
<v Speaker 3>good contrast ratio. So yeah, it's it's it's really per

679
00:40:49.559 --> 00:40:52.639
<v Speaker 3>project for sure. And I think, you know, I was

680
00:40:52.760 --> 00:40:58.639
<v Speaker 3>I was interviewing for a project recently, and I was like,

681
00:40:58.960 --> 00:41:01.719
<v Speaker 3>there were kind of two differ worlds, and I was

682
00:41:02.159 --> 00:41:04.320
<v Speaker 3>looking at a lot of tests with the az News

683
00:41:05.039 --> 00:41:09.960
<v Speaker 3>those new Premiere primes that came out, and that glass

684
00:41:10.239 --> 00:41:12.880
<v Speaker 3>has a slight magenta to it. It's got a slight

685
00:41:13.039 --> 00:41:18.199
<v Speaker 3>softness in the center and it creams out beautifully. So

686
00:41:18.320 --> 00:41:21.840
<v Speaker 3>I was going to use that for this area of

687
00:41:21.880 --> 00:41:26.320
<v Speaker 3>the movie. And then the more kind of you know,

688
00:41:26.519 --> 00:41:30.559
<v Speaker 3>raw and gritty I was actually going to do, like

689
00:41:30.679 --> 00:41:36.119
<v Speaker 3>the Zeiss signature primes that have much more of a bold,

690
00:41:36.320 --> 00:41:40.800
<v Speaker 3>contrasty look. So just using glass to tell the story

691
00:41:40.960 --> 00:41:43.119
<v Speaker 3>and not necessarily your color correction. Pay.

692
00:41:44.079 --> 00:41:46.559
<v Speaker 2>I wanted to ask you. I always love asking dp's this,

693
00:41:46.800 --> 00:41:49.840
<v Speaker 2>what was the best time you've ever had on set?

694
00:41:50.599 --> 00:41:54.639
<v Speaker 2>Like the most fun that you Like, everything was clicking

695
00:41:54.679 --> 00:41:57.360
<v Speaker 2>either either just something that happened fun on the set

696
00:41:57.519 --> 00:42:02.360
<v Speaker 2>or the lighting was just like, man, I nailed it.

697
00:42:04.519 --> 00:42:10.840
<v Speaker 3>Let's see. There's been a lot of those moments. One

698
00:42:10.920 --> 00:42:13.480
<v Speaker 3>I think that really comes to mind, and it has

699
00:42:13.559 --> 00:42:16.840
<v Speaker 3>a soft part in my heart, was when I was

700
00:42:16.880 --> 00:42:22.559
<v Speaker 3>doing We Are Marshall. We were shooting and in Huntington,

701
00:42:22.599 --> 00:42:25.519
<v Speaker 3>West Virginia for the first three weeks of the movie,

702
00:42:25.880 --> 00:42:30.119
<v Speaker 3>and so we were all at those locations where it

703
00:42:30.159 --> 00:42:33.320
<v Speaker 3>all went down. We went to the airfield where the

704
00:42:33.360 --> 00:42:38.039
<v Speaker 3>plane crashed, We went to the university and took all

705
00:42:38.119 --> 00:42:43.920
<v Speaker 3>that flavor in And there was a scene that we

706
00:42:44.000 --> 00:42:49.199
<v Speaker 3>did out in the middle of nowhere on this lone

707
00:42:49.360 --> 00:42:53.800
<v Speaker 3>road where Matthew Fox, who was Red, who did not

708
00:42:53.960 --> 00:42:59.400
<v Speaker 3>hop on the plane, he drove and it was my

709
00:42:59.639 --> 00:43:04.000
<v Speaker 3>dad had come down with pancreatitis. And I've never had

710
00:43:04.000 --> 00:43:07.960
<v Speaker 3>to leave a movie, and I had to. They told

711
00:43:08.039 --> 00:43:11.199
<v Speaker 3>me he was going to die. So I went to

712
00:43:11.280 --> 00:43:13.960
<v Speaker 3>mcg and I said, Mick g I need a week off.

713
00:43:14.320 --> 00:43:17.159
<v Speaker 3>I gotta go see my dad. He's on his deathbed.

714
00:43:17.840 --> 00:43:22.119
<v Speaker 3>So I flew back to Syracuse, New York, and stayed

715
00:43:22.119 --> 00:43:26.360
<v Speaker 3>with my dad for a week and he actually turned around.

716
00:43:27.800 --> 00:43:31.880
<v Speaker 3>And when I flew back. The first shot I did

717
00:43:32.320 --> 00:43:36.599
<v Speaker 3>was this lone road with the isolated gas station in

718
00:43:36.639 --> 00:43:40.519
<v Speaker 3>the middle of nowhere, and I just remember coming up

719
00:43:40.519 --> 00:43:43.679
<v Speaker 3>and I'm like, you know, all right, let's encircle that

720
00:43:43.719 --> 00:43:48.519
<v Speaker 3>thing with yellow fluorescence around the exterior. Let's put a

721
00:43:48.880 --> 00:43:52.280
<v Speaker 3>metal halide back behind to glow those trees, and let's

722
00:43:52.320 --> 00:43:56.920
<v Speaker 3>put one loane, you know, two twenty four light dinos,

723
00:43:56.960 --> 00:43:59.960
<v Speaker 3>one hundred and twenty foot condor, and just bring moonlight

724
00:44:00.199 --> 00:44:03.119
<v Speaker 3>down the street, wet it down so it has that glisten,

725
00:44:04.039 --> 00:44:06.440
<v Speaker 3>and I just put the camera. The camera didn't even

726
00:44:06.519 --> 00:44:09.960
<v Speaker 3>have to move. It was just like bam, and we

727
00:44:10.039 --> 00:44:12.920
<v Speaker 3>see that lone car with the headlights and he pulls

728
00:44:12.960 --> 00:44:15.239
<v Speaker 3>over in the gas station and it was like, those

729
00:44:15.280 --> 00:44:18.320
<v Speaker 3>are one of those iconic moments where my god, I

730
00:44:18.360 --> 00:44:21.440
<v Speaker 3>thought my dad was going to die. I, you know,

731
00:44:21.880 --> 00:44:25.719
<v Speaker 3>stumble on set basically got off the plane right, you know,

732
00:44:26.039 --> 00:44:28.639
<v Speaker 3>in Night Exterars, So I had to turn myself around

733
00:44:28.679 --> 00:44:32.199
<v Speaker 3>into Nights and you know, this was the first frame

734
00:44:32.320 --> 00:44:36.599
<v Speaker 3>that came out of me after all that emotion that

735
00:44:36.639 --> 00:44:39.480
<v Speaker 3>I had gone through, and that was like a very

736
00:44:39.519 --> 00:44:44.440
<v Speaker 3>defining moment. And then recently I worked on this movie

737
00:44:44.559 --> 00:44:48.480
<v Speaker 3>that was like a teen rom com and it was

738
00:44:48.599 --> 00:44:53.760
<v Speaker 3>with a director Emily King, and it was she was

739
00:44:53.800 --> 00:44:59.440
<v Speaker 3>from Hong Kong and she had amazing pitch deck on

740
00:44:59.519 --> 00:45:03.679
<v Speaker 3>the movie and her vision was very strong and we

741
00:45:03.760 --> 00:45:08.920
<v Speaker 3>just completely bonded shot listing and coming up with this thing.

742
00:45:09.519 --> 00:45:14.320
<v Speaker 3>And the last three days of the film were our

743
00:45:14.480 --> 00:45:18.599
<v Speaker 3>big dance numbers because they did the musical Bye by

744
00:45:18.679 --> 00:45:24.599
<v Speaker 3>Bertie and I and Emily and the production designer did

745
00:45:24.639 --> 00:45:29.239
<v Speaker 3>not want to do it like most high school musicals

746
00:45:29.280 --> 00:45:32.079
<v Speaker 3>would have done it very literally. We wanted to take

747
00:45:32.119 --> 00:45:37.119
<v Speaker 3>a very kind of surreal take on this and very

748
00:45:37.159 --> 00:45:42.400
<v Speaker 3>abstract and the lighting and then working with the dance,

749
00:45:43.119 --> 00:45:46.159
<v Speaker 3>the dance team and the choreography to be able to

750
00:45:46.199 --> 00:45:49.519
<v Speaker 3>put all these lights in and how they positioned and

751
00:45:49.679 --> 00:45:54.159
<v Speaker 3>moved with the dancers. And I'm just telling you, I

752
00:45:54.199 --> 00:45:58.320
<v Speaker 3>was at that monitor and when the shit all came together,

753
00:45:58.760 --> 00:46:03.000
<v Speaker 3>it was apps loop magic and it was like one

754
00:46:03.000 --> 00:46:05.280
<v Speaker 3>of those kind of moments where you just look back

755
00:46:05.320 --> 00:46:08.760
<v Speaker 3>and you say, my god, I just I'd love when

756
00:46:09.360 --> 00:46:12.840
<v Speaker 3>you know it's all the departments just all you know,

757
00:46:13.000 --> 00:46:16.119
<v Speaker 3>fueling on twelve cylinders. It's like you got production design

758
00:46:16.280 --> 00:46:19.679
<v Speaker 3>just knocking out the set and the abstract nature of it.

759
00:46:19.719 --> 00:46:22.320
<v Speaker 3>You got my lighting team that is just bringing the

760
00:46:22.519 --> 00:46:28.039
<v Speaker 3>excellence and precision. You got the dancers delivering every single time,

761
00:46:28.119 --> 00:46:30.159
<v Speaker 3>no matter how many times I said, Okay, we got

762
00:46:30.199 --> 00:46:32.559
<v Speaker 3>to do it again. And it's like the eightieth time,

763
00:46:33.039 --> 00:46:35.679
<v Speaker 3>and they were like saying, you know, Shane, we see

764
00:46:35.840 --> 00:46:38.119
<v Speaker 3>so much of your passion and what you're in. When

765
00:46:38.159 --> 00:46:39.840
<v Speaker 3>you told us we had to do it for the

766
00:46:39.880 --> 00:46:42.559
<v Speaker 3>eighty first time, we were all in, even though we

767
00:46:42.559 --> 00:46:46.440
<v Speaker 3>were spent, you know. And it's like that kind of

768
00:46:46.679 --> 00:46:51.400
<v Speaker 3>positive nature and seeing it all happen on screen, and

769
00:46:51.480 --> 00:46:57.079
<v Speaker 3>then the wave of accolades from the choreographer to the

770
00:46:57.239 --> 00:47:01.159
<v Speaker 3>dancers to everyone saying that they just felt like, you know,

771
00:47:01.519 --> 00:47:06.800
<v Speaker 3>this small little unit was was making everything so special

772
00:47:06.880 --> 00:47:13.320
<v Speaker 3>and we cared so much that they were represented so beautifully,

773
00:47:13.360 --> 00:47:15.639
<v Speaker 3>And I don't know, it's just just one of those

774
00:47:15.719 --> 00:47:17.880
<v Speaker 3>kind of moments where you kind of just you sit

775
00:47:17.960 --> 00:47:20.159
<v Speaker 3>back and you say, God, I love what I do.

