Reflecting on Lost In Sunshine's journey and ability to Improvise, Adapt, and Overcome

Lost In Sunshine has experienced many changes throughout the past two years, but we're as strong as ever, continuing to saddle up each day and come to work! It's a constant stream of whatever you think you know, assuring you that you have no idea what's (really) next!

Last year, we had to regroup for a later shoot date (still TBD). As a writer, regrouping meant re-evaluating the steps of the characters, and (re)visiting their everyday lives to figure out what they might be doing all this (extra) time. Extra time is kind of relative, since they’re not on a particular schedule, except for the one that occupies my mind. But it was the only one I had, so consequently, it was the only one that mattered.

Not only did it matter to the characters, it also mattered to a team of passionate, devoted crew members. Would they be available at a later date? What about our verbally attached actor(s)? It would have broken my heart if they weren’t. Especially my devoted art director, Ia and (DP) visionary stylist, Iskra, helping me move my vision along cinematically (i.e. storyboarding, locations). Luckily, we are hell-bent on working together, so we will make it happen!

These changes, however big or small, affect the entire group of people that are involved. Whether it’s wardrobe (long sleeves vs. short) or props (marijuana looking plants that will be looking really BIG & suspicious at our art director’s house this fall) or locations that'll no longer be available, it all must be (re)considered.

For some, it just meant mentally acknowledging it. For others, myself included, it meant that we’d lost other paying gigs for the year. And that isn’t something Lorie and I take lightly.

But, in the grand scheme of things, it’s a matter of improvising, adapting, and overcoming, like the military. If there’s one thing that’s for sure in this universe, it's that uncertainty lives in the film district(s).

Sometimes it feels like it lives on my street!

With love & hope,
Jentri

Our DP, Iskra, on the RED ONE vs. DSLR's for LIS

When we asked our Lost In Sunshine DP, Iskra, a camera question, this was her response (below). Thank you, Iskra, for allowing me to share it! While I wanted to break it down and simply 'quote' Iskra, I realized there's no better way for you to understand this information, other than reading it yourself!! Besides, it's a complicated world out there for us writers and new directors (less technical folk) who need all the explanation we can get!

I want to preface this by saying that I interviewed many DPs for LIS. Some were great, but not available. Some were very talented, but I didn't feel the connection. And then there was Iskra - who stuck out with her gentle smile, warm vibe, ability to listen and interpret, mad technical/creative skills, and connection to the story. After Lorie and I met her together, we knew... this is special... this is the person for us... why wait any longer!?

I share with you this information for two reasons. First, I want to express to you the importance of having a great (not good) DP on set. Unless this is a very unique, rare project, it matters. And second, because I want to stress the importance of having a great DP on set. ;) ... find one that cares about your project and feels a connection. A great DP, like Iskra, that will give you thoughtful & thought-provoking feedback is - priceless. I would sum it up by saying if you find this person, hang on to them for dear life and let them know how appreciative you are.

This ain't no disco. But hey, it is Austin.

Happy learning! Jentri

Iskra's response for considering the RED ONE and DSLR's for LIS:

I actually started thinking about DSLR's for LIS, too, after hearing about the camera budget cut initially.

I have shot a couple short films on both the 5D and 7D and have discovered that yes, the DSLR is indeed a revolutionary tool allowing no budget filmmakers to shoot their projects in 1080 resolution with beautiful Canon lenses; also commercial and music video shooters whose product is intended for the web. The low profile of the camera is also attractive - you can get some shots that you wouldn't be able with other formats because of its tiny size. It's a quick and cheap way to get cool looking images.

The camera does have a lot of issues though and here are the ones which concern me the most when it comes to theatrical feature shooting:

- The image is extremely compressed (H264 codec which is the one used for web streaming). This means we have no room for color correction in post. We get what we get in the camera. This is a concerns since we have so many uncontrolled lighting situations (exteriors, car scenes etc.), and will probably be doing a lot of running and gunning since we don't have a huge lighting crew or budget. In contrast, the Red shoots in 4K in Raw (uncompressed format) so we get waaaay more resolution and color and contrast range. There is no comparison between the 2 images really.

