The Man in the Chair

We all say that we don't work for the paycheck, and to some extent, I agree with that old chestnut.  I put up with the long, stressful days for the opportunity to collaborate, and to sometimes make something that takes my breath away.  A fleeting, flickering image of light imitating life.  And once in awhile, life let's you watch the most amazing film/life merge happen in real time, in front of you.

I was fortunate to have worked on a psychological / thriller / horror feature this month.  We wrapped just before the Holidays, a stressful time to be working, this close to a Holiday.   I was originally drawn to the feature through the strength of the script.  It was a low budget film with the added bonus of a an inexperienced Director.  Yet, the script was strong, an easy read and it leapt off the page.  I met the Director in Aug. and then in Sept. after the original budget had been slashed and the script cut down.   The Sept. meeting was held at one of my satellite production offices, a Starbucks within a 7 mile range of my home.  This one was in Hollywood, at Vermont and Hollywood, so it was a target rich envirornment for my favorite past time, Hollyweird people watching.  The Director was on time, a good sign, but cut into my visual research.  This was only my 2nd meeting with him, but I liked him already for his easy,  yet focused manner.  He wanted to know if I would shoot an insane number of pages in an all too brief schedule.  He was passionate in his arguments.  I told him I would call in a few days after I had time to mull over this potential madness.   Fortunately, I listened to my Blink, my gut, and not to the logical part of my conscious brain.  I decided to take a leap of faith and jump off the cliff with the Director and make his movie.

The Director and I put a lot of time into discussing the script, sharing visuals - mine being from Raise the Red Lantern and 2046.  We blocked scenes in his and my living room.  We made copious notes. And eventually the SHOT LIST emerged.  As with all new, nervous Directors, I gave him the Shot List vs What Happens on Set in Real Time with Different Blocking speech.  I told him that having a solid shot list, a strong place to start is a great thing.  But as the shoot goes on, and as happens with low budget, time becomes a big factor in nudging creative decisions.  I was met by the usual, not blank, but what are you talking about expression.  Most of the Directors I work with come through this trial by fire ok, but never seem to step up to the plate and hit it out of the Park.  And a few choke, the pressure and lack of multi-tasking ability fries their frontal cortex.  I felt this Director had a fighting chance, if through nothing else than his sheer Mad Dogs in the Mid Day Sun attitude to attacking this Project.   I jumped, and hoped that he and I could learn to sew a parachute on the way down.

The first day of Production had it's usual bumps.  It started as they all do, a new crew getting to know each other, meeting for many, the first time, at a 6am breakfast.  Coffee and "what Dept. are you?'  My brief solitude with my coffee in a corner was cut short by the AD, PD and Director talking to me all at once about the first scene.  I did ask for this....We get off to a strong start, all cylinders firing.  My Director is glued to his shot list, crossing each one off and consulting with Scripty as to whether we covered everything or forgot a shot from the list.  I'm mum for now, the LIST was what we needed for the morning's scenes.   But as with all productions, from 100k to 100mm, things happen and the schedule starts to get wonked as the day goes on.  I'm always fighting with time and other Depts to make my day.  Late in the day, I'm informed by the AD we have a HARD out and despite the fact that the Karoke Bar downstairs is now in full swing, we only have 1 hour for two more scenes.  Including busted takes for sound.   As Jim Morrison sang, "...we're in a desperate land...."  I turn to my Director and say,  "what's precious to tell the scene, and what' not.  Here's what I feel are the beats...." The Director looks at me, takes a gulp and we plunge into a frenzied mis en scene meeting for 2 minutes.   We come up with a plan for the last hour and manage to get in all of the shots, including one that I saw as a happy accident.  By the third day, I'm calling the Director "Hitch", as he has made the transformation to a Director.   He's using the shot list as a place of strength, but going for the moment and emotion in the blocking, seizing the moment for the camera, and in the end, for the audience.  I watched a Director earn the title, and grow into The Man in the Chair.  This was as amazing a journey to watch, if not more, than the unfolding of the feature's story.  Life merging with Art merging with that Moment.