776
00:47:20.480 --> 00:47:22.039
<v Speaker 3>I absolutely love what I do.

777
00:47:22.920 --> 00:47:26.440
<v Speaker 2>Awesome. Now, do you have any business advice that you

778
00:47:26.480 --> 00:47:28.519
<v Speaker 2>wish you would have heard at the beginning of your

779
00:47:28.519 --> 00:47:29.599
<v Speaker 2>cinematography career.

780
00:47:32.639 --> 00:47:40.599
<v Speaker 4>Yeah, the biggest advice I can give to people is

781
00:47:41.000 --> 00:47:42.679
<v Speaker 4>that it takes time.

782
00:47:43.840 --> 00:47:47.639
<v Speaker 3>To be a filmmaker. It's not something that you can

783
00:47:47.719 --> 00:47:52.760
<v Speaker 3>just pick up a camera and start making movies. Experience

784
00:47:53.679 --> 00:47:59.239
<v Speaker 3>cannot be overlooked, and it cannot be so shortcut. It's

785
00:47:59.280 --> 00:48:02.440
<v Speaker 3>not a shortcut. You have to go through the process

786
00:48:03.119 --> 00:48:08.440
<v Speaker 3>of failure and succeed and failure. I mean, I failed

787
00:48:08.679 --> 00:48:12.400
<v Speaker 3>so much when I was first starting out. My god,

788
00:48:12.400 --> 00:48:15.000
<v Speaker 3>I'll never forget my first gaffing gig. I was doing

789
00:48:15.000 --> 00:48:20.400
<v Speaker 3>a Barbie commercial and we had we had started outside

790
00:48:20.719 --> 00:48:23.519
<v Speaker 3>day exteriors, so I had set my meter at fifty

791
00:48:23.559 --> 00:48:26.639
<v Speaker 3>ASA and I was out there exposing film and all great,

792
00:48:26.639 --> 00:48:28.519
<v Speaker 3>and then we came into the sound stage. Well I

793
00:48:28.559 --> 00:48:34.000
<v Speaker 3>forgot to oh, oh, so we're lighting this thing, the

794
00:48:34.039 --> 00:48:36.440
<v Speaker 3>whole thing. And then I went up to the DP

795
00:48:36.679 --> 00:48:38.519
<v Speaker 3>and I said, I just want to tell you I've

796
00:48:38.519 --> 00:48:43.000
<v Speaker 3>been rating this at fifty ASA and he freaked out.

797
00:48:43.159 --> 00:48:45.960
<v Speaker 3>You know, that was two and a half stops over exposed.

798
00:48:46.360 --> 00:48:50.440
<v Speaker 3>He was worried with the Barbie and the client shot, but.

799
00:48:50.320 --> 00:48:53.320
<v Speaker 2>They were they shot at that at that essay, like

800
00:48:53.480 --> 00:48:56.440
<v Speaker 2>they shot this is this is pre shooting or after

801
00:48:56.480 --> 00:48:57.400
<v Speaker 2>you lit it shot?

802
00:48:58.320 --> 00:49:02.000
<v Speaker 3>Yeah, no, we're shooting this whole time. And then I

803
00:49:02.079 --> 00:49:05.360
<v Speaker 3>realized after lunch that I had set my kneed a wrong.

804
00:49:05.480 --> 00:49:09.599
<v Speaker 3>So everything that we had shot up to lunch was

805
00:49:09.599 --> 00:49:13.639
<v Speaker 3>was basically two an a stop's over exposed. So you

806
00:49:13.639 --> 00:49:15.920
<v Speaker 3>know we had to go back to the agency and

807
00:49:16.000 --> 00:49:19.360
<v Speaker 3>the creatives, and that put him in a very difficult place.

808
00:49:19.960 --> 00:49:22.760
<v Speaker 3>And you know, these are things that you know, these

809
00:49:22.880 --> 00:49:25.639
<v Speaker 3>there's big mistakes, but you've got to learn from them.

810
00:49:25.639 --> 00:49:29.679
<v Speaker 3>And this is what I talk about with the experience.

811
00:49:29.719 --> 00:49:32.000
<v Speaker 3>You got to put yourself out there and you got

812
00:49:32.000 --> 00:49:35.559
<v Speaker 3>to know you're going to fail and and uh and

813
00:49:35.679 --> 00:49:38.440
<v Speaker 3>I just that's my whole mantras, like I just want

814
00:49:38.480 --> 00:49:41.519
<v Speaker 3>to continue to challenge myself, push myself out of my

815
00:49:41.559 --> 00:49:46.239
<v Speaker 3>comfort zone. You know there's even as in my career

816
00:49:46.320 --> 00:49:49.440
<v Speaker 3>right now, I make mistakes. You know, I try new

817
00:49:49.480 --> 00:49:52.360
<v Speaker 3>things and I'm like, god, what was I thinking with this?

818
00:49:52.599 --> 00:49:55.719
<v Speaker 3>You know that didn't work, But you know, you pick

819
00:49:55.800 --> 00:50:04.880
<v Speaker 3>yourself up since those suspenders and you.

820
00:50:02.360 --> 00:50:04.840
<v Speaker 2>We'll be right back after a word from our sponsor

821
00:50:08.480 --> 00:50:09.760
<v Speaker 2>and now back to the show.

822
00:50:11.480 --> 00:50:15.079
<v Speaker 3>And so my biggest advice to anyone starting out in

823
00:50:15.119 --> 00:50:18.199
<v Speaker 3>this industry is you want to start at a rental

824
00:50:18.199 --> 00:50:22.239
<v Speaker 3>house bar none. If you want to be a director

825
00:50:22.280 --> 00:50:24.519
<v Speaker 3>of photography, you got to get your hands on the camera.

826
00:50:24.760 --> 00:50:26.880
<v Speaker 3>You got to listen to the people that are coming in.

827
00:50:27.280 --> 00:50:29.760
<v Speaker 3>You've got to listen to what they're using. You got

828
00:50:29.800 --> 00:50:32.639
<v Speaker 3>to take all that in. That's experience that you're building.

829
00:50:33.039 --> 00:50:37.119
<v Speaker 3>That's happening just organically. It's like all you have to

830
00:50:37.159 --> 00:50:39.280
<v Speaker 3>do is get that camera out there and you just

831
00:50:39.400 --> 00:50:42.480
<v Speaker 3>listen while you're doing stuff. Why are they using this

832
00:50:42.639 --> 00:50:44.679
<v Speaker 3>type of filter or why are they why are they

833
00:50:44.679 --> 00:50:47.599
<v Speaker 3>setting the camera up this way? I'm going to mental

834
00:50:47.639 --> 00:50:51.039
<v Speaker 3>note on that. And the same with a grip and

835
00:50:51.119 --> 00:50:55.039
<v Speaker 3>electric house. You know, I started out at a rental house.

836
00:50:55.440 --> 00:51:00.320
<v Speaker 3>So on Terminator Salvation and the big mine escape, you

837
00:51:00.360 --> 00:51:02.440
<v Speaker 3>know where they go through the landmine and it's all

838
00:51:02.599 --> 00:51:05.760
<v Speaker 3>one shot, you know, beautifully Tory Graft who we're going

839
00:51:05.800 --> 00:51:08.280
<v Speaker 3>with them and all that stuff. We had a Xenon

840
00:51:08.679 --> 00:51:11.280
<v Speaker 3>four K xenon on a scaffolding tower is our quote

841
00:51:11.360 --> 00:51:14.119
<v Speaker 3>unquote searchlight. Right when we were about ready to go,

842
00:51:14.639 --> 00:51:19.119
<v Speaker 3>the light goes out. Well everyone's scrambling and they don't

843
00:51:19.119 --> 00:51:21.599
<v Speaker 3>know what's happening and all that stuff. And I had

844
00:51:21.599 --> 00:51:26.800
<v Speaker 3>this duster jacket. They called me the crow across and

845
00:51:26.880 --> 00:51:29.280
<v Speaker 3>the thing flipped in the wind, you know, and I

846
00:51:29.440 --> 00:51:32.360
<v Speaker 3>run to the xenon and I pop out the side

847
00:51:32.400 --> 00:51:35.400
<v Speaker 3>panel and the fuse is blown, and I take it.

848
00:51:35.719 --> 00:51:38.440
<v Speaker 3>I grab some aluminum foil, I wrap it around the

849
00:51:38.559 --> 00:51:41.280
<v Speaker 3>damn thing, jam it in there, hit the transformer and

850
00:51:41.440 --> 00:51:44.440
<v Speaker 3>boom the lighting nights and I run back and they're like,

851
00:51:44.599 --> 00:51:47.039
<v Speaker 3>holy shit, how did you know how to do that?

852
00:51:47.440 --> 00:51:50.000
<v Speaker 3>And I'm like, well, these were workarounds in the rental

853
00:51:50.000 --> 00:51:53.320
<v Speaker 3>house when you know, we we wanted to see if

854
00:51:53.320 --> 00:51:55.760
<v Speaker 3>the light fired and we didn't have the fuse, and

855
00:51:55.800 --> 00:51:59.079
<v Speaker 3>these fuses were a specific one that necessarily we didn't

856
00:51:59.119 --> 00:52:02.320
<v Speaker 3>carry all the time, and this was the workaround. So

857
00:52:02.880 --> 00:52:06.800
<v Speaker 3>it's like I'm constantly at even to this day where

858
00:52:06.920 --> 00:52:09.760
<v Speaker 3>you know, there's so many new people coming up the

859
00:52:09.840 --> 00:52:13.760
<v Speaker 3>ladder and with this tax incentive, States and Atlanta just exploding,

860
00:52:13.800 --> 00:52:18.360
<v Speaker 3>and there's not enough crew there to really support the movies.

861
00:52:18.840 --> 00:52:22.119
<v Speaker 3>So a lot of people are just walking off you know,

862
00:52:22.400 --> 00:52:25.719
<v Speaker 3>farming community and construction sites and all of a sudden,

863
00:52:26.000 --> 00:52:29.440
<v Speaker 3>you know, right to work. They're gripping electrics. So I'm

864
00:52:29.480 --> 00:52:34.239
<v Speaker 3>constantly trying to you know, teach this. You know this

865
00:52:34.239 --> 00:52:37.480
<v Speaker 3>this new age of people that were quote unquote did

866
00:52:37.480 --> 00:52:40.599
<v Speaker 3>not go to film school. They just are doing it

867
00:52:40.639 --> 00:52:44.199
<v Speaker 3>for the money. That's that new regime that I'm seeing

868
00:52:44.599 --> 00:52:50.400
<v Speaker 3>through the dustry. That's been a big shift that I

869
00:52:50.480 --> 00:52:55.280
<v Speaker 3>started feeling in twenty and eighteen when I went up

870
00:52:55.280 --> 00:52:58.920
<v Speaker 3>to Canada and all the all of my electrics were

871
00:52:58.920 --> 00:53:02.880
<v Speaker 3>on permits and they had all been on oil dykes

872
00:53:02.960 --> 00:53:05.360
<v Speaker 3>just a month earlier, so they.