- Focus is a big limitation. First of all, because you shoot with still lenses as opposed to film lenses. The marks on a still lens are very close together since they aren't meant for pulling focus in the shot. 3ft to infinity are literally next to each other as opposed to being on opposite sides of the barrel. In addition, you can't set focus marks because digital Canon lenses simply roll through (every time you make a complete turn of the barrel, you lose your marks). Focus pullers hate these still cameras because they make their job impossible; especially if the subject or camera are moving. If the subject AND camera are in motion, forget about sharp focus...

In my experience, a lot of times it's easiest for the operator to pull focus and you just have to live with the fact that you do more takes until you get lucky (there is no consistency whatsoever). It can be very frustrating, especially in a dramatic setting where you have to get your actors a certain place, and don't want to do a whole lot of takes.

In contrast, the Red uses cine style lenses, so we can use the traditional workflow of setting marks, rehearsing, and shooting and then having the image consistently in focus (provided we have a professional doing that).

When they use DSLR's on big budget films, they usually will modify the lens mount (Panavise it or make it into a PL mount) so that cine style lenses can be attached and then that makes it into a completely different tool. They can also afford remote follow focus controls.

- Monitoring is still in a very rudimentary stage. You can only get one HDMI video out, and if you use it (for director and scripty and lighting and everyone else), the operator's monitor is lost! So shooting with this camera will work provided we are ok with only the operator having access to the monitor consistently. We can switch to the director's monitor occasionally for checking framing but it would be impractical to lose the operator's monitor unless the shot is a lock off.

I would definitely recommend renting an LCD screen because the one from the back of the camera does not flip out like a camcorder, it's fixed, so you can only operate properly with it at head level. The Red has no such issues. You can have the eyepiece for the operator, the LCD screen for the focus puller, and a director's monitor all on at the same time.

- Overheating.
I've noticed that if a take is longer than 8-9 minutes, the little thermometer icon comes up and then at about 10 mins, the camera will shut off due to overheating. This happens even sooner if you shoot high speed. And this is during winter season in Austin at 75F. This is because there are no fans installed in the camera. The body is so small that there is virtually no space to attach ice packs.
The Red has a similar issue but it will only happen at 110F after several hours of operation when the fans cannot keep up with the ambient temperature. The Red's body is large enough to lay an ice pack on top, and then overheating is not an issue.

- Dropped frames.
Sometimes, the camera will "hiccup" and drop a frame, and sometimes you can't tell this happened until your review the footage later in post. This happens when it is close to overheating but unfortunately there is no warning and impossible to prevent.

- Sound.
The only issue is that we can't jam sync time code. It will be like shooting double system, but we can still get reference sound which makes it easier to sync in post.
With the Red you can jam.

- Post.
At this point, as far as I know, you can't edit H264 so you would have to render all the quicktimes before cutting.

You can still preview them in Quicktime, just can't edit right away in Final Cut.
There is a Final Cut plugin now that allows you to import Red footage straight into the timeline.

To know what you are really getting out of it, the image would have to be projected. The trick with these cameras is that you usually look at the footage on youtube but it's a different story when you project it in HD on the big screen. Lenses also will make a big difference. I've seen some really cheap plastic Canon lenses out there, so testing those will be very different from quality glass.

While the 7D is a cool toy to play with and experiment on projects with low stakes and low pressure, I think at the present moment, the Red is a lot more appropriate for shooting a theatrical feature where you need a reliable and consistent tool every day to get the movie in the can. DSLR's will probably be closer to its quality several generations later. We live at such an exciting time for digital filmmakers!

Hell, if we wait until September, we might be shooting on the Scarlet which would be practical to purchase for a production. And the Red camera series will be upgraded to the MX sensor which has no noise whatsoever at 2000 ASA. Now that is revolutionary, isn't it.

Iskra

Dating motels

Today, I did a little 'motel' scouting in Dripping Springs for LIS. Met with a lovely lady that Lorie introduced me to, Laurie, who's going to be my DS connection, too. So excited about that!

After many scouting trips with my gals, Ia and Iskra, this is a motel in Austin we're deeply contemplating. Question is, can my art goddess, Ia (I know she can) transform this place to match my vision, and under our budgetary restrictions? We shall see.. tomorrow.. as we venture over together.

I feel like I've been dating motels over the last several months. I found this little gem several months ago, but I was holding off..waiting on something 'better' to come along.. now I'm thinking this is the 'better' I've been looking for.

If Ia can work her magic, Iskra agrees, and they're 'film friendly' (have an idea they will be) and available for us, then this could be an option.

