Day 3 1301

You know, I totally put both days 2 and 3 onto one "reel". So when I look back at the footage we'll have one fewer days than there are call sheets.

Close focus test on the 25mm.

 I've not only been using Libby's GH2 camera, but also the very nice 25mm lens she has for it. It's a Leica-branded lens but I'm not entirely sure it's not just made by Panasonic in Japan. It's a very sweet lens. It opens up to a full f1.4 and even has autofocus. You can get pretty darn tight with the lens too.

The Queen of Mars sets up the brain-scanning device for Kate Britton.

Joe Chapman built our sets with Kevin Kirner and Libby Csulik. They have soft floors. Which my knees are forever thankful for.

Kate Britton and Brianna June Trillo as Barbara and Victoria Slade.

 Also on this picture we've given up on trying to boom things. There are a number of advantages to putting wireless mics on everyone and sending them to split tracks. One advantage is that on a set which is lit and set for 360-degrees means that only the cameraman (me) has to be on set with the actors. Plus I can walk around in and amongst the talent during the scenes which (I hope) will add some intimacy to things.

Our gaffer is tired of you. But she looks great everywhere she goes in this room, so that's all that matters.

Kate Britton and Jared Van Heel. This love scene is so incredibly gratuitous. And what are we shooting through? Why the virtual-cast device itself! How can that be??!!

Kate before all the lights in her apartment turn on automatically (and annoyingly).

You have to explain to me how this is not my next album cover. Or at least a Facebook cover photo.

Do you remember this band? They were like a pop/hard-core band out of Vancouver in the late 90's. She was the drummer and he played industrial sounds with truck wheels and things. They couldn't land a major label deal but all their videos were banned from MTV.