873
00:53:05.239 --> 00:53:09.119
<v Speaker 2>Had never been and they'd never been on set before. Now,

874
00:53:09.199 --> 00:53:10.760
<v Speaker 2>But how do you hire someone who's never been on

875
00:53:10.800 --> 00:53:12.840
<v Speaker 2>set before to work and grip an electric? How's that work?

876
00:53:13.159 --> 00:53:14.400
<v Speaker 2>I mean there's so much you have to learn?

877
00:53:15.360 --> 00:53:19.960
<v Speaker 3>Yeah, no, no kidding, Yeah, Like what's what's that?

878
00:53:20.360 --> 00:53:22.440
<v Speaker 2>What's a flag? What's a sea stand? I mean like

879
00:53:22.480 --> 00:53:25.920
<v Speaker 2>basic stuff? Yes, and you're so you're and that was

880
00:53:25.920 --> 00:53:27.239
<v Speaker 2>the crew that we've given to you, and you's like,

881
00:53:27.280 --> 00:53:28.679
<v Speaker 2>I gotta roll with this And I got to teach

882
00:53:28.719 --> 00:53:31.679
<v Speaker 2>everybody And did you just send them to your academy online?

883
00:53:32.159 --> 00:53:36.400
<v Speaker 3>Basically yes. I started after that moment in twenty seventeen

884
00:53:36.480 --> 00:53:40.960
<v Speaker 3>twenty eighteen, I created a Grip and Electric platform, so

885
00:53:41.079 --> 00:53:43.119
<v Speaker 3>it teaches them how to use c stands, how to

886
00:53:43.119 --> 00:53:47.280
<v Speaker 3>set flags, what they are, what they're called, how to

887
00:53:47.360 --> 00:53:50.239
<v Speaker 3>run power, how to plug it in, how to distribute

888
00:53:50.360 --> 00:53:53.199
<v Speaker 3>power all that stuff. I just started doing grip and

889
00:53:53.280 --> 00:53:56.239
<v Speaker 3>electric because I'm like, I come up and the first

890
00:53:56.320 --> 00:53:58.599
<v Speaker 3>thing I do is I gifted to every grip and

891
00:53:58.679 --> 00:54:01.679
<v Speaker 3>electric that's on my crew. And the people that are experienced,

892
00:54:01.679 --> 00:54:03.519
<v Speaker 3>they are like, ah, I got this. Or the people

893
00:54:03.519 --> 00:54:07.400
<v Speaker 3>that aren't they take it and a lease. They have

894
00:54:08.079 --> 00:54:13.239
<v Speaker 3>some kind of of infrastructure and awareness to like what

895
00:54:13.320 --> 00:54:15.880
<v Speaker 3>things are called and how to use stuff.

896
00:54:16.280 --> 00:54:18.360
<v Speaker 2>So is that is that a I mean obviously, I

897
00:54:18.360 --> 00:54:20.440
<v Speaker 2>mean you're a seasoned as a cinematographer, so some of

898
00:54:20.480 --> 00:54:23.360
<v Speaker 2>these projects obviously you can't fly everybody in from LA

899
00:54:23.440 --> 00:54:26.599
<v Speaker 2>so you have to deal with locals. Yes, And that's

900
00:54:26.599 --> 00:54:28.599
<v Speaker 2>the locals they have because there's just literally is no

901
00:54:28.679 --> 00:54:32.920
<v Speaker 2>other crew in the area that could handle or when

902
00:54:32.920 --> 00:54:34.440
<v Speaker 2>they're busy on other projects or something.

903
00:54:35.079 --> 00:54:38.719
<v Speaker 3>Yeah. Correct, When I did Resident Alien in the fall

904
00:54:38.800 --> 00:54:43.079
<v Speaker 3>of twenty eighteen, there were seventy eight series in a

905
00:54:43.119 --> 00:54:47.639
<v Speaker 3>film in Vancouver. Yeah, they're right, So everyone was gone,

906
00:54:48.039 --> 00:54:49.039
<v Speaker 3>you know, So.

907
00:54:48.920 --> 00:54:50.719
<v Speaker 2>You do what you do. You roll with whatever you

908
00:54:50.719 --> 00:54:51.599
<v Speaker 2>had to roll with at the.

909
00:54:51.559 --> 00:54:54.880
<v Speaker 3>Time, and you know, this is the new norm I see,

910
00:54:54.920 --> 00:54:58.920
<v Speaker 3>because you know, there's so much production going on and

911
00:54:58.960 --> 00:55:02.079
<v Speaker 3>it just literally you know, and most of these places

912
00:55:02.199 --> 00:55:07.920
<v Speaker 3>might have eight to ten teams deep might, right, so

913
00:55:08.039 --> 00:55:11.559
<v Speaker 3>that's eight features, and then if you have rigging teams,

914
00:55:11.599 --> 00:55:17.280
<v Speaker 3>then you're taking out a whole other plethora of you know, technicians.

915
00:55:17.320 --> 00:55:21.119
<v Speaker 3>So yeah, it's been a it's been a Sometimes you

916
00:55:21.199 --> 00:55:26.320
<v Speaker 3>get just amazing talent and then there's sometimes that you don't,

917
00:55:26.480 --> 00:55:29.199
<v Speaker 3>and you try your best to work with it. But

918
00:55:29.320 --> 00:55:32.360
<v Speaker 3>I've kind of, you know, set a positive spin on

919
00:55:32.440 --> 00:55:36.239
<v Speaker 3>it because I do love teaching as well, and so

920
00:55:36.559 --> 00:55:40.639
<v Speaker 3>I've I try to set it up so they're learning

921
00:55:40.679 --> 00:55:42.719
<v Speaker 3>as much as they can, and I take the time

922
00:55:43.079 --> 00:55:46.320
<v Speaker 3>when I can to h to kind of educate them

923
00:55:46.360 --> 00:55:47.679
<v Speaker 3>and get them up to speed.

924
00:55:47.920 --> 00:55:50.679
<v Speaker 2>That's it seems like a pretty big load to carry

925
00:55:50.679 --> 00:55:54.719
<v Speaker 2>as a cinematographer on a project live to be like

926
00:55:54.920 --> 00:55:58.519
<v Speaker 2>shooting and also educating your crew safe time, I mean,

927
00:55:59.159 --> 00:56:02.039
<v Speaker 2>my form, my experien on set. That's a pretty difficult

928
00:56:02.119 --> 00:56:03.800
<v Speaker 2>thing to do. So God bless you, sir.

929
00:56:05.480 --> 00:56:09.880
<v Speaker 3>It is. It's so funny because all the ads always

930
00:56:09.880 --> 00:56:12.119
<v Speaker 3>give me a ton of shit, you know, all right,

931
00:56:12.400 --> 00:56:16.679
<v Speaker 3>we're having a hurl but academy moment, you know, right,

932
00:56:16.760 --> 00:56:19.239
<v Speaker 3>because all right, now this is how you know, and

933
00:56:19.280 --> 00:56:21.800
<v Speaker 3>I'll go into it and he goes and then he goes,

934
00:56:21.800 --> 00:56:24.039
<v Speaker 3>all right, hold on, crew, We're having a hurl but

935
00:56:24.119 --> 00:56:26.760
<v Speaker 3>academy moment right here while I'm teaching the guy, and

936
00:56:26.800 --> 00:56:29.239
<v Speaker 3>I'm like, dude, don't expose me for christ.

937
00:56:29.400 --> 00:56:32.440
<v Speaker 2>I mean, it's a people who haven't been on set.

938
00:56:32.480 --> 00:56:32.719
<v Speaker 4>It is.

939
00:56:32.920 --> 00:56:35.199
<v Speaker 2>It can be. It can be a rough place to

940
00:56:35.280 --> 00:56:39.000
<v Speaker 2>be sometimes, especially when you got those those older gnarly

941
00:56:39.239 --> 00:56:43.679
<v Speaker 2>you know, gaffer grips, first ads, production designers like heads.

942
00:56:43.840 --> 00:56:50.360
<v Speaker 2>They they can they can definitely uh rub you, no question.

943
00:56:51.239 --> 00:56:55.039
<v Speaker 2>Do you have any low budget lighting tips for independent

944
00:56:55.039 --> 00:56:57.719
<v Speaker 2>filmmakers where because there's so many features being made at

945
00:56:57.880 --> 00:57:01.320
<v Speaker 2>micro budgets of fifty hundred, hundred and fifty or lower

946
00:57:02.280 --> 00:57:04.440
<v Speaker 2>to get a decent image, you know, because the cameras

947
00:57:04.440 --> 00:57:07.159
<v Speaker 2>are really sensitive. I mean you really, I mean you

948
00:57:07.159 --> 00:57:08.920
<v Speaker 2>could get a lot out of some of these low

949
00:57:08.920 --> 00:57:10.000
<v Speaker 2>budget cameras.

950
00:57:10.400 --> 00:57:14.320
<v Speaker 3>Oh absolutely, I think that, you know, like the Venus

951
00:57:14.360 --> 00:57:20.800
<v Speaker 3>and the Red Gemini let's say has really opened up,

952
00:57:22.159 --> 00:57:25.800
<v Speaker 3>and the Panasonic very cam at the five thousand ASA

953
00:57:25.880 --> 00:57:28.840
<v Speaker 3>this kind of dual ASA scenario that the Venus as

954
00:57:28.840 --> 00:57:31.960
<v Speaker 3>well as the Gemini and now and the Panasonic have

955
00:57:33.480 --> 00:57:37.519
<v Speaker 3>the super sensitivity. You know, I would say you know,

956
00:57:37.639 --> 00:57:41.920
<v Speaker 3>practicals are your your best friends. And what I did

957
00:57:41.960 --> 00:57:45.119
<v Speaker 3>with the Cannon C five hundred on Need for Speed

958
00:57:45.159 --> 00:57:47.719
<v Speaker 3>and Fathers and Daughters is I would literally take that

959
00:57:47.840 --> 00:57:52.440
<v Speaker 3>camera and PLoP it down. I call them shit sticks, right,

960
00:57:52.519 --> 00:57:55.599
<v Speaker 3>so they're like, you know, those little carbon fiber kind

961
00:57:55.599 --> 00:57:58.280
<v Speaker 3>of plasticky sticks, and I slapped the camera on it,

962
00:57:58.639 --> 00:58:01.280
<v Speaker 3>and I would not light the room until that camera

963
00:58:01.400 --> 00:58:07.000
<v Speaker 3>was up and turned on because the Gemini, that Canon,

964
00:58:07.199 --> 00:58:14.039
<v Speaker 3>the Venice and the Panasonic they see light that and

965
00:58:14.599 --> 00:58:16.920
<v Speaker 3>add contrast that your.

