changing the game of independent filmmaking

Changing the Gameof Independent Filmmaking

Changing the Game is a tale about asupremely intelligent young African-Americanmale who rises from the ferocious andoppressive streets of North Philadelphia to thelucrative world of high finance at Wall Street'smost prestigious firm. However, he soon findsthat the white-collar world is filled with crimeand death just like the drug-filled hood he leftbehind. His only chance of survival is amysterious gift from a slain childhood friend.

by Bob DemersDirector of PhotographyMay, 2012

I had shot director Rel Dowdell's thesis shortfilm at Boston University, back in the latenineties. I was the production manager for theschool's film department, as well as a freelanceDP. The short, entitled “Train Ride,” was metwith critical acclaim and was eventuallydeveloped into a feature length film. Thoughwe had planned on working together on thefilm, scheduling conflicts postponed oursecond collaboration. Fast-forward 15 years; acall from Rel finds me in Tucson working as apost-production supervisor for the Universityof Arizona. Schedules finally meshed and wewould finally work together again.

Changing the Game was written by Rel andAaron Astillero.

As production geared up, director Rel Dowdell constantly shared examples of work to screen,everything from Phantasm to La Haine. It was refreshing to work with a director that wantedmore than a stereotypical look for what could be misconstrued as strictly a Black American film.I felt Rel wanted to break the mold and question the audience’s expectations. In the process wepaid homage to many greats, from 16th century Italian artist Caravaggio to 20th century filmicon Stanley Kubrick. There is a particularly ominous scene in our protagonists drug-dealing“war room” that pays homage to the Milk Bar in Clockwork Orange. The room was an actual“rumpus” room in a private homediscovered by set designer BrianChacon. The room came completewith a variety of practicals fromchandeliers to festoon lighting, all setagainst a predominantly crimsoncolor scheme. We tweaked a few ofthe practicals and added one LEDpanel and a small Fresnel to accentour actors. The locale perfectlyaugmented the tension required bythe scene.

To get the creative juices flowing, Ispent a great deal of time talking with alocal Tucson artist, Mark Leviton.Mark is a sculptor that works in full-scale castings and he has quite adifferent view on the function of art.We discussed the concept of informed“appropriation” and the intelligence andsophistication it can impart on any artform, but in particular filmmaking. Ofcourse we all build on those that camebefore us, but insightful appropriationcombined with the artist’s own vision

will result in a focused creative viewpoint. Mark also did a great job bludgeoning me about mycreative head and shoulders, getting me to relax my thought process thus allowing intuition tosurface. Intuition is an important aspect of creativity, one that allows the artist to go with theflow and let the scenes, locations and actions guide the creative decisions. It all relates back tothe lighting approach and letting the location speak to me, then expanding this same approach tocomposition, movement, etc.

Production started in the Spring of 2010, and with a budget SAG classified as ultra-low, I workedwith 1st AC Nick Micros to come up with a camera package that balanced cost with the greatestflexibility and image quality. Initial hopes of using the Viper Filmstream were precluded, along

Changing the Game of Independant Filmmaking 2By Bob DemersMay, 2012

Nicoye Banks cornered in the War Room by Dennis L.A. White

Tony Todd interrogates Brandon Ruckdashel

with many other high-end systems. And though the production did have access to a Red camerasystem, it too was ruled out by the requirements of a small, fast moving crew working within theconstraints of a tight schedule. After much research, we decided to use the Sony EX3, coupledwith the AJA Ki Pro. “The camera was simple and easy to move for me and my 2nd A.C,Tommy Oceanak,” Nick comments, “which we needed because of all the company moves andthe tight schedule. The Ki Pro was reliable and shockingly simple to use. We ran HD-SDI out ofthe EX3 to the Ki Pro that was on a Rubbermaid camera cart converted to a video village.” TheEX3 was chosen for its exceptional picture quality and its ability to output HD-SDI. I alsodecided to go with the EX3 stock 14x5.8 f1.9 lens; it was again a balance between quality andcost. We were impressed with the image quality of the lens, though a bit concerned that the shortfocus ring rotation could hinder smooth focus pulls. Nick handled focus incredibly well andmanaged to tweak and adapt our Redrock follow focus to the stock lens; “Our…mattebox, rails,and shoulder rig came from Redrock also,” says Nick, “I feel like the set up was meant forDSLRs but worked with our EX3.” We were pleasantly surprised when we discovered theamazing lack of breathing in the lens.

Much to the chagrin of Nickand Tom Oceanak, 2nd AC, Iopted out of using any kind ofDOF lens adapter. I also am acolorist and see a lot ofmishaps with those adapters.They need a lot of attention onthe set else you riskmisalignment or even shotswhere someone forgets to turnon the adapter. Moreover, DPsusing these DOF adapters endup stopping down to a pointthat negates their use…why?We shot wide open when shortDOF was needed and our little

stock lens worked well. Of course, the ½ sensor on the EX3 helped. Many times I had to sneakdown a stop or two to give Nick a bit more leeway on his focus pulls. He won’t admit it, but Iknow he appreciated it.