I'd love to hear about your war stories from set or dealing with 

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Learn to LOVE IT

The artistic life takes some unexpected turns sometimes.  A few days ago I was conducting a camera test on a camera I hadn't worked with before - the Black Magic Cinema Camera.  Present were my 1st AC, Adam and my Camera Op, Ray.  The process was fairly relaxed, we've all worked together before, the conversation and jokes totally Camera Dept. bravado.  I shot interiors and exteriors, in daylight and tungsten balance, using the recommended 800 ISO as well as different ISOs to judge how the noise increased with a "more light starved" sensor.  While viewing the log image through the camera I casually remarked to those present that I wasn't a big fan of low contrast images, yet have seen national commercial campaigns that were basically the uncorrected log image.  My cohorts all agreed that they were not fans of low con images as well.  I've actually had passionate discussions with some of my younger DP peers who think that low con is cool.  To each his own, I always say.

I uploaded screen grabs out of the color grading system to dropbox for the Director to view as he couldn't be present for the camera test.  I  included uncorrected log images to show the difference for several reasons - the first and primary was so he wouldn't be uncomfortable the first day on set when he saw the flattened log image on the monitor.  Secondly, I wanted to show him the flexibility of shooting in log by including several different looks.  We talked that evening via phone and discussed the different shots.  The project has a fair number of flash back scenes.  The Director and I had kicked around some ideas of a muted look, but hadn't locked any look in yet.  Another reason to shoot log, that flexibility again.  Much to my chagrin, the Director said that he liked the uncorrected log images for the flash back sequences.  There was a short, stunned silence while I gathered my composure before my response -  "That's great, I'm glad you like the uncorrected log for the flash backs.  That's a happy accident.  But let's discuss how low con you want the image to be when we get to the grading phase." I needed to at least plant the seed, but from previous experiences, I know that the Director after staring at the uncorrected log clips in editing will want to use them as they come out of the camera.  It's his project, not mine.  While I'm there to create a look and drive the story through my photography, ultimately, it's his project, his look.  I'm going to learn to love it......it's a look!

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Is There Anything TRULY Original?

I saw a quote the other day by the Director Jim Jarmusch regarding originality, or taking influences and making it your own.  That got me to thinking about my own work, my influences and how I create my own style from them.

It's been said that there are only 7 basic plots that are used to tell the stories or the motion pictures of the human experience.  Some people say 10 and I've heard a number as high as 36, but I'm guessing the 36 list has a lot of overlap.  For my purposes, I've always used the 7 list.

Plot or story definitely affects how we photograph a feature, but to my eye, there are more than 7 styles of cinematography.  There are infinite possibilities and styles we draw upon to create the mood or serve the story.  Camera bodies are the new film stocks, each camera has a unique look and feel.  What type of glass we use, the filters, under / over exposure and last but not least, the lighting all go into our mix, or our unique style.

So where does our style, or originality come from?  Obviously, watching A LOT of cinema you tend to absorb things.  Sometimes, I see a lighting gag I like and will dissect it to put into my bag of tricks.  But with a twist or variation.  Some of these gags I've named after their originators, such as the Law and Order (Gus Makris, DP).  From what I've seen, everybody uses this one in their bag of tricks at one time or another.  You know it when you see it, the scene is keyed from a window - large hmi, with heavy diffusion on the top half of the light so it's several stops down from the hotter bottom half, creating a natural looking shaft of sunlight.  The hot shaft is cut about chest high on the Actors. There's usually enough bounce in the room to keep the Actor's faces at a moody, but solid exposure.  And if there's not enough return or bounce, position a muslin just outside of frame.  I learned the muslin trick from an electrician who works with a NYC A list Gaffer. 