966
00:58:16.840 --> 00:58:19.679
<v Speaker 2>Eyes don't right, It's gonna be on the eye now.

967
00:58:20.119 --> 00:58:23.920
<v Speaker 3>Yeah, so that you can say, wow, that practical is

968
00:58:23.960 --> 00:58:26.559
<v Speaker 3>doing really well. I don't have to simulate that, or

969
00:58:26.719 --> 00:58:30.239
<v Speaker 3>this is looking really good here, and then I will

970
00:58:30.519 --> 00:58:35.320
<v Speaker 3>roll my color temperature wheel and find that what's looking

971
00:58:35.360 --> 00:58:38.480
<v Speaker 3>really good in the set, and then I start to light.

972
00:58:39.400 --> 00:58:43.719
<v Speaker 3>And you know, from a DIY standpoint, you know, having

973
00:58:43.800 --> 00:58:46.519
<v Speaker 3>practicals around that you can position and kind of help

974
00:58:46.639 --> 00:58:50.000
<v Speaker 3>light the rooms and stuff is one thing. The other

975
00:58:50.039 --> 00:58:53.960
<v Speaker 3>thing is just embracing you know, home depot and lows.

976
00:58:55.000 --> 00:58:59.440
<v Speaker 3>I love clamp lights. I still use them all the time.

977
00:59:01.239 --> 00:59:04.199
<v Speaker 3>I'm I'm using clamp lights all the time. I'm uh

978
00:59:04.920 --> 00:59:11.119
<v Speaker 3>I'm putting you know those under cabinet lights U gorgeous, Yeah,

979
00:59:11.440 --> 00:59:15.280
<v Speaker 3>you know, from home Depot. I'm using the LED strips

980
00:59:16.079 --> 00:59:21.480
<v Speaker 3>to stick underneath things, you know, I I I tend

981
00:59:21.519 --> 00:59:26.559
<v Speaker 3>to uh, I like like the old dust to dawn fixtures,

982
00:59:26.599 --> 00:59:28.719
<v Speaker 3>the metal halie and sodium vapor.

983
00:59:29.360 --> 00:59:29.480
<v Speaker 2>Uh.

984
00:59:29.760 --> 00:59:31.719
<v Speaker 3>So I'll buy a couple of those and I can

985
00:59:31.760 --> 00:59:35.480
<v Speaker 3>illuminate those because they match street lights perfectly, so you

986
00:59:35.480 --> 00:59:37.599
<v Speaker 3>don't have to worry about gel. You don't have to

987
00:59:37.599 --> 00:59:41.199
<v Speaker 3>worry about all those things. Obviously the sky panels will

988
00:59:41.719 --> 00:59:46.360
<v Speaker 3>will match that, uh you know source. But if you

989
00:59:46.400 --> 00:59:48.559
<v Speaker 3>don't have the money, you know, you can pick up

990
00:59:48.559 --> 00:59:51.559
<v Speaker 3>a dust to dawn for under sixty dollars and four

991
00:59:51.639 --> 00:59:55.119
<v Speaker 3>hundred water puts out a lot of light and uh

992
00:59:55.280 --> 00:59:58.519
<v Speaker 3>you know you look at swing Boat and crazy beautiful.

993
01:00:00.199 --> 01:00:02.679
<v Speaker 2>We'll be right back after a word from our sponsor

994
01:00:06.320 --> 01:00:07.559
<v Speaker 2>and now back to the show.

995
01:00:09.320 --> 01:00:12.280
<v Speaker 3>And oh yeah, uh you know those films I lit

996
01:00:12.400 --> 01:00:15.400
<v Speaker 3>all with those sodium vapor lights that it were all

997
01:00:15.440 --> 01:00:19.719
<v Speaker 3>from home Depot and you know, just going in and

998
01:00:19.840 --> 01:00:22.480
<v Speaker 3>using fluorescence for when you want to use them. I'd

999
01:00:22.480 --> 01:00:25.280
<v Speaker 3>get shot fluorescence and cool white bulbs and that's what

1000
01:00:25.360 --> 01:00:29.559
<v Speaker 3>I'd hang in the ceiling for over the kitchen area,

1001
01:00:29.679 --> 01:00:32.599
<v Speaker 3>because you know, they lived in a trailer, and trailers

1002
01:00:32.719 --> 01:00:36.840
<v Speaker 3>always had that kind of you know, weird recessed panel

1003
01:00:36.920 --> 01:00:39.440
<v Speaker 3>that was there with the fluorescent lights up into it.

1004
01:00:39.519 --> 01:00:43.239
<v Speaker 3>So you know, let's be real, let's let's deliver the light.

1005
01:00:43.320 --> 01:00:46.800
<v Speaker 3>That's reality, you know. So I just screwed some shot

1006
01:00:46.840 --> 01:00:50.559
<v Speaker 3>fluorescence to the ceiling and put them up, you know.

1007
01:00:50.719 --> 01:00:55.079
<v Speaker 3>So it's there's a whole plethora of DIY tape tips,

1008
01:00:55.119 --> 01:00:59.280
<v Speaker 3>you know, with the with the clamp lights, with those fluorescence,

1009
01:00:59.400 --> 01:01:03.320
<v Speaker 3>with the new led uh sticks and strips and led

1010
01:01:03.519 --> 01:01:10.800
<v Speaker 3>ribbon forget china balls, yeah, always using china balls. And

1011
01:01:10.840 --> 01:01:16.320
<v Speaker 3>then I shape them with you know, black tablecloth. You know,

1012
01:01:16.719 --> 01:01:21.159
<v Speaker 3>plastic tablecloth works beautifully every You don't have to use doubatine.

1013
01:01:21.480 --> 01:01:26.480
<v Speaker 3>You can use black tablecloth because black tablecloth doesn't have

1014
01:01:26.559 --> 01:01:31.079
<v Speaker 3>the sheen of viscuen. It's matted, so it's very much

1015
01:01:31.199 --> 01:01:36.519
<v Speaker 3>like doubtine, just not fire retardant and and obviously stick

1016
01:01:36.519 --> 01:01:40.599
<v Speaker 3>and heavy. So the black tablecloth works beautifully to shape

1017
01:01:40.679 --> 01:01:44.920
<v Speaker 3>lights in different locations and ceilings where you can't you know,

1018
01:01:45.000 --> 01:01:47.760
<v Speaker 3>be ringing these big toppers and everything because you can't

1019
01:01:47.760 --> 01:01:52.559
<v Speaker 3>compromise the location, some good frogs, tape and black tablecloth,

1020
01:01:52.599 --> 01:01:53.960
<v Speaker 3>and you're off to the races.

1021
01:01:54.880 --> 01:01:57.320
<v Speaker 2>Great great, great tips. And which brings me to your

1022
01:01:57.360 --> 01:02:00.840
<v Speaker 2>online academy. Please tell me about your labor of love

1023
01:02:01.039 --> 01:02:03.159
<v Speaker 2>that is the academy.

1024
01:02:04.079 --> 01:02:07.599
<v Speaker 3>Yeah. So yeah, this is something that in two thousand

1025
01:02:07.639 --> 01:02:10.880
<v Speaker 3>and nine, when I was shooting Active Valor, we literally

1026
01:02:11.000 --> 01:02:14.920
<v Speaker 3>flew around the world twice on that movie. We were

1027
01:02:14.960 --> 01:02:18.280
<v Speaker 3>down in Puerto Rico where we were shooting the Bad

1028
01:02:18.400 --> 01:02:24.280
<v Speaker 3>Guys kind of you know, layer in Puerto Rico, and

1029
01:02:25.320 --> 01:02:28.000
<v Speaker 3>we stayed at this amazing hotel that was on the

1030
01:02:28.000 --> 01:02:30.559
<v Speaker 3>west side of the island, and my wife came down

1031
01:02:30.639 --> 01:02:33.599
<v Speaker 3>to be with me for a week. And we were

1032
01:02:34.239 --> 01:02:36.880
<v Speaker 3>sitting in bed one night and I was planning out

1033
01:02:36.880 --> 01:02:39.400
<v Speaker 3>my shot list for the next day and she goes,

1034
01:02:39.440 --> 01:02:43.840
<v Speaker 3>you know, Shane, what you're doing with this DSLR platform

1035
01:02:44.360 --> 01:02:50.079
<v Speaker 3>and how you have kind of spearheaded this revolution. We

1036
01:02:50.159 --> 01:02:52.599
<v Speaker 3>need to talk about this. We need to share your

1037
01:02:52.639 --> 01:02:58.400
<v Speaker 3>knowledge and really ignite a revolution. I was like, what

1038
01:02:58.440 --> 01:03:00.920
<v Speaker 3>the hell are you talking about to shooting. He goes,

1039
01:03:01.000 --> 01:03:04.199
<v Speaker 3>I'm I'm a cinematographer, and she goes, I'm going to

1040
01:03:04.280 --> 01:03:08.119
<v Speaker 3>brand you, right, and I'm like cinemat I'm a cinematographer,

1041
01:03:08.159 --> 01:03:11.719
<v Speaker 3>not a brand, and sure enough with her vision and

1042
01:03:12.480 --> 01:03:17.559
<v Speaker 3>forward future thinking ways, she you know, said let's start

1043
01:03:17.599 --> 01:03:21.599
<v Speaker 3>this blog and let's share knowledge. And I was like, okay,

1044
01:03:22.119 --> 01:03:24.679
<v Speaker 3>sounds great. So we started this little blog and the

1045
01:03:24.760 --> 01:03:28.440
<v Speaker 3>blog just exploded during the DSLR revolution because I was

1046
01:03:28.480 --> 01:03:31.960
<v Speaker 3>doing things that everyone was like, what, you know, You're

1047
01:03:32.039 --> 01:03:34.840
<v Speaker 3>shooting a major feature film that's going to go in

1048
01:03:35.079 --> 01:03:41.400
<v Speaker 3>nine thousand theater screens on a DSLR still camera, right,

1049
01:03:41.559 --> 01:03:44.800
<v Speaker 3>And I'm like, yeah, and this is the settings that

1050
01:03:45.000 --> 01:03:48.280
<v Speaker 3>make your camera cinematic, and this is what iso you

1051
01:03:48.320 --> 01:03:50.880
<v Speaker 3>want to shoot at to have the lower noise, and

