I GOT TO BE DAVID FINCHER FOR A DAY

[Nick Morrison]

Well done Nick. I absolutely love that style of shooting. Interested to know with there being so many jump cut type edits to different framings if you paid much attention to line-crossing or just played it all by ear and simply went with whatever felt right

Hey Ben, we crossed the line ONCE by accident...so if you pay close attention, you'll see it. My father (also a director), called me up and gave me shit about it (haha), but otherwise no one has seemed to notice.

In my experience being in edit, as long as you vary framings enough and cut fast enough, those things become hard to notice...though def important. We tried to give everyone THREE framings simultaneously....every expert got a CLOSEUP on the 180, and a MEDIUM on the 135 (this one was generally as dirty as possible over a shoulder) and then we got a MASTER from the side, very dirty, with the 60 Macro. We stuck to this language as we made our way around the table, in order to give the edit a "rhythm". It was important to setup the space at the beginning though, so the ultra wide at the top was a must. Once we get to the table, it was hard to use that wide again...never seemed to work....which surprised me.

Then to give the edit more "ingredients", the second half of the day we spent getting the "gravy"...the additional coverage that would add to the sense of voyeurism...ie the shots from up top looking DOWN on the photos, and then of course the setup INSIDE the table, where we PAN OVER to each expert (this was inspired by That 70's Show...and to my surprise worked in the edit...I was nervous it would be too playful, but as a TRANSITION it worked pretty dramatically!).

 

[Nick Morrison]

I have to say I like that style of shooting as well. The 60 Macro is one of the favorites in my case as well.

Yeah the 60 Macro is becoming one of my Contax faves. I could shoot a movie just with the 21 and 60.

 

[Ben Scott]

Good work fella. I didn't notice it, but i was just thnking it would have been impossible to keep track of where the line was as it changed every second or so with the framings

 

[Vadim Bobkovsky]

I don't know if it was more Kubrickian than Fincherian, but I'm pretty sure the answer is aliens

 

[Nick Morrison]

I don't know if it was more Kubrickian than Fincherian, but I'm pretty sure the answer is aliens

Haha. You know it!!!

 

[Nick Morrison]

Also forgot to mention, though this longer piece is available online, there are about 10 different image spots on H2 now. Each "expert" got his own :30 and :20, and then we did a couple of teases as well...using the opening b-roll with the light switch, etc.