We Cant Go On – en COVID-19 short

Her for tiden, hvor en god del produktion stadig er helt eller delvist ramt af COVID-19, valgte Michael Livingston, Amanda Dreschler og Dan Kneece at lave en kort film om emnet, delvist sponseret af blandt andet BB&S Lighting i USA.

Som det er set flere gange har kreativiteten ikke forladt folk, blot fordi de er i karantæne.

Noget der er også er gennemgående her.

Michael Livingston, Amanda Dreschler og Dan Kneece blev nemlig inspireret af COVID, hvilket resulterede i manus til en kort film, baseret på egne tanker og skudt på eget udstyr.

Og som pointeret med lånte lamper fra BB&S Lighting.

Der var gang i farverne i We Can’t Go On

Michael Valinsky der er en ven af huset  fik lov til også at lege med, og blev hurtigt udnævnt til Executive Producer, der hurtigt fik fat i Dan Kneece, der for uindviede er blandt verdens bedste Steadicam operatører, der – i hans tilfælde – nu er blevet DP.

Michael Bravin fra Canon synes godt om ideen og lånte derfor holdet en Canon C300 MKII og en pose Sumire primes, der som du kan se det på billederne virkeligt er “godsend”, som produktionen endte med at kalde det glas.

Dan Kneece havde tidligere skudt en masse med en bunke Area 48 Color, hvorfor han ringede til dem og hørte om han ikke lige kunne låne en pose.

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Det kunne han godt.

Michael Livingston forklarer:

 -The BB&S Area 48 Color was definitely our main light, starter han og fortsætter.

 -We used it in almost every scene. Even in those that were primarily natural daylight, we almost always had the Area 48 bouncing for some extra fill. We shot against bright windows in full daylight for the workout scene at the beginning of the film. The Area 48 gave enough power to bring up the exposure in the apartment close to the exterior so we didn’t blow out our windows, slutter han og bliver suppleret af Dan Kneece, der forklarer:

BB&S Lighting’s 48 Color hitter åbenbart på en masse set

 -The colors on the Area 48 were stunning and essential in getting the neon look of the film. We would never have been able to achieve the bright colored sequences with gels. In our lava lamp scene we were able to tune the colors to an almost exact match with our lava lamp and dim it down to look as if the lamp cast a glow on our faces. Without the Area 48 we wouldn’t have been able to fine-tune that scene the way we did.

Han fortsætter.

 -The power, versatility and flexibility of this light is incredible. It has the adjustability to match almost any other colored source, slutter han.

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Amanda Dreschler, der både fungerede som co-director/lead character, forklarer

 -The goal was to get a high-end look. Peering into the psychological states of the characters called for numerous close-ups especially in the lava lamp scene, starter hun og bliver suppleret af Michael Livingston.

Han siger:

Forberedelse planlægnng og efterarbejde foregik via Zoom

 -We’re always experimenting with different make up, different lighting, starter han og fortsætter.

 -This time around we found it very easy to get good beauty shots with the Area 48. The quality of light that comes from it is so soft, especially with the soft box, it gave a very luminescent quality to our close ups. With Dan’s help we lit the scene the way it needed to look, and the light just bounced beautifully off her skin—it did all the work for us, slutter han.

Som det fremgår af billederne brugte produktionen også Hårdt LED lys.

Michael Livingston forklarer det valg:

 -The Force-7 is a beast of a light but highly controllable so it was great for our shooting limitations. To create the spotlight in our singing set up we had it behind the camera pretty far back from the set (as far as we could manage in our apartment!) and were able to get a perfect circle on our backdrop. It also acted as a backlight in the sequence where Amanda is dressed up as the raven. We could spot it down to a pinpoint and get a perfect kick on the back of her hair and feathers. It was subtle, but it’s the details that make all the difference, fortsætter han.

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 -The Compact Beamlight was fantastic, especially under shooting conditions where we didn’t have any crew or a lot of space. It was perfect for hair lights and came in handy anywhere else we needed a kick. One set up in particular was for the finale which Livingston calls the “floating iPhone key shot”, We used the CBL-1 as a rim to simulate the sunset glinting off of the phone on our white screen. Using the dimming control we were able to be very precise about the amount specular highlight we were getting, slutter han.

“We Can’t Go On”, er skrevet og instrueret af Amanda Dreschler og Michael A. Livingston, der selv klarer de to hovedroller også.

Se produktionen herunder.

Læs mere om BB&S Lighting her

We Can’t Go On from Quick Brown Fox on Vimeo.