1052
01:03:50.920 --> 01:03:53.199
<v Speaker 3>this is the lenses that you want to fabricate to

1053
01:03:53.519 --> 01:03:57.360
<v Speaker 3>you know. So it just like exploded, and based on that,

1054
01:03:58.679 --> 01:04:02.159
<v Speaker 3>they wanted more and more and ask for more and

1055
01:04:02.239 --> 01:04:06.199
<v Speaker 3>give you know, let's start your writing is writing is great,

1056
01:04:06.199 --> 01:04:09.360
<v Speaker 3>but we want video content. So then in twenty fourteen,

1057
01:04:09.920 --> 01:04:13.360
<v Speaker 3>we launched Shane's Inner Circle and that was our first

1058
01:04:13.400 --> 01:04:16.760
<v Speaker 3>stab at a membership platform, and we really didn't know

1059
01:04:16.800 --> 01:04:20.000
<v Speaker 3>what the heck we were doing. All I knew is I

1060
01:04:20.039 --> 01:04:24.800
<v Speaker 3>had passion and I had this god given talent to

1061
01:04:24.880 --> 01:04:30.760
<v Speaker 3>really inspire people and teach and I just wanted to

1062
01:04:30.760 --> 01:04:34.360
<v Speaker 3>throw gasoline on anyone who wanted to be a part

1063
01:04:34.360 --> 01:04:38.920
<v Speaker 3>of it, to just you know, fuel that flame. And

1064
01:04:39.039 --> 01:04:41.280
<v Speaker 3>so we started out and we said it was going

1065
01:04:41.360 --> 01:04:43.760
<v Speaker 3>to be like the Netflix for filmmakers. You know, we

1066
01:04:43.840 --> 01:04:48.159
<v Speaker 3>made it super cheap because I didn't want all the

1067
01:04:48.199 --> 01:04:51.000
<v Speaker 3>way to the world on me to produce all this content.

1068
01:04:51.079 --> 01:04:54.519
<v Speaker 3>If it was really expensive, then the weight of the

1069
01:04:54.559 --> 01:04:56.239
<v Speaker 3>world was going to be on me, and I wasn't

1070
01:04:56.239 --> 01:04:59.039
<v Speaker 3>going to be able to be a cinematographer. So we

1071
01:04:59.119 --> 01:05:02.639
<v Speaker 3>started out with this little longer blog posts and more

1072
01:05:02.719 --> 01:05:06.239
<v Speaker 3>depth and going down rabbit holes, and then we just

1073
01:05:06.280 --> 01:05:10.519
<v Speaker 3>started video content. And when the video content hit and

1074
01:05:10.559 --> 01:05:13.239
<v Speaker 3>we saw how people responded to it, it was like,

1075
01:05:13.400 --> 01:05:15.960
<v Speaker 3>all right, let's start to structure where I can be

1076
01:05:16.000 --> 01:05:20.079
<v Speaker 3>a cinematographer and then do my movie and then come

1077
01:05:20.159 --> 01:05:23.400
<v Speaker 3>back and start shooting and creating this content. And we

1078
01:05:23.559 --> 01:05:27.039
<v Speaker 3>just started to do it at the grandest scale. We

1079
01:05:27.159 --> 01:05:32.440
<v Speaker 3>started forty footers, fifty men and women crew, you know,

1080
01:05:32.679 --> 01:05:37.480
<v Speaker 3>full on catering and production and all the stuff to

1081
01:05:37.519 --> 01:05:41.440
<v Speaker 3>be able to put this together. And it blossomed into

1082
01:05:41.480 --> 01:05:45.079
<v Speaker 3>what the Hroban Academy is right now, which is you know,

1083
01:05:46.159 --> 01:05:49.599
<v Speaker 3>basically our tagline now, which is going to be the

1084
01:05:49.639 --> 01:05:54.400
<v Speaker 3>Filmmaker's Academy very soon, is master your Craft. And we

1085
01:05:54.679 --> 01:06:00.440
<v Speaker 3>basically with this platform, we're bringing all my friends and

1086
01:06:00.559 --> 01:06:06.159
<v Speaker 3>all my loyal you know, vendors and everyone that have

1087
01:06:06.159 --> 01:06:10.360
<v Speaker 3>have helped shape me as a cinematographer. I'm now inspiring

1088
01:06:10.440 --> 01:06:12.920
<v Speaker 3>them and finding the ones that really want to teach

1089
01:06:12.920 --> 01:06:15.480
<v Speaker 3>and give back. And now we're going to get this

1090
01:06:15.840 --> 01:06:19.400
<v Speaker 3>team of a listers together and we're just gonna really

1091
01:06:19.480 --> 01:06:23.599
<v Speaker 3>come out swinging. And you know, the Filmmaker's Academy is

1092
01:06:23.639 --> 01:06:28.000
<v Speaker 3>going to be all about that top level that you

1093
01:06:28.119 --> 01:06:31.880
<v Speaker 3>aspire to. Right It's like, I, as much as I

1094
01:06:32.000 --> 01:06:36.920
<v Speaker 3>love the DIY tips and kind of the popsicle sticks

1095
01:06:36.960 --> 01:06:40.719
<v Speaker 3>and gaffers tape stuff, you know, if I teach at

1096
01:06:40.719 --> 01:06:44.480
<v Speaker 3>that level, where do they have to aspire to? You

1097
01:06:44.599 --> 01:06:47.639
<v Speaker 3>need to teach at the highest level. And it's their

1098
01:06:48.960 --> 01:06:54.280
<v Speaker 3>their learning and their experience that's going to scale it.

1099
01:06:54.800 --> 01:06:56.880
<v Speaker 3>Because if I do it at their level, then I've

1100
01:06:56.920 --> 01:06:59.880
<v Speaker 3>already filled in the blanks and I've already done their job.

1101
01:07:00.119 --> 01:07:02.679
<v Speaker 3>Or what I want them to do is exactly what

1102
01:07:02.760 --> 01:07:05.639
<v Speaker 3>I did when I was a cinematographer, coming up the ladder.

1103
01:07:05.960 --> 01:07:10.760
<v Speaker 3>I looked at Roger Deakins and Bob Richardson and Emanuel Lebenski,

1104
01:07:10.800 --> 01:07:12.960
<v Speaker 3>and I was like looking at the style of light

1105
01:07:13.119 --> 01:07:15.920
<v Speaker 3>and how they softened it and everything, And that was

1106
01:07:15.960 --> 01:07:18.519
<v Speaker 3>my mantra even when I was doing like the low

1107
01:07:18.559 --> 01:07:22.199
<v Speaker 3>budget music videos and little commercials and all this stuff

1108
01:07:22.400 --> 01:07:25.679
<v Speaker 3>where I didn't have the big eighteen k's and everything

1109
01:07:25.719 --> 01:07:28.880
<v Speaker 3>that they had. I just in my mind I had

1110
01:07:28.880 --> 01:07:33.199
<v Speaker 3>to scale it. And that shaped me as a cinematographer.

1111
01:07:33.320 --> 01:07:36.760
<v Speaker 3>So I'm like, this is how we educate. We educate

1112
01:07:36.800 --> 01:07:40.400
<v Speaker 3>at the highest level, and but we do it in

1113
01:07:40.440 --> 01:07:45.000
<v Speaker 3>a way that's very fun. It's kind of you know, entered,

1114
01:07:45.800 --> 01:07:46.840
<v Speaker 3>what do we call it, we.

1115
01:07:48.519 --> 01:07:50.599
<v Speaker 2>Eduitainment, editainment.

1116
01:07:50.679 --> 01:07:53.360
<v Speaker 3>You know, it's like I like to have fun. I

1117
01:07:53.440 --> 01:07:56.840
<v Speaker 3>give people shit on the crew, I'm always like, what

1118
01:07:56.920 --> 01:07:59.039
<v Speaker 3>are you doing? You know, Oh, nice job, you cut

1119
01:07:59.039 --> 01:08:01.960
<v Speaker 3>that one short, get another one. You're fired. You know.

1120
01:08:02.000 --> 01:08:07.239
<v Speaker 3>It's like the set really light and airy, and you

1121
01:08:07.320 --> 01:08:11.719
<v Speaker 3>see every single stroke. And because I came up on

1122
01:08:11.840 --> 01:08:14.679
<v Speaker 3>the technical side and did everything like grip and camera,

1123
01:08:15.400 --> 01:08:19.960
<v Speaker 3>I'm setting every flag, I'm you know, panning every light,

1124
01:08:20.079 --> 01:08:24.039
<v Speaker 3>spotting every light in diffusing every light, setting the lens

1125
01:08:25.199 --> 01:08:29.720
<v Speaker 3>doing all this so you see every finesse. And that's

1126
01:08:29.840 --> 01:08:33.640
<v Speaker 3>when it all started to happen for me as an educator,

1127
01:08:33.680 --> 01:08:36.319
<v Speaker 3>as I saw, oh my god, we when we shoot

1128
01:08:36.359 --> 01:08:38.479
<v Speaker 3>this like a live sporting event and there's like six

1129
01:08:38.600 --> 01:08:42.199
<v Speaker 3>or seven cameras, you see, you feel like you're on

1130
01:08:42.279 --> 01:08:46.079
<v Speaker 3>my shoulder and you're immersive. And that's what That's the

1131
01:08:46.119 --> 01:08:49.039
<v Speaker 3>way I make my movies is being right with you

1132
01:08:49.239 --> 01:08:52.760
<v Speaker 3>and very immersive, and the camera moves and flows with you.

1133
01:08:53.319 --> 01:08:56.439
<v Speaker 3>So I wanted the same thing with our education, and

1134
01:08:56.479 --> 01:09:00.159
<v Speaker 3>that's that's when we really started to kick at yes

1135
01:09:00.359 --> 01:09:01.960
<v Speaker 3>and to take off.

1136
01:09:02.520 --> 01:09:04.720
<v Speaker 2>Well. I'll definitely put a link to the show notes

1137
01:09:04.760 --> 01:09:06.960
<v Speaker 2>for that. I have a few questions. Ask all my guests,

1138
01:09:07.479 --> 01:09:09.359
<v Speaker 2>what advice would you give a filmmaker trying to break

1139
01:09:09.359 --> 01:09:10.199
<v Speaker 2>into the business today?

1140
01:09:10.880 --> 01:09:14.000
<v Speaker 3>Breaking the business start at a rental house. Know that

1141
01:09:14.079 --> 01:09:15.800
<v Speaker 3>it's going to take some time for you to get

1142
01:09:15.840 --> 01:09:21.199
<v Speaker 3>your experience. Do not get frustrated, Okay, you you you

1143
01:09:21.239 --> 01:09:23.840
<v Speaker 3>know there's going to be times where things don't work

1144
01:09:23.920 --> 01:09:27.720
<v Speaker 3>out and you're you seem like you're working way too hard.