To maximize the image of the EX3, a long time colleague, Roger Macie of Macie Video inMassachusetts, created a secret sauce for our camera. Roger and I worked together years ago inthe Boston broadcast production scene. Macie went on to create Macie Video and has becomethe go-to-guy for camera setup and repair. Macie is the developer of the Macie Standard, a setupthat optimizes camera response and color rendition. Many networks refer their stringers toMacie for setup, thus assuring consistent and high quality broadcast images that fit with the lookof their network shows. After a lengthy conversation with Roger, which included too muchreminiscing, we set about to specify a picture profile for the EX3 that would optimize the colorresponse of the camera and preserve the maximum range for post processing. Macie has alwaysbeen excited about the EX3, and confessed to “getting goose pimples” when he tested the camera


Tommy Oceanak, 2nd AC, and Nick Micros, 1st AC, Sony EX3

when it first was released. For CTG, Macie created a number of setups based on the Maciestandard. We tested each setup and the camera crew and I chose one that flattened the contrast,with reduced highlight detail. This setup allowed us to shoot in some very high contrast lighting.We could let windows blow out without fear and rest easy that our blacks were not built upbeyond the point of no return. On a low budget, fast moving production, this saved us hours inlighting and rigging. We did discover that the EX3 is very sensitive to far-red pollution, mostlyevidenced in the blacks. This necessitated the use of a Tiffen T1 IR filter to keep our blacksneutral, though at a slight cost of half a stop.

Many of the camera and lighting crew, as well as one of our prominent actors, were alsoexperienced shooters. They were impressed with the image we could pull from that EX 3 HDSDI spigot. Hopefully we have recruited a few more Macie fans and proved how important it isto have your camera professionally setup. Most often cameras are optimized at the factory forvisual appeal to the customer, not necessarily the ideal setup for flexibility in post grading. Youreally need to get the camera on a scope and tweaked by a pro so at least you know your startingpoint of reference. In the process, you will learn the capabilities of the camera prior toproduction.

The second key to capturing that great image was the use of the then relatively new AJA Ki Prohard disk recorder. Sarah Sher, proprietor of Red Eagle Post in Tucson, provided the Ki Pro andtaught us the nuances of the rig. “Ki Pro rocks” was the mantra on set...”just like recording tapeonly better.” Our workflow was to capture HD-SDI direct from the EX 3 to ProResHQ, 1080p.We had two drives on locationand would swap them betweencompany moves. This avoidedhaving all our eggs in onebasket and worked well withinthe constraints of the schedule.The Ki Pro excelled not onlywith its easy operation andefficient hardware codecs, butin accordance with thelegendary AJA family of IOunits it provided a number ofresolution assignable outputs tofeed various set monitors. Wepowered the Ki Pro from a UPSto clean up the power andprotect it from local power interruptions. I figured out how to disable the power-out alarm toneon the UPS so we could also use it as a battery powered AC supply for exteriors and car shots.Other than a couple of factory resets to resolve a mysterious loss of audio signal at the input, theKi Pro worked flawlessly. We contemplated recording sound directly to the Ki Pro, but decidedto go dual system. Jason Wasley, the Sound Recordist, did send a feed to the Ki Pro so we wouldhave sound for playback, which was much appreciated by the director and the actors.


Script Supervisor Misha Zubarev at the AJA Ki Pro based video village.

Because of the low budget and the need to cover a multitude of locations in such a short time,Production Manager Leilani Goode used some innovative techniques to bring the crew togetherand foster communication, which was key for a fast moving production like CTG. Each daystarted with a mandatory breakfast meeting where the AD, Dan Sinisi, reviewed the day'sschedule, handed out sides and addressed any crew concerns. Leilani also scheduled a second

meal at the end of the day, back at theproduction office. Not only would crew havea tasty meal together, the daily event wouldoften serve as an informal productionmeeting to go over the next day’s payload.Gaffer Zafer “Coach” Ulkucu expounds; “Nomatter the size of the production, I’ve foundhaving food on set to be extremely importantfor the morale, and thus productivity, of acrew. On this production, we were fortunateto have a very accommodating Craft Servicesperson and generally very good mealcatering. Even on days where we didn’tofficially go into overtime, there was alwaysa delicious second meal waiting for us at theproduction office. On a set where most folksaren’t getting anywhere near their standardday rate, this became a nice way to relax andget some much-needed nourishment at theend of the day. Plus, it was an opportunity tomingle and get to know the rest of the crewand even cast.”

