Tie The Knot – Motion Picture – Finishing Team

By June 30, 2015Production

Tara ReidThis week we begin pre-production on another feature film I will be DoP (Director of Photography) on. I am very excited to work on this project because we are working with Tara Reid, who you might recall from movies by the Cohn Brothers The Big Lebowski, American Pie, and recently Sharknado.  Tie The Knot is directed by Shuja Paul and the finishing Cinematographer is Giorgio Daveed. The production of the film was postponed due to some internal reasons and now 2 years later the finishing team includes, JJ Rogers (producer), Phil Jessen (UPM) and of course your very own friendly neighborhood cinematographer Giorgio Daveed.

Over the past year Phil and I have worked a lot together and previously we worked on a project with Christopher Lawrence Chapman of Zorya Film  “the Accident”. Which is currently in post-production. The team at Post House is taking care of the project and making sure it’s timely delivery before the end of July.

To finish up Tie the Knot we are working with 3 camera systems. So lighting is going to be a little more difficult and not my usual technical lighting setups that I do. On the first day or production we are shooting about 21 pages. That is what most films do in 10 days. To make this possible I am doing a simple 3 light setup that is used on most sitcoms and tv shows to make lighting fast, easy and still some what decent. My usual 3 light setup is about 11 lights but to keep things lean and fast we are changing the approach to quantity. With a true 3 point light system you can shoot with 3 cameras and cover 3 angles. That way creating more coverage and shooting all sides out at once. There are many draw backs to this approach but I will save that for another blog.

For this project I selected the Red and Carl Zeiss Arri Ultra Primes. Since budget did not allow for full set of Master Primes. Ultra Primes are also a great set of glass and of course in the true Giorgio Daveed setting I got the 10mm Ultra Prime for all the extreme wide shots. Shooting the film in 4K Wide Screen, sometimes referred to as anamorphic (incorrectly). I will get into that discussion another time.

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