1145
01:09:28.279 --> 01:09:32.359
<v Speaker 3>And you know, I gave a Herbo Academy member because

1146
01:09:32.359 --> 01:09:34.760
<v Speaker 3>the first one hundred people that signed up for all access.

1147
01:09:34.800 --> 01:09:37.279
<v Speaker 3>I gave him an hour long phone call. Nice and

1148
01:09:37.760 --> 01:09:43.439
<v Speaker 3>called me from Australia and he had heard my advice

1149
01:09:43.760 --> 01:09:46.720
<v Speaker 3>way on the blog talking about going to a rental house.

1150
01:09:46.760 --> 01:09:49.439
<v Speaker 3>So he was at a rental house and I said, okay,

1151
01:09:49.479 --> 01:09:51.119
<v Speaker 3>so how long have you been at the rental house?

1152
01:09:51.159 --> 01:09:53.840
<v Speaker 3>And he says five years? And I said, you've been

1153
01:09:53.880 --> 01:09:56.720
<v Speaker 3>there four years too long? And he goes, what are

1154
01:09:56.760 --> 01:09:57.439
<v Speaker 3>you talking about.

1155
01:09:59.199 --> 01:10:01.720
<v Speaker 2>We'll be right back after a word from our sponsor,

1156
01:10:05.359 --> 01:10:06.600
<v Speaker 2>and now back to the show.

1157
01:10:08.479 --> 01:10:12.159
<v Speaker 3>I said, the rental house is your brick and mortar.

1158
01:10:12.359 --> 01:10:15.079
<v Speaker 3>That's where you're starting to figure it out. But you

1159
01:10:15.239 --> 01:10:19.119
<v Speaker 3>need to get on set. Now you've you've already gone

1160
01:10:19.159 --> 01:10:21.760
<v Speaker 3>past your cell by date, so I'm going to tell

1161
01:10:21.800 --> 01:10:24.800
<v Speaker 3>you how to get off and how to get out

1162
01:10:25.359 --> 01:10:29.640
<v Speaker 3>on sets. So I said, all right, so what do

1163
01:10:29.720 --> 01:10:31.960
<v Speaker 3>you do there? He goes, well, I'm the lead prep tech.

1164
01:10:32.279 --> 01:10:35.560
<v Speaker 3>All right, okay, perfect. So you being the lead prep tech,

1165
01:10:35.600 --> 01:10:37.399
<v Speaker 3>you want to go into the marketing guy and you

1166
01:10:37.439 --> 01:10:40.520
<v Speaker 3>say who's coming in and obviously you'll see the list

1167
01:10:40.760 --> 01:10:42.800
<v Speaker 3>who it is, and you call up that first a

1168
01:10:42.920 --> 01:10:48.039
<v Speaker 3>C and you say, hey, Alex, how you doing today?

1169
01:10:48.239 --> 01:10:52.920
<v Speaker 3>I am you know, John Doe, I am your lead

1170
01:10:52.960 --> 01:10:56.199
<v Speaker 3>prep tech at this rental house, and I was just wondering,

1171
01:10:56.239 --> 01:11:00.600
<v Speaker 3>you know, is there could we go get cart for you?

1172
01:11:00.720 --> 01:11:03.159
<v Speaker 3>Is there any place that you're storing your carts and

1173
01:11:03.199 --> 01:11:05.279
<v Speaker 3>I can have the truck come and get your carts?

1174
01:11:05.680 --> 01:11:08.680
<v Speaker 3>And are you a coffee drinker? Do you like coffee?

1175
01:11:08.920 --> 01:11:11.920
<v Speaker 3>And what do you like for breakfast in the morning?

1176
01:11:12.439 --> 01:11:17.039
<v Speaker 3>And he brought that stuff in. He started to do

1177
01:11:17.159 --> 01:11:20.800
<v Speaker 3>all those calls and then I said, and also take

1178
01:11:20.880 --> 01:11:25.119
<v Speaker 3>note of what you see them do. So if they

1179
01:11:25.119 --> 01:11:28.159
<v Speaker 3>are labeling the cases, then you label them the cases

1180
01:11:28.159 --> 01:11:31.399
<v Speaker 3>before they get there. Label them with the millimeters, the

1181
01:11:31.479 --> 01:11:34.279
<v Speaker 3>close focus, and the tea stop of every one of them.

1182
01:11:34.439 --> 01:11:36.760
<v Speaker 3>You know they do that. You know they're going to

1183
01:11:36.800 --> 01:11:39.840
<v Speaker 3>do velcro filter tabs, you know what their filter is.

1184
01:11:40.159 --> 01:11:45.439
<v Speaker 3>Start making those in your home. And he was like, boy,

1185
01:11:45.479 --> 01:11:48.600
<v Speaker 3>that's a lot of work. I said, these this is

1186
01:11:48.720 --> 01:11:51.880
<v Speaker 3>what you need to do to set yourself apart from

1187
01:11:51.960 --> 01:11:54.119
<v Speaker 3>all the other people that are trying to do what

1188
01:11:54.199 --> 01:11:59.279
<v Speaker 3>you want to do right And literally this advice I

1189
01:11:59.359 --> 01:12:01.720
<v Speaker 3>gave him and he was out of the rental house

1190
01:12:01.880 --> 01:12:04.800
<v Speaker 3>in less than a month and he's been working in

1191
01:12:04.840 --> 01:12:07.560
<v Speaker 3>the field ever since. Good for these is just small

1192
01:12:07.760 --> 01:12:11.560
<v Speaker 3>little nuances and it's not brown nosy at all, just

1193
01:12:12.279 --> 01:12:15.000
<v Speaker 3>preparing yourself to is this is exactly what you're going

1194
01:12:15.079 --> 01:12:17.720
<v Speaker 3>to do on the set when you're a digital utility.

1195
01:12:17.800 --> 01:12:19.880
<v Speaker 3>What are you doing. You're getting a guy coffee, You're

1196
01:12:19.880 --> 01:12:23.079
<v Speaker 3>getting the guy lunch. You know, You're you're doing everything

1197
01:12:23.119 --> 01:12:25.880
<v Speaker 3>to set him up. You're coming in early, getting the

1198
01:12:25.960 --> 01:12:28.640
<v Speaker 3>carts off the truck, getting it all organized. This is

1199
01:12:28.960 --> 01:12:33.560
<v Speaker 3>you're showing him or her that you are already in

1200
01:12:33.640 --> 01:12:37.159
<v Speaker 3>that mindset that you know exactly what is going to

1201
01:12:37.199 --> 01:12:39.239
<v Speaker 3>be demanded of you, and you're not going to be

1202
01:12:39.279 --> 01:12:43.079
<v Speaker 3>the quote unquote just rental house, prep tech and these

1203
01:12:43.199 --> 01:12:47.039
<v Speaker 3>are the things that set you above. It's the same

1204
01:12:47.079 --> 01:12:48.760
<v Speaker 3>way I did when I got out of the Grip

1205
01:12:48.760 --> 01:12:51.279
<v Speaker 3>and Electric. I was just like a guy who stacked,

1206
01:12:51.560 --> 01:12:56.479
<v Speaker 3>you know, grip shelves and trucks. The only reason that

1207
01:12:56.640 --> 01:13:00.159
<v Speaker 3>I got hired on Phantasm too is because the guy,

1208
01:13:00.239 --> 01:13:04.840
<v Speaker 3>the producer was making the deal where that they with

1209
01:13:04.920 --> 01:13:07.560
<v Speaker 3>the rental manager, and they happened to look out the

1210
01:13:07.600 --> 01:13:11.399
<v Speaker 3>window and they saw me running back and forth from

1211
01:13:11.640 --> 01:13:15.399
<v Speaker 3>the grip truck to the warehouse and back. And the

1212
01:13:15.439 --> 01:13:18.680
<v Speaker 3>guy goes who is that guy and they go, ah,

1213
01:13:18.760 --> 01:13:21.439
<v Speaker 3>that's that guy from Boston that just came in. His

1214
01:13:21.560 --> 01:13:26.840
<v Speaker 3>name Shane. He is a scrapper man. We offered him

1215
01:13:26.880 --> 01:13:28.760
<v Speaker 3>five dollars an hour and he took it and he

1216
01:13:28.880 --> 01:13:32.560
<v Speaker 3>just run circles around everyone. Well where was I? I

1217
01:13:32.640 --> 01:13:34.159
<v Speaker 3>was out of that place immediately.

1218
01:13:34.640 --> 01:13:39.760
<v Speaker 6>It's like, you have to do more than is required, amen,

1219
01:13:40.680 --> 01:13:44.199
<v Speaker 6>And when you do that, you set a tone just

1220
01:13:44.319 --> 01:13:47.560
<v Speaker 6>like what I We're gonna circle right back and bookmark

1221
01:13:47.600 --> 01:13:49.720
<v Speaker 6>this son of a bitch and bookend it right here,

1222
01:13:49.800 --> 01:13:52.600
<v Speaker 6>because what did I say in the beginning, There's only

1223
01:13:52.680 --> 01:13:53.439
<v Speaker 6>two words that.

1224
01:13:53.399 --> 01:13:56.880
<v Speaker 3>Come out of my mouth. Fricking fantastic. And it's like,

1225
01:13:57.359 --> 01:14:01.880
<v Speaker 3>you set the bar high and you always do more

1226
01:14:02.039 --> 01:14:03.000
<v Speaker 3>than is required.

1227
01:14:04.199 --> 01:14:06.039
<v Speaker 2>What is the lesson that took you the longest to learn,

1228
01:14:06.079 --> 01:14:12.399
<v Speaker 2>whether in the film industry or in life.

1229
01:14:10.319 --> 01:14:13.960
<v Speaker 3>To be a good leader? H that took me a

1230
01:14:14.119 --> 01:14:19.199
<v Speaker 3>long time. When I was a kid, I was bullied

1231
01:14:19.520 --> 01:14:25.199
<v Speaker 3>like crazy. They did horrible things to me as a kid,

1232
01:14:25.239 --> 01:14:27.520
<v Speaker 3>And it was so weird because my dad was bullied

1233
01:14:27.520 --> 01:14:32.680
<v Speaker 3>by the same individuals that their dad's kids.

1234
01:14:32.960 --> 01:14:35.119
<v Speaker 2>Oh Jesus, it's like a movie. It's like a movie.

1235
01:14:35.119 --> 01:14:39.039
<v Speaker 3>For God's sakes, yeah, Jesus, it was crazy. It's like

1236
01:14:39.119 --> 01:14:43.039
<v Speaker 3>the Nolan's bullied my dad and then their kids bullied me.