I also look to other sources for inspiration, painting - Edward Hopper and Vermeer are two of my favorite users of cinematic light. Being an ex still photographer, there are hundreds of examples of great work to inspire, absorb.  And let's not forget nature, as I like to say, God is the best Gaffer currently working in the biz.  I'm constantly taking shots with my smart phone when I see an example of beautiful light, courtesy of the Big Guy.  How shadow, light and random sprays of hi lights play across our natural world inspires me.  My phone is my digital sketch book, it's always with me and handy.  The fun comes into play when you try to recreate some of that magic with lights, diffusion and flags.   

One A list Cinematographer has a web site where he freely talks about specific lighting set ups used on his features.  Generous to a fault!  I go there occasionally to browse, and once in a blue moon I read about something I might try.  Did I borrow this from another Cinematographer, yes.  But it won't make my style the same as his.  Nor would I want that as an end result.  I don't want someone to describe my work using another Cinematographers name.

So I guess, in the end, there really isn't anything TRULY original, I get inspiration from a myriad of sources, including other examples of cinematography, but I try to make it something that's mine. And mine alone.

If you'd like to talk style or your creative process you can reach me at
treadway45@gmail or tweet me at @456split

If you'd like to learn more about me or my projects
http://www.stephentreadway.com

I Want It Wider But Tight

"I want it wider but tight"  That is an actual note given to me by a Director on a national spot.  I managed to conceal my chagrined amazement with my Camera Dept poker face, a skill I learned as a camera assistant.  When all hell is breaking loose (flashed mag, primes rolling on the floor) you need to stay calm and poker faced when the Director or DP asks if there's a problem.  Heck, no.

I simply nod and say "Got it".  I walk over to my 1st AC, instruct him to remove the lens from the camera, walk over to the lens case, open and close it and return with the same lens to remount onto the camera.  I ask the dolly grip to move the camera on the lens 2 feet closer to the subject.  I call over the Director for frame approval - "That's great, let's shoot it."  

Set politics is a tricky thing -  knowing what or what NOT to say is tantamount to a smooth running set and more importantly, future bookings.  Asking the above Director to explain himself wouldn't have been very productive and you also run the risk of embarrassing him while he tries to explain the note.  I didn't order the rubber lens for this shoot.

A wise DP mentor who deals with politics on an uber scale - he's an A lister who shoots mega budget pictures, once told me something I've carried with me to this day.  Say yes to everything.  Most suggestions / opinions will fall to the way side in the scurry / intensity of the set.  You'll know what the important notes are and how to deal with them.  

I was surprised to learn that set politics is such a large part of my life on set.  Those that learn to play the game well work, and those that don't......

I'd love to hear about your experiences with set politics - you can email me at
treadway45@gmail.com or tweet me at @456split

If you'd like to learn more about my projects http://www.stephentreadway.com

It's Not the Light You Turn On But the Light You Turn Off

 On occasion, we all have epiphanies with our careers.  I had one on my first project as a Cinematographer.  I had been hired to shoot a Graduate Thesis Short at Wesleyan University in CT.  The Director and I had settled on shooting with B+W negative, using the school’s ancient Éclair standard 16mm camera.  I had a crew of Grad students who were enthusiastic but not experienced grips and electrics.  The school had a few Mole Richardson lights and a small grip package.

After driving almost 8 hours in a blinding blizzard that had shut down New York City, my 1^st AC and I arrived in the early morning before the shoot.  We were only able to catch a few hours of sleep before the 6am call time. However, lack of sleep was of no consequence as I was running on adrenaline, eager to start my first shoot.

After a quick breakfast of coffee and bagels, the Director and I block the first scene and the Actors are sent off to the glam squad.  The set was now mine – 6 eager faces turn to me awaiting my lighting instructions.  I pause for a second, and then leap into action to produce what I thought would be a Citizen Kane homage.  I’m pointing, squinting, and directing my hard working lighting crew.

Finally, I step back and look through the camera’s viewfinder.  My heart sinks, it looks terrible – double shadows, low contrast.  What had I wrought?  At that moment the AD informed me the Actors were ready and the Director wanted to get the first shot off.  In a moment of panic or inspiration, I’ll never know which, I asked my Gaffer to turn a light off.  Then another. And another.  The scene’s lighting slowly started to take shape.  After turning off four lights, I was left with a high camera side key and a 3/4 kicker.  It looked great.  I was relieved and spent the next two days shooting with a growing confidence.

