Based on the Poem by Beth Copeland about her experience with the onset of her dad’s Alzheimers Disease.
To learn more about Alzheimers go here please - alzfdn.org/
To read an interview with Beth Copeland please go here - writersdigest.com/whats-new/beth-copeland-poet-interview
TRT: 2 min
We used only three Ultra primes lenses, 16, 40, and 85mm - and a Red One MX camera - used hollywoodblack magic 1/4 and 1/8 for filtration and minimal lighting - mostly a joker 800 bounced and just a 1x1 lite panel. We had a really beautiful house to shoot in. Added film grain in post - gorilla grain - just to take some of the digital edge off.
Why not shoot on the Sony F35? Because we wanted to shoot up to 100 FPS. And why not the Alexa or Amira? - Because, wait maybe I could have scrounged one up from someone - oh well - we still got out of the old red one mx some really nice stuff and I don’t think people will be commenting that in the comment section - but maybe they will - so let’s see! Anyway in my testing perhaps the only camera would have made more of a difference for this would have been to shoot on film (but cost prohibitive for something of this scale), or maybe we should have shot f35 and just red one for the overcranked 100 FPS stuff but there would have been a possibility that the look would have not synced perfectly. Anyway!
Anh was a really amazing director to work with - and the whole production was really great. Anh has a special certain sensitivity to actor’s performances that was refreshing and also has a really great visual eye and knack for visual design. I was honored to work on this film.
For the coloring I used a visioncolor 500Tungsten cineon lut from reddragoncolor2 and redlogfilm to convert to Cineon and from there applied a kodak film print - I think 6000k don't remember the name of the film stock. I did a lot of secondary color correction to bring up faces and added gorilla grain and defocused the edges because I just watched Trois Colors: Blue and it has this look. That film looks so amazing - but anyway inspired by that.
The challenge with the red footage is how it works in tungsten lighting - skintones in this vs more daylight environments - also just how it handles saturation in general. I'm less technical about this than I wish, but playing with log level correction was able to fix up some skintones. Overall though the red one mx has a very robust image and a grain pattern I like naturally and I like how it does it slow motion.