1237
01:14:43.359 --> 01:14:46.880
<v Speaker 3>It was it was insane. So when I came up

1238
01:14:46.920 --> 01:14:49.640
<v Speaker 3>the ladder, I had a chip on my shoulder. I

1239
01:14:49.680 --> 01:14:53.079
<v Speaker 3>had I was somebody that just you know, I was

1240
01:14:53.159 --> 01:14:56.039
<v Speaker 3>going to get to the top and I was going

1241
01:14:56.159 --> 01:15:00.359
<v Speaker 3>to take out some people on the way. And I

1242
01:15:01.840 --> 01:15:06.079
<v Speaker 3>was angry at times. I think I was, you know,

1243
01:15:06.279 --> 01:15:11.680
<v Speaker 3>somewhat talk down to people I didn't want. It was

1244
01:15:11.720 --> 01:15:16.279
<v Speaker 3>my way or the highway. And you know, it took

1245
01:15:16.359 --> 01:15:22.239
<v Speaker 3>me a long time to realize that that I need

1246
01:15:22.239 --> 01:15:28.520
<v Speaker 3>to lead much better. And that was It's like I said,

1247
01:15:28.680 --> 01:15:32.439
<v Speaker 3>it took me probably fifteen years to learn that, and

1248
01:15:33.079 --> 01:15:39.000
<v Speaker 3>that was way too long. And now I have crews

1249
01:15:39.159 --> 01:15:42.520
<v Speaker 3>that will go to the end of the earth for

1250
01:15:42.560 --> 01:15:47.000
<v Speaker 3>me because I set the tone in a way that

1251
01:15:47.039 --> 01:15:51.079
<v Speaker 3>they are all part of the mission and no one

1252
01:15:51.199 --> 01:15:54.079
<v Speaker 3>is talked down to, and we are all in this together.

1253
01:15:54.399 --> 01:15:57.520
<v Speaker 3>And I try to wear my heart much more out

1254
01:15:57.560 --> 01:16:00.840
<v Speaker 3>on my sleeve because I had to bury it so

1255
01:16:01.000 --> 01:16:03.680
<v Speaker 3>far down when I was bullied. I was just tortured

1256
01:16:03.720 --> 01:16:06.880
<v Speaker 3>so much that I just buried that heart. I buried

1257
01:16:06.880 --> 01:16:11.960
<v Speaker 3>that compassion. I buried all that, and now I finally

1258
01:16:12.119 --> 01:16:16.399
<v Speaker 3>have come out of my proverbial shell and have really

1259
01:16:16.800 --> 01:16:20.159
<v Speaker 3>through the education. And this is a testament to my

1260
01:16:20.199 --> 01:16:23.039
<v Speaker 3>wife because I think really in two thousand and nine,

1261
01:16:24.039 --> 01:16:27.359
<v Speaker 3>in twenty ten to twelve, that was the lynchpin to

1262
01:16:27.439 --> 01:16:30.439
<v Speaker 3>really start to be a better leader. And trust me,

1263
01:16:30.560 --> 01:16:34.079
<v Speaker 3>I've failed even along that process. In twenty eighteen, I

1264
01:16:34.119 --> 01:16:37.119
<v Speaker 3>failed on a movie. And I'll I just want to

1265
01:16:37.119 --> 01:16:40.279
<v Speaker 3>be very transparent. These are things that you go through

1266
01:16:40.760 --> 01:16:43.199
<v Speaker 3>as a creative. You know, there's a lot of pressure

1267
01:16:43.239 --> 01:16:47.640
<v Speaker 3>on you. There's a lot of you know, things that

1268
01:16:47.760 --> 01:16:51.840
<v Speaker 3>are are brought to the forefront, and you need to

1269
01:16:52.399 --> 01:16:57.199
<v Speaker 3>understand how to unite that team and take care of

1270
01:16:57.199 --> 01:17:01.279
<v Speaker 3>that team, and under and listen to that team as

1271
01:17:01.319 --> 01:17:05.279
<v Speaker 3>well as listening to production and having their best interests

1272
01:17:05.279 --> 01:17:07.560
<v Speaker 3>at heart, and then listening to the director. I call

1273
01:17:07.600 --> 01:17:11.880
<v Speaker 3>it the thirty three point three because before it was

1274
01:17:12.039 --> 01:17:16.800
<v Speaker 3>one hundred percent whatever the director wanted. And that's where

1275
01:17:16.880 --> 01:17:18.680
<v Speaker 3>I was not a good leader, because no matter what

1276
01:17:18.720 --> 01:17:21.439
<v Speaker 3>the director said, I just made it happen. Even if

1277
01:17:21.479 --> 01:17:23.680
<v Speaker 3>I had to push it through a dime size hole,

1278
01:17:24.760 --> 01:17:29.159
<v Speaker 3>that thing was pushed. And now I look back at

1279
01:17:29.199 --> 01:17:31.520
<v Speaker 3>my career and I was like, you know what, now

1280
01:17:31.640 --> 01:17:37.680
<v Speaker 3>I see that it's thirty three percent is the director's

1281
01:17:37.760 --> 01:17:44.039
<v Speaker 3>vision and thirty three percent is the production is taking

1282
01:17:44.199 --> 01:17:47.760
<v Speaker 3>care of them and their budget and making things work,

1283
01:17:48.000 --> 01:17:51.039
<v Speaker 3>and not just you know, saying this is what the

1284
01:17:51.079 --> 01:17:53.239
<v Speaker 3>director wanted, This is what the director wanted, This is

1285
01:17:53.239 --> 01:17:55.800
<v Speaker 3>what the director wanted, more like, Okay, how can we

1286
01:17:55.840 --> 01:18:00.359
<v Speaker 3>reach a compromise that worked for production and the director

1287
01:18:00.399 --> 01:18:05.279
<v Speaker 3>feels very good about And it's supporting your team and

1288
01:18:05.399 --> 01:18:09.199
<v Speaker 3>being there for them and thinking about the safety, and

1289
01:18:09.319 --> 01:18:13.279
<v Speaker 3>especially in these COVID times, I mean being scared down

1290
01:18:13.319 --> 01:18:16.319
<v Speaker 3>in Atlanta just recently where they just kept on getting

1291
01:18:17.079 --> 01:18:21.079
<v Speaker 3>four positive covids every other day and us just shutting down.

1292
01:18:21.159 --> 01:18:24.439
<v Speaker 3>I'm like, guys, the protocols aren't working. Everything that you've

1293
01:18:24.439 --> 01:18:28.880
<v Speaker 3>put in practice is not working. The people that we've

1294
01:18:28.960 --> 01:18:32.840
<v Speaker 3>hired obviously are not understanding it either, because you don't

1295
01:18:32.840 --> 01:18:35.800
<v Speaker 3>go out to block parties with thousands of people and

1296
01:18:35.840 --> 01:18:39.359
<v Speaker 3>then go in and start working on the lead actors. Right,

1297
01:18:39.479 --> 01:18:43.439
<v Speaker 3>This is not the way you move and push forward

1298
01:18:43.560 --> 01:18:47.920
<v Speaker 3>in this climate. Right, And that's a mindset. The COVID,

1299
01:18:47.960 --> 01:18:51.600
<v Speaker 3>if it's taught me anything, we have to stop being

1300
01:18:51.680 --> 01:18:55.319
<v Speaker 3>the me generation and we have to start becoming the we.

1301
01:18:57.640 --> 01:19:02.399
<v Speaker 3>It's thinking about everyone and how your actions are going

1302
01:19:02.479 --> 01:19:06.439
<v Speaker 3>to affect everyone, not just yourself. And that was the

1303
01:19:06.479 --> 01:19:10.840
<v Speaker 3>biggest takeaway. I just saw everyone being so narcisstic and

1304
01:19:10.920 --> 01:19:13.760
<v Speaker 3>whatever they wanted to do, if they wanted to go

1305
01:19:13.800 --> 01:19:16.920
<v Speaker 3>out and drink and party, it didn't matter that they

1306
01:19:16.960 --> 01:19:20.439
<v Speaker 3>were doing the hair and make up on number one

1307
01:19:20.479 --> 01:19:23.359
<v Speaker 3>on the call sheet, they just did it. Well, that

1308
01:19:23.840 --> 01:19:30.520
<v Speaker 3>cannot happen. That's not the days are gone in that regards.

1309
01:19:30.600 --> 01:19:34.680
<v Speaker 3>We need to think about everyone and the compassion and

1310
01:19:34.800 --> 01:19:38.279
<v Speaker 3>caring of each individual. And I constantly you know what

1311
01:19:38.319 --> 01:19:41.279
<v Speaker 3>I never did is I never put myself in the

1312
01:19:41.319 --> 01:19:44.319
<v Speaker 3>shoes that I was barking the orders out to. And

1313
01:19:44.479 --> 01:19:48.279
<v Speaker 3>that's the biggest switch for me. It's like, Okay, if

1314
01:19:48.359 --> 01:19:50.680
<v Speaker 3>I'm going to bark these orders out to somebody, how

1315
01:19:50.800 --> 01:19:53.680
<v Speaker 3>is that going to feel if I'm the recipient of it?

1316
01:19:53.880 --> 01:19:56.279
<v Speaker 3>Am I going to feel good when I tell them

1317
01:19:56.359 --> 01:19:59.239
<v Speaker 3>me that, you know, I call them out in front

1318
01:19:59.239 --> 01:19:59.720
<v Speaker 3>of everyone.

1319
01:20:01.239 --> 01:20:03.720
<v Speaker 2>We'll be right back after a word from our sponsor,

1320
01:20:07.359 --> 01:20:08.640
<v Speaker 2>and now back to the show.

1321
01:20:10.239 --> 01:20:12.640
<v Speaker 3>There's some times when you need to do that, but

1322
01:20:12.840 --> 01:20:16.079
<v Speaker 3>you want to do it in a way that has

1323
01:20:16.920 --> 01:20:22.359
<v Speaker 3>an inspirational way. And there's one way to downtrodden, but

1324
01:20:22.399 --> 01:20:25.880
<v Speaker 3>then another way to say, guy, I understand you're trying

1325
01:20:25.880 --> 01:20:28.159
<v Speaker 3>your best, but you've got to do better. Like we

1326
01:20:28.239 --> 01:20:32.000
<v Speaker 3>had a digital utility that showed up three days late

1327
01:20:33.600 --> 01:20:37.640
<v Speaker 3>in a row, and you know, in a pool of

1328
01:20:37.960 --> 01:20:41.119
<v Speaker 3>many technicians, that guy would have been kicked to the side.