Ia presented me with another list of motels to check out tonight (thank you, Ia!) but I'm crossing my fingers that this one works out.. for something. ;)

Have a happy HUMPday, folks.
Jentri

Casting our lead male, BOB

The interesting thing about one's perception of actors is that as you acquire more knowledge, speak to a casting director, learn more about actor's agencies, and have some personal experiences with prima donnas, as well as unexpected wonderful talent, your views begin to shift. Visions you had for a particular character shift as well. Being a flexible writer-director in this department helps. I've found that we should be married to our partner, not our idea of an actor, or it's easy to miss your treasure, often buried in the sand. Not being glued to a 'said vision' enables us to see the character's world through a multitude of faces. Some worse. Some better than you could have ever imagined. And better's what we're going for, right?

We're now in the phase of casting our lead male, Bob. Bob's always remained a steady vision for me, for the most part. There were actually two versions of him that I entertained. Ultimately, it was decided that he be the first - a little 'older,' but not necessarily wiser. We felt that this made him more interesting.. more accessibly complicated as a grown-up fuck-up. We didn't want the audience to feel like it was just a 20-something crisis he was experiencing.. but that he's been around the block a few times.. weathered.. disheveled.. he means well, but never seems to say the right thing. He tries too hard. Talks too fast. And there you have Bob, in a nut shell. Well, a big nutshell. He's as lost and complex as a man can get. Yet, he's lovable, too.

The top 5 guys we considered 5 months ago are not even in the top hand today. So many factors became considerations...

Ya see.. We're not just casting an actor. We're casting a relationship, chemistry. One, between the characters. And two, between myself and the actor. We're casting an attitude.. is he "cool"? Is there mutual respect? Does he have range? Does he have presence? Is he capable of delivering the dialog in a fresh, honest, colorful way?

What's his astrological sign? sorry... I wish I were kidding!!! ;)

I love the idea that some of these actors write, too. Taking into consideration we may improvise from time to time, I think that living in the world of writers (yes, we have our own world!) offers its own set of tools.. being able to dissect why the scene's not working, or moving forward... come up with moments of organic seeds that grow, and serve as additives.. so it can bloom into something more beautiful.. yet being able to stay 'in the moment.' And not because it's ever the actor's job to figure these things out, but all egos aside, it's sure nice to know they cradle that vernacular.

Boy, I'm glad I'm not an actor!!! But I sure do love working with them. They have the super huge job of committing to strange characters, and allowing us to sit back, and just feel. The best movies, in my opinion, are ones that make you still.. the ones you sink into, without ever knowing you sank. You forget that there's doggies, and people running around in the room - completely immersed in the experience of simply watching these moving pictures.. faces.. listening to what these people have to say, while suspending your disbelief.. hanging on their every word.. wanting more.. not because you started it or you're in a theater and now you feel you have to, but because you want to.

We've finally decided on who we'll be approaching in the next week to fill the charmingly worn shoes of BOB.. First, our casting director, Vicky Boone, must check his availability. In the meantime, I'm working on a letter to Mr. Right, while our assistant editor, David, is kindly putting a reel together for me this week, particularly for the agency. It helps that our producer, Lorie, has co-produced such a fine feature, jumping off bridges, too. And that our DP, Iskra, is something to write home about, with her beautiful body of poetry she's created through light.

So, some of you may be wondering what a letter to an actor is supposed to say? Lorie had this brilliant advice for me. It seemed clear, and right on, so I thought I'd share it with you!

Lorie's advice: "... imagine you're sitting with him and talking to him about Bob. Who Bob is, and why he's so important to this story. And, why we're excited about the possibility of him being Bob."

If you're out there, Mr. (I can't say your name), please come work with us. I adore you, and think you'd make this person (yes, he's a person to me) sparkle like Smokey's eyes.

More on this process, soon... kindly cross your fingers for us, and visit our official Lost In Sunshine website often to show your support! We love to hear from YOU!

Did you know that we post NEW information/quotes/blogs each week? ;) Jentri

New pictures from Sunshine scout on Thursday

Here are a few more pictures from our latest scout. We've finally decided - no really - for real this time - on our "Sunshine."

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Lost In Sunshine production meeting with Lorie in town: S 16 mm vs. The Red One

Hello, hello!

It's been a long time coming - but Lost In Sunshine's producer, Lorie's in town again - yay!!!

