Three 90 Sec Films, Same Three Months
Delivery (2018) dir. Caleb Moss
I worked the first month on the pre-production team for this film. I started as a writer brought in to make rewrites under the director so as to fit his creative vision. This gave me a head start for my next duties when they also hired me as casting director.
Under My Roof (2018) dir. Dominique Ferrell
For this film, I was helping the producer, Mariah Fuller, as a personal favor and so I did a lot of dayplaying on the camera and sound teams depending on what role they needed filled.
A Rough Start to the Day (2018) dir. Gillian Revoir
I was the most involved in this film. Not only was I there on set in charge of the camera reports and memory cards, but I then took them to my post production team and made sure the editing workflow continued smoothly through the passing hands of dailies and rough cuts and titles, all the way to the finished product. It was a fantastic team and the short turned out phenomenal I think.
For Elizabeth (2018) dir. Kira Rakshit
This was my first time truly on the crew of an indie production. And I got to be there on set as the boom operator, but I also got to test my own Premiere skills as the Dailies Coordinator, which allowed me to see how the long and messy night shoots in person turned into carefully posed and framed shots through the lens of the camera. I am not able to show you the finalized movie due to the request of the director, but this is the final cut of the film anyway.
FUNDING (2019) dir. Darius Ratchford
For this short film, I threw my hat into the art department. In fact, I was the art department. I got all the set dressings, props, and even some of the wardrobe. I kept track and record of all of them and made sure they were there on set when needed to keep the production going as quickly as possible. One of the highlights, was trying to get access to a cop car. I reached out to several local police departments, but ultimately they refused due to the more risqué content in the film. Although this left us a little panicked, I had to brainstorm a new way to have a cop car without a cop car, and I think it worked out beautifully. I also stepped in to be the boom operator for the production, considering a team member dropped out and I had experience with it.
DAE Promotional Videos (2019) dir. Nick Papasidero
I was recruited on to a specialized team of four people to create six promotional videos for a major client: the university. The Division of Academic Enhancement at the University of Georgia wanted fun and creative videos that would showcase their different resources and reach the eyes of more students. So we kept viral and youtube culture in mind. I was one of only two media specialists on the team, and so we split up the workload three videos each. Therefore these next three videos are all written, shot, edited and composed by myself (with the exception of the animation). However you can see our whole project and its process here: http://dae.mynmi.net/
This project was a testament to my preparation as a filmmaker. With so many moving parts, the different clients, interviews, students, locations, and props, all with different availabilities, I had to go into “Pickup Mode.” By this I mean, I had to be on my toes and ready everyday in case I had the chance to set up quickly and pick up whatever shots I needed to complete my shot lists. Scheduling was frequently changed, and never seemed definite. No matter how last minute, if somebody had an hour free for an interview, or if a room opened up to the public for the day, if there was a chance at all to get another shot, I would rush over there with mic, camera, and tripod in hand ready to capture it. However, with everything pieced together in post, you would have no idea that production was so hectic!
THE MUG (2019) dir. Nick Papasidero
Do You Think About Me (2019) dir. Nick Papasidero
My first time out as a director, but also with a first time film crew. Drawing inspiration from Jean-Luc Godard’s Breathless and my own romantic experiences, I wanted to capture a genuine emotional experience but with the removed and logical lens of a Brechtian style of filmmaking. Something that would show the truths and themes in the script. However, it ended up a little more removed then I wanted, due to a series of technical failings and scheduling issues. See it wasn’t just my first time as a director, it was also my first time as a producer and dp and editor, as well as the professor to the six hopeful film students in my crew, of whom were all using this equipment for the first time. I now see that I had too much on my plate to do the quality control I needed to be doing, and I didn’t have the knowledge or talent to “fix it in post.” However, I’m still proud of it, and grateful for how it tested my leadership, storytelling, and filmmaking abilities. It also proved to me that no movie is made easily, not even low-budget, Brechtian short films.
Fuck!Coronavirus (2020) dir. Nick Papasidero and James Fletcher
My friend and former coworker, James, brought me this story after we were both laid off in April of 2020 due to the pandemic. He knew I had the equipment and software and technical knowledge, so he said let’s make it happen! He passed most of the control on to me after that, and I got started putting it into a script, and breakdown and shot list and all that good stuff. Then we did about 2 weeks of shooting, utilizing the enormous and empty campus as our backdrop (yes that’s right, this is a record of the usually buzzing UGA campus being still and quiet during the quarantine), and I worked another two and a half weeks on post. It’s short and sweet, but I think its very clear and effective in what it does. Plus I truly got my exposure right!