1329
01:20:41.920 --> 01:20:43.640
<v Speaker 3>And I just went up to him and I said,

1330
01:20:43.760 --> 01:20:47.800
<v Speaker 3>here's the deal. I see the passion that you had

1331
01:20:47.880 --> 01:20:50.680
<v Speaker 3>during our prep. I saw how much you read all

1332
01:20:50.720 --> 01:20:54.199
<v Speaker 3>the manuals and made all my systems that nobody knows

1333
01:20:54.239 --> 01:20:57.359
<v Speaker 3>how to work. You made that all happen. So I

1334
01:20:57.399 --> 01:21:01.359
<v Speaker 3>see that you love what you do. You can't be late,

1335
01:21:02.039 --> 01:21:04.079
<v Speaker 3>and I'm going to give you one more chance. I've

1336
01:21:04.119 --> 01:21:07.760
<v Speaker 3>given you three. But what you need to do is

1337
01:21:07.800 --> 01:21:12.159
<v Speaker 3>you need to come in thirty minutes earlier, because you

1338
01:21:12.199 --> 01:21:16.439
<v Speaker 3>know what I'm here. I'm usually here an hour before

1339
01:21:16.479 --> 01:21:20.520
<v Speaker 3>the camera trucks even open up. Why why am I there?

1340
01:21:21.399 --> 01:21:25.159
<v Speaker 3>I'm taking my time. I walk through the sets, I'm

1341
01:21:25.239 --> 01:21:29.319
<v Speaker 3>looking at the sheets, I'm envisioning the light, I'm envisioning

1342
01:21:29.359 --> 01:21:33.119
<v Speaker 3>the blocking. I'm doing all that. So you come in

1343
01:21:33.159 --> 01:21:36.640
<v Speaker 3>an hour early, you open up the trucks. You get

1344
01:21:36.680 --> 01:21:39.760
<v Speaker 3>all the gear ready for everyone, You get my monitors

1345
01:21:39.760 --> 01:21:42.000
<v Speaker 3>all set up, you get the comm system set up,

1346
01:21:42.039 --> 01:21:44.319
<v Speaker 3>so when I walk in and the crew walk in,

1347
01:21:44.640 --> 01:21:48.399
<v Speaker 3>you're handing everyone their comm system and communication is key.

1348
01:21:48.920 --> 01:21:52.760
<v Speaker 3>And that dude turned around the next day. So it's

1349
01:21:52.800 --> 01:21:57.960
<v Speaker 3>like it's tough love at some point, but also carrying

1350
01:21:58.000 --> 01:22:01.720
<v Speaker 3>in compassion and trying to inspe fire them by seeing

1351
01:22:01.760 --> 01:22:06.720
<v Speaker 3>their best attributes and really kind of fueling that and

1352
01:22:06.760 --> 01:22:11.000
<v Speaker 3>then guiding them in a way that has some kid gloves.

1353
01:22:10.800 --> 01:22:13.520
<v Speaker 2>As opposed to calling him out on set or or

1354
01:22:13.960 --> 01:22:16.640
<v Speaker 2>you know, abusing him or yelling at him or you know,

1355
01:22:16.880 --> 01:22:18.800
<v Speaker 2>how dare you jump off the condor that's about to

1356
01:22:18.800 --> 01:22:23.479
<v Speaker 2>go into the ravine? Like instead of that that way

1357
01:22:23.520 --> 01:22:26.520
<v Speaker 2>of going about it. I still can't believe that story.

1358
01:22:27.760 --> 01:22:29.359
<v Speaker 2>I still can't believe like I yelled at you, like

1359
01:22:29.880 --> 01:22:31.720
<v Speaker 2>I just dumped two stories? Are you kidding me?

1360
01:22:33.439 --> 01:22:33.600
<v Speaker 5>Now?

1361
01:22:33.600 --> 01:22:35.439
<v Speaker 2>You're doing? And that's you know, what you've said is

1362
01:22:35.479 --> 01:22:39.000
<v Speaker 2>absolutely right. And you know when I direct I do

1363
01:22:39.039 --> 01:22:40.760
<v Speaker 2>the exact same thing. I try to be as cool

1364
01:22:40.760 --> 01:22:42.640
<v Speaker 2>as I can, but sometimes you do need tough love

1365
01:22:42.800 --> 01:22:44.560
<v Speaker 2>and sometimes you got to pull somebody aside and give

1366
01:22:44.600 --> 01:22:47.359
<v Speaker 2>him a good talking to, because attitude is attitude. Ego

1367
01:22:47.439 --> 01:22:49.399
<v Speaker 2>is ego, especially in this business like.

1368
01:22:50.079 --> 01:22:52.119
<v Speaker 3>And one thing that I've always tried to do, and

1369
01:22:52.159 --> 01:22:54.279
<v Speaker 3>I think this is the last bit of advice I

1370
01:22:54.319 --> 01:22:59.960
<v Speaker 3>want to give, is you have to be humble. Yeah, amen,

1371
01:23:00.439 --> 01:23:05.960
<v Speaker 3>because arrogance and ego will drive you in ways that

1372
01:23:06.720 --> 01:23:09.800
<v Speaker 3>are not good. And I always try to be humble.

1373
01:23:09.840 --> 01:23:12.039
<v Speaker 3>When I walk on set. You know, everyone comes up

1374
01:23:12.039 --> 01:23:14.199
<v Speaker 3>to me and they're like, oh my god, Shane, You're

1375
01:23:14.239 --> 01:23:16.840
<v Speaker 3>a legend. You know I oh, you know, I get

1376
01:23:16.880 --> 01:23:19.800
<v Speaker 3>all this phrase, which is awesome, But at the same time,

1377
01:23:19.840 --> 01:23:22.960
<v Speaker 3>I never let it go to my head. I'm sitting

1378
01:23:23.000 --> 01:23:26.199
<v Speaker 3>there talking to them about, you know, what they did

1379
01:23:26.239 --> 01:23:29.359
<v Speaker 3>this weekend, and you know, they're They're part of my team.

1380
01:23:29.560 --> 01:23:32.960
<v Speaker 3>It's not me being the hierarchy, even though that's how

1381
01:23:32.960 --> 01:23:35.920
<v Speaker 3>it's set up. But I treat everyone equally and I

1382
01:23:35.960 --> 01:23:40.119
<v Speaker 3>want them and I want to toss gasoline on anything

1383
01:23:40.279 --> 01:23:44.439
<v Speaker 3>that they have passion about and trying to kind of

1384
01:23:44.520 --> 01:23:47.359
<v Speaker 3>flip the switch to them. Even the people that have

1385
01:23:47.479 --> 01:23:49.520
<v Speaker 3>come off of the oil dike or just come off

1386
01:23:49.520 --> 01:23:52.840
<v Speaker 3>the construction site. I'm trying to fill them with that

1387
01:23:52.880 --> 01:23:55.640
<v Speaker 3>filmmaking passion that I had when I came into film

1388
01:23:55.680 --> 01:23:58.800
<v Speaker 3>school and started to have these aha moments and everything.

1389
01:23:59.239 --> 01:24:02.520
<v Speaker 3>I'm trying to bring that to them through the Hurban

1390
01:24:02.600 --> 01:24:05.800
<v Speaker 3>Academy and through you know, just being on set as

1391
01:24:05.800 --> 01:24:09.039
<v Speaker 3>a cinematographer, as somebody that just wants to continue to

1392
01:24:09.239 --> 01:24:12.479
<v Speaker 3>educate the future filmmakers of tomorrow.

1393
01:24:13.199 --> 01:24:16.199
<v Speaker 2>Shane, I really appreciate you being on The show Man

1394
01:24:16.239 --> 01:24:19.039
<v Speaker 2>and it has been a fantastic conversation. I appreciate everything

1395
01:24:19.039 --> 01:24:22.600
<v Speaker 2>you're doing for the community with your education as well

1396
01:24:22.640 --> 01:24:26.680
<v Speaker 2>as just making cool films over the last last year.

1397
01:24:26.720 --> 01:24:28.880
<v Speaker 2>So I appreciate what you do, my friend. Keep keep

1398
01:24:28.880 --> 01:24:30.600
<v Speaker 2>doing what you do. So thanks so much, my friend.

1399
01:24:31.279 --> 01:24:33.560
<v Speaker 3>Thank you so much, Alex. It was an absolute pleasure

1400
01:24:33.600 --> 01:24:36.279
<v Speaker 3>and I loved your question right on the money. This

1401
01:24:36.359 --> 01:24:38.439
<v Speaker 3>is this is the kind of stuff that you know,

1402
01:24:38.600 --> 01:24:41.640
<v Speaker 3>I want to open up. There's a transparency with me,

1403
01:24:41.800 --> 01:24:44.800
<v Speaker 3>and that's what I think people really respond to as well.

1404
01:24:45.520 --> 01:24:48.760
<v Speaker 3>Like I said, staying humble, I'm not using my ego

1405
01:24:48.880 --> 01:24:51.119
<v Speaker 3>and arrogance to say this is who I am and

1406
01:24:51.159 --> 01:24:53.960
<v Speaker 3>this is what I do. No, I've failed a lot

1407
01:24:54.039 --> 01:24:56.840
<v Speaker 3>and I've not been a great leader at times, and

1408
01:24:57.079 --> 01:24:59.680
<v Speaker 3>you know, I want to, you know, express those and

1409
01:24:59.720 --> 01:25:03.640
<v Speaker 3>say that I change. And even though that I'm at

1410
01:25:03.680 --> 01:25:07.359
<v Speaker 3>my fifty seven years old, I still feel like I'm

1411
01:25:07.359 --> 01:25:10.399
<v Speaker 3>a five year old out there and absolutely love what

1412
01:25:10.479 --> 01:25:15.800
<v Speaker 3>I do. And you know, I've created a long, successful

1413
01:25:15.840 --> 01:25:18.600
<v Speaker 3>career as a cinematographer and I want to keep on going.

1414
01:25:19.079 --> 01:25:20.319
<v Speaker 2>My friend, I appreciate you.

1415
01:25:20.359 --> 01:25:22.039
<v Speaker 3>Thank you all right, take care.

1416
01:25:23.319 --> 01:25:25.079
<v Speaker 2>I want to thank Shane so much for coming on

1417
01:25:25.119 --> 01:25:28.159
<v Speaker 2>the show and dropping his knowledge bombs on the tribe.

1418
01:25:28.279 --> 01:25:30.239
<v Speaker 2>If you want to get links to anything we spoke

1419
01:25:30.239 --> 01:25:33.000
<v Speaker 2>about in this episode, including how to reach out to Shane,

1420
01:25:33.279 --> 01:25:36.600
<v Speaker 2>head over to the show notes at Bulletproof Screenwriting dot tv.

1421
01:25:36.880 --> 01:25:39.279
<v Speaker 2>Forward slash three and ninety four. Thank you so much

1422
01:25:39.319 --> 01:25:42.000
<v Speaker 2>for listening to guys, as always, keep on writing no

1423
01:25:42.079 --> 01:25:43.640
<v Speaker 2>matter what. I'll talk to you soon.

1424
01:25:44.119 --> 01:25:48.039
<v Speaker 1>Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof

1425
01:25:48.119 --> 01:25:49.479
<v Speaker 1>Screenwriting dot tv.