Live Action Pre-Viz

September Morning (2017)

narrative feature

"When the world was falling apart, they came together. In the first dark hours of September 12th, 2001, five college freshmen stay up all night in a dorm room confronting the promises of youth that have been severed by national tragedy." IMDB.

In addition to my role as the Director of Photography, September Morning was one of my first opportunities to fully utilize pre-visualization as a production tool. Along with Director, Ryan Frost, we designed the shot structure of the film in the computer using Blender. This proved an invaluable tool throughout the production, particularly in regards to building visual progression for camera movement.

Apart from the narrative advantages, the ability to design the lighting using IES lighting data allowed for an accurate and precise control for the film. Both a natural and appealing "overhead fluorescent look" was quite challenging, as was building a visual progression within such flat conditions. Pre-viz allowed for precise control for gag lighting, and subtle changes in ratios and color temperature.

To achieve an "early 2000s" look, we filmed using Panavision's Genesis camera. It's size and weight worked against our tight set — even with the means to swing away walls. However, our work in the computer allowed us to think practically within the space, and more deliberately on theme with our camera movement.

The film was distributed by Candy Factory Films and we premiered at the Vista in Los Angeles, which, as my old neighborhood theatre, was a treat. Click here to watch the full film.

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I was the Director of Photographer on The Press Conference, which — full disclosure — was directed by my wife, Meera Menon. Made as part of the Shatterbox Anthology for Refinery29, The Press Conference was our first collaborative opportunity since we made Farah Goes Bang.

As a single Steadicam shot, this film was technically challenging. After many scouts and rehearsal, Meera and I blocked the camera movement in the computer using Blender. The size and scale of the location, further complicated by the 360 degree view throughout the shot. Pre-viz helped with the optimal placement of lighting and the best. Filmed on Arri ALEXA Mini, with 40mm anamorphic Kowa lens.