Leilani did a marvelous job pullingthe crew together. Overall, the lighting andcamera crew were young, energetic andcreative. Most had worked together before,and most were heavily involved in the Phillyindy film scene. They would often workwith each other on short, no-pay films,

constantly practicing their craft. It was inspirational for me, coming from a highly commercialworld, to see such dedication and support they had for each other. Gaffer “Coach” alsoappreciated the talent that was brought to the production; “...it’s important to have a dedicatedand knowledgeable crew, and being an indie film, there wasn’t enough money for all the peoplewe could have used. But on this set, I was occasionally reminded of the benefit of having at leasta few focused professionals as opposed to (the more common low-budget scenario) an army ofinexperienced, if well-meaning, PAs.”

As part of my show deal, I offered to stay at a private residence. Leilani was kind enough toshare her house with me. Geographically, it also worked out for Nick and Tom, the other twocamera department members. It was one big happy family. We would get in late, have a beer,


(l-r) Jay Wasley, sound mixer; Tim Cronin, best boy grip;Zafer “Coach” Ulkucu, gaffer and Nicholas Micros, 1st AC

download the footage, charge batteries and do a bit of review. I also cooked a couple of pancakeand bacon breakfasts for the camera crew and Leilani’s 8-year-old son. It was a greatarrangement that turned out to be much more civilized than returning to a lonely hotel room eachnight.

The visual strategy for the film dictated an edgy, sharp style for the inner-city footage; to capturethe surroundings and enhance the oppressive environment. We stayed wide on the lens keepdepth of field deep. I did shoot a lot of handheld, but only if it contributed to the feel of thescene. I try not to shoot handheld just for convenience sake, it’s too distinctive for that and playsa major role in setting tone. I try to save it for those voyeuristic, edgy scenes, or to createrawness within the scene. In contrast, our contemporary Wall Street and other high-financescenes required a slicker, compressed feel. We wanted to focus on our characters at that point,less on physical environments, more on personalities. We used longer lenses and softer lighting.We had the opportunity to work with the custom built Scala dolly, made by JEV Productions.They were kind enough to loan it to us for the duration of the production. Much like aconventional skateboard dolly, it also included a detachable vertical counterbalanced rail systemthat allowed incredibly smooth booms. The rig was pushed to the limit on the opening scene thatrequired a move that started tight on our young protagonist’s eyes, then pulled back to reveal aperiod classroom complete with students and teacher. We ran the dolly on PVC, which workedwell considering the weight of the dolly and the AC.

Philly Gaffer Zafer “Coach” Ulkucu did a remarkable job with lighting crew and gear for theshow. I’ll never forget the night before principal photography when Coach arrived at our“home” with the L&G truck. It was out of New York City and covered entirely with real graffiti.It gave our entourage a niceurban feel that fit in withour inner-city locations.“We couldn’t have pulledoff this shoot without thesupport of our great G&Evendor, Handheld Films,out of NYC,” notesCoach, “on these kinds oflow-budget indies, therenever seems to be enoughmoney for lighting andgrip. It’s basically aconstant. But on this shoot,we had some significantrequirements, not the leastof which was that weneeded to have most all the gear for any scene/setup with us at all times. We knew the schedulewas going to fluctuate, so we had to give production as much leeway as possible to reorder theshoots. So we had to be prepared. This meant renting all the gear at once. If we had tried to gowith any of the first vendors we looked up, this would not have been nearly possible. But after


Custom painted truck with urban camouflage, courtesy Handheld Films, NY.

much research and a bit of begging, we found a vendor that understood our situation and wasable to give us enough of a deal...that we could afford most of what we wanted, and so hopefully,we were able to make the movie look more expensive than it really was. This is the goal ofevery shoot I work on, and I think we pulled it off.”

I like my lighting simple. Simple often equates to efficient, and most often provides a naturaland appropriate look. I warned the crew that I would not be shoe-horning any preconceivedlighting ideas into our locations. This meant going with what the locations implied in terms oflighting treatment. Many times, we would use existing light sources, augmenting them with ourbalanced lighting. On one particular urban night scene outside a barbershop in West Philly, Ihad just spiked the camera position and started to think about lighting, when it hit me. I calledCoach over and pointed to our scene, which included a conversation around a parked car. There,in the sodium vapor light of a single streetlight, our lighting approach was dictated. I looked atCoach, pointed to the scene, and simply grunted, “do that.” Coach did and in the processintroduced me to the new Rosco Industrial and Urban filters that simulate sodium vapor lighting.Coach used two fixtures and two different filters to replicate the existing light. It was beautifuland one of my favorite shots. Coach relates another scene that exemplifies the beauty ofsimplicity, “As I’ve found so often to be true, some of the most beautiful setups are the simplest. One of our first shoots was a brief scene in Sean’s (lead actor) bedroom with just himself, a bedand a window. We used only one light (Joker 800 w/ Chimera) and a smoke machine. It was sosimple, we didn’t over think it, but it looked and felt perfect.

