AKA: Welcome to The Mafia

I've you haven't noticed by now I've done a lot of mob related films since I started Que The Lights.

There was my early (very early) work for the my fraternity. Afterwards, I shot a mob themed video for Que-Delta week at The University of Alabama. Now, I'm coming back to tested territory and I wanted to make sure I utilized my past knowledge to make a video far in tune with my growth as a filmmaker. now The Theta Sigma Chapter of Alpha Kappa Alpha Sorority is looking to bring the mafia back.

The AKAs wanted a Citizen Kane/Strangelove film noir look for their video. It would be reminiscent of the old black and white detective films where lights and shadows played an integral part in setting the mood. For this venture I enlisted the help of my editor, Douglas D. 

For this explanation I'm mainly focusing on the shots seen starting from 00:50 or the Round Table Scene.

This video was shot using a 3 camera set up. We used a Canon 5D MK II along with an Arri Lighting Kit ,six C-Stands, and six silk flags. 

For the master shot we set up a 650 Arri to the front right shooting towards the table (mainly on the girls in all white on the left). Next, we set up the 300 Arri to light on the left of the frame shooting towards the girls in all black. I wanted to illuminate the all white dresses (giving a more pristine look), while leaving the darker dresses to somewhat blend in with the darkness behind them. Finally, we took the 150 Arri and set it in the foreground to lightly backlight the girls in all black. Finally, to block off all of the extra light (turning all of these lights on would completely overexpose even the darkest room) we set up silks on the 650 and 300. We left the 150 bare.  We then took a lamp and set it right behind the head woman at the table to give her a backlight and illumination. We wanted to emphasize her importance as "The Don" of the table. 

For the singles (close up shots of each person) we set the camera on a pile of magazines (I know, very professional) so we could strong close up without moving the table out of the scene. For each single we took the 150 Arri light and positioned it towards the actor to better illuminate her face during her single. 

For the medium shots where we focused solely on each side of the table we kept the lighting identical to the master shot save repositioning the lights to better illuminate that side of the table for a moment. 

We shot this all in one night. It took around 4 hours, but I consider that very expedient because of the amount of preparation we took testing preparing each light set up. Of course, the master shot took the longest to get right. Once we had that together, everything went smoothly from there. 

So, if you'd ever like to ask me a question about lighting or cameras in general feel free to contact me. 

I hope this quick behind the scenes post gave you some insight on how to light a proper Black & White scene. 

Also, be sure to check out my latest feature on website, I Am The Nu Black. I recently wrote a post entitle Journey of a Student Filmmaker detailing my time as a filmmaker and my decisions on graduate school for film school. Click the banner below to check it. 

Alpha Kappa Alpha Fall 2011: V.A.N.I.T.Y

It looks like I started another buzz at The University of Alabama.

A little over an hour ago I posted the Fall 2011 probate video for The Theta Sigma Chapter of Alpha Kappa Alpha Sorority. Needless to say, it caught some buzz. In under an hour the viewcount jumped to over a thousand on the host site, vimeo. I didn't expect it to generate this much buzz, but when my editor, Doug D., showed me the finished piece, I knew we had something special. 

I took inspiration for this video from an earlier individual who shot a probate that completely blew my mind. This individual was John Ledbetter and his work is on point. I knew I wanted to make something as visually compelling as his piece, and when the AKAs hired me to videotape their probate I knew this was my chance. 

I hired three other camera men for the job, one of them being my photography friend and mentor, Kevyn Bryant. With three camera men (including myself) we put together our gear and set up a floor plan for the event. 

Gear: Canon 5D MK II (2), Canon 6D, Canon 550D

50mm Ziess f/1.4, 28mm Ziess f/2.8, Canon L 35mm f/1.4, Canon USM 50mm f/1.4

Audio: Zoom Audio Recorder, Shotgun Microphone

I set up Kevyn as my master shot setting him all the way in the back. Two camera men were placed at opposite sides of the stage ( I was one of the two), and I set up a side profile master shot to the right of the stage as well. 

This allowed us to cover all areas of the probate. I set the Ziess 50mm and Canon 50mm on the two closest cameras which would be moving in and out for medium shots and close ups. I set the Canon 35mm L  and Ziess 28mm f/2.8 on the master shot cameras for the wider coverage of the ballroom we were set in. 

Shooting was excruciating. I had a shoulder rig set up on my camera the entire time. I allowed the second camera opposite of me to work with a monopod. I wanted my shots to be a little less dangerous (and steady), while allowing my third camera-man to have more of a dynamic range. Still, the rig put a terrible ache in my back throughout the show, but I knew I had to capture this no matter what. 

Afterwards, I sat down with my editer, Doug, and went through the entire probate from start to finish. I wanted him to understand the importance of each phase of the event so he could flow quickly and seamlessly throughout since I wanted a short version as well as a long version. 

Doug delivered! The final cut looked great. I got some feedback from Ledbetter and had Doug spruce up a few shots, plus design a sleek introduction and ending logo for the video. 

I'm happy with this one, but I'm ecstatic over the fact people are enjoying this and sharing it rapidly. It feels good to know as a filmmaker your work is appreciated and your team makes something amazing.