My lesson, which has stood me well all of these years is a simple one.  Beautiful lighting comes from simple lighting.  And don’t be afraid to turn a light off, it might be just the touch the scene’s lighting could use to make it great.

I'd like to hear your thoughts or experiences regarding your epiphanies - treadway45@gmail.com  @456split   

If you'd like to know more about this project, or what I do
http://www.stephentreadway.com 

Anxiety is the Hand Maiden of Creativity

I believe in stretching yourself, working outside of your comfort level - to scare, push your self to a new level of art and confidence.  That's why I took on a project two years ago outside my normal scope of experience.  I did the Lighting Design for a Dance Company at a 300 seat equity theater.  I've never been to a dance performance, no formal Lighting Design or Theatrical design education.  But I am blessed with what the industry calls "an eye" and I have a burning desire to create.

As it was a pro bono gig the creative directors of the Dance Company were only too eager to hire me as a last minute replacement for their normal LD who was unavailable.  I had 2 weeks to prep the show which consisted of 25 dance pieces.  Show day would consist of load in, focus, board programming, dress rehearsal and two shows.  A herculean task if you're an experienced LD, let alone a green one.

I researched on line all I could find on modern dance - Martha Graham, Alvin Ailey.  I downloaded  and poured over dance lighting plots, read dance lighting theory.  I noticed two ideas kept occurring wherever I turned - side lighting and the type of color palette.  Simple ideas, but they were the art form's standards and I incorporated them into my design.  Why reinvent the wheel?  I did a previz/lighting cue design in my head on each piece based upon the type of dance and costume.  I did have notes from a few of the Choreographers which was extremely helpful.

Show day, my call time was 6:30am and I left the venue that evening around 10:30pm.  In between the arrival and departure, I managed to create lighting that I was not only proud of, but landed me the opportunity to design for the Company again as their Company LD.  I'm now about to design my third show for the Company and have incorporated what I learned that day into the other areas of my professional life - film and broadcast.  So my advise is to stretch yourself,  your abilities, go for it.  Scare yourself once in a while, you'll be glad you did!

I'd like to hear about your anxieties in relation to the creative process!  treadway45@gmail.com
@456split

If you'd like to know more about this project, or what I do
http://www.stephentreadway.com 
http://www.designlightingroup.com

The 40 Ft. Trailers or a Paint Tray?

It's always good to have a budget for the big trailers full of gear, with an 8+8 crew.  Equipment and man power to do your and the Gaffer's bidding.  But I sometimes feel we need to step back from this paradigm, we need to get back to our roots - shooting on no budget projects with little or no gear.  It really stretches your creativity, your improvisational skills to create a look out of nothing.  It also reminds me of why I got into this crazy business in the first place, the spirit and enthusiasm of the crew members (mostly younger, less experienced) is infectious and I invariably have a great time.  My first music video was no budget,  I donated the film stock, borrowed a camera, probably had maybe 3 beat up mole lights.  We shot with a lot of available light, had a construction foam insulation board for our exterior reflector.  Our final day of shooting we were in a loft.  The small lighting package was maxed to it's limit, but I still needed some light on the key opposite side of our actresses' face.  The foam board had been left at the last exterior location.  In desperation, I grabbed a roller paint tray that had dried white paint, left over from some construction project and held it just out side of the frame.  It gave a beautiful, soft light off of the key, just enough to bring the exposure to where I wanted it.  That shot's still on my reel.  We can be creative with a lot, or with a little.  I wouldn't want to use a paint tray on all of my shoots, but experiences like that keep us humble and we appreciate the larger budget projects with a different perspective.

I'd like to hear your thoughts or experiences regarding on how you keep it real, keep your perspective - treadway45@gmail.com  @456split   

If you'd like to know more about this project, or what I do
http://www.stephentreadway.com