Coach's comments remind me of a pet peeve; the obligatory establishing wide shot. I have neverbought into filming scenes according to some textbook formula. For me, it’s like musicimprov…jazz. It’s about having your technical chops down so you can then go with the flowthat the situation, orscene, presents. Get whatserves the vision, alwayswith a little somethingextra for the editor. If thedirector doesn’t see anestablishing shot, whywaste the time and moneyshooting one. I believe inpre-visualization, andknowing what you want.It’s a way to put yourmark on a film, and savethe backs of your crew byavoiding unnecessaryheavy lifting. Coachagrees, “The instinct is too often to start the scene with a shot where we see everything in theroom, and thus have to light it. (And of course it has to be dressed as well.) Being that thismovie was so character driven, Bob was able to see that this big, wide-shot is rarely necessary increative terms, and often very difficult to pull off in technical terms. So we generally


Changing the Game crew descends upon actor Munir Kreidie

concentrated on nailing great medium shots and close ups. The week after production I was onanother short film shoot. We were in a location, with set dressing, costumed actors, the wholelot. But the DP and I couldn’t wrap our heads around the lighting. Our set-up was getting closeto looking good, but not quite right. Finally, we decided to “kill the wide-shot.” All of a sudden,it all made sense and the scene turned out looking great.”

On the other end of the spectrum, we often employed “available light”, that is to say we usedevery light available. For an interior of a church that included 150+ extras, we pulled out all ourHMI’s which handled the nice hard edge-lighting, and added all of our daylight balancedKinoflos to provide modeling and fill. We were, however, blessed with help from nature duringour wide shots when suddenly magnificent sunlight streamed in through the stained glasswindows. Nature often smiled on us throughout the shoot, providing beautiful natural light atjust the right time.

It happened during agraduation scene thattook place in a large,windowed hall at a localuniversity. Once again,clear skies and low anglesunlight at just the righttime provided ourillumination, which onlyrequired a large overheadand a couple of silks tosoften and model theforeground. I getnervous relying heavilyon natural light,

particularly on long scenes with changing light, but there was a vibe on the shoot that attractedour good fortune. I often wonder if it was the result of the production blessing that was bestowedupon us on day one by Reverend William Cross, the real-life pastor of our church location.

We had a fair amount of sfx shots for such a low budget film. The major shots were plates forexplosions that had to be created digitally. One in particular involved a hotel door being blownoff after one of the characters explodes via a body bomb. Set Designer Brian Chacon did anexcellent job recreating our location hotel door on a green screen stage at Studio City NewJersey. The gag was something I had practiced as a 14 year old kid after stumbling on a bookabout SFX for Film and Television, written by Bernard Wilkie. The principle involved a heavilyweighted pendulum that knocked out the set door, spiced with sawdust, debris and break-awaytrim components. This foreground plate was composited with the background plate of the actualhotel hallwa, then enhanced with smoke and flame later in post. I must admit, my crew thought Iwas a bit crazy, but finally bought into it after much cajoling. We had another post-explosiongag, a burning car with our actors frantic in the background. First, we shot the car against greenscreen, flew both the car and the screen out, and then brought our actors in. It’s interesting tonote that nowadays the sfx compositors actually recommend shooting the plates static and


Actors Irma P. Hall, Sean Riggs and Tom Dwyer

handheld. They will track on one of the handheld plates and impart that movement to the other,adding realism to the action.

A big thanks goes out to the director, Rel Dowdell. He trusted me, along with many othertalented crew members, with his vision. He afforded every key person the latitude forcontribution, and he exhibitedflexibility with his vision, thoughwithout compromise, toaccommodate the realities of such alow-budget production. As Coachsays; “… he had the confidence andopen-mindedness to be flexible in notonly the shooting order of the shots,but even with rewrites toaccommodate the realities of theshoot. This meant that we couldshoot all the shots in one directionand at one location before moving onto another. This seems obvious, butanother director might have wanted toshoot “in sequence” more often, presumably for the sake of the actors. If we had stuck too muchto that plan, we would have never had the time to shoot any of it properly.”

Dan Sinisi, our 1st AD, performed the Herculean task of keeping us all on schedule. In the end,our small band of indy filmmakers managed to pull off 29 locations, 205 setups, and 71 scenes,all in 25 shooting days. I have to give a big thanks to all the crew that pulled together to makethis one of the most efficient and civil productions I have ever been on. CTG certainly changedthe game of indie filmmaking. I look forward to working again with Rel and visiting myextended family upon return to Philly for the premiere.

Postscript: Changing the Game opens inselect AMC theaters on Mother's Dayweekend, 2012.


Rel Dowdell, Director and Co-Writer of "Changing the Game"

Bob Demers, Director of Photography, "Changing the Game"

changing the game of independent filmmaking

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