Yesterday, me and Lorie met with our art director, Ia, director of photography, Iskra, editor, Nevie, line producer/1st AD, Michelle, and our dear filmmaker friend, Kat Candler in Kat's north central office and talked for about 3 fun hours....

(this blog has moved -- read the rest here!)

This is how we do it in Sunshine.

Lorie gets us up to speed in her recent blog titled, "Still here" so perfectly, that I think it's best you read our production status there! :)

Meanwhile, I'll fill you in on the *writer-director's perspective of how we're getting it done in Sunshine....

(this blog has moved -- read the rest here!)

Storyboarding, Love, & the Aether

I don't like the "s" word, so I'll just say I've been 'under the weather' this week. :) I'm still not up to full speed, but nothing gets me out of bed and on my feet faster than thinking about  Lost In Sunshine. 

After a couple of hours of storyboarding with Ia and Iskra this AM, we began to find our rhythm - our cadence. It was a miraculous experience for me - so wonderful.  What began as a bothersome, anxiously awaited activity, turned into a beautiful, magical process. What can I say... "they complete me!" Ok, that was cornsville, but I do LOVE my gals. They f'ing ROCK!!!

Before we began the process, I conveyed my thoughts to Iskra (DP) of illustrating the character's POV's through the lenses, what that meant technically, and how that would change through the course of the film. How would their worlds be reflected through this method? It was lovely to be able to implement those techniques visually on paper - a great lesson for me with angles, composition, thoughts of lighting - yet another way to TELL the story - emphasize the details of that which you want to enhance or negate. Thanks, ladies!!

Then Iskra and I started chatting about the tone of the film, saturation levels, aspect ratios (what's that? ha. no really...235?) and what camera might best suit our needs. Lately, RED has been all the talk. Now we're throwing 35mm into the bowl of possibilities. So many things are still TBD, but that's the value of early prep-work - there's time to entertain ideas, move, weave, & make the best decision possible for your film!  

We were talking cranes, dollies and steadicams, too. Our film will hold a certain fluidness - little to no hand held action. Then Iskra reminds me that we must not forget stillness. Oh yes, it has a place too.  And thank goodness Ia can draw it. I'm afraid I'll need to reference that later. ;)

Still trying to figure out if we will shoot one or two days in "Sunshine" this Dec. If only one, then we're contemplating shooting "POV driving shots" to capture the essence of fall, if possible. After all, we have found Lyn's car (main character) that we have access to, and I'm VERY excited. This little beauty is a character all on its own. Perfectly imperfect. MUAH.

And with all the great LIS stuff circulating around me, I find even more excitement in the air with the Aether Paranormal documentaries I've been producing with Paranormal Productions. Things are looking unusually optimistic for some network action, so we're keeping our fingers crossed. Things move fast in LA. That's why we reside here. We like to sleep in and stay up late! 

So after a GREAT session with the ladies, and a long, productive phone meeting this afternoon with my kick ass producer, Lorie, followed by some much needed good news regarding the Aether team, I feel elated... yet still under the weather.  What can I say... It's hard to be down with so many loving, uplifting things going on! 

Thanks for reading, and have a beautiful weekend!

ps. LIS official website launch still on for end of October - yeah! 

Love, Jentri

Creating and Storyboarding Lost In Sunshine

Today, I met with our wonderfully artistic Art Director, Ia again for some oh-so-important, Lost In Sunshine storyboarding I've been craving. It's possibly the most challenging thing I've done thus far in my life. Luckily, she's patient, and carries a positive can-do attitude with her, making my life that much easier. THANK YOU, IA! Really looking forward to our creatively brilliant DP, Iskra joining us next week, too....

(this blog has moved -- read the rest here!)

Where I found the beauty for creating Sunshine

This weekend, I drove through the two TX towns we'll be shooting some select Lost In Sunshine scenes in this Dec. and next April. They reflect the imagery which LIS was mirrored after. As I briefly drove through them, I was reminded of the understated beauty these places exude. My dad always said that I would grow up and appreciate living there, rather than a big city (I always wanted to move to Austin!) and he was.. uh... yeah... right!!

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Sunshine, in the form of a DP

This week, Sunshine has come to me in the form of a beautifully talented filmmaker, Iskra who will be joining us on the production of Lost In Sunshine as our DP. When I first met with Iskra, I was impressed by her ability to be so calm, listen and absorb all of the information she was obtaining from asking her extensive list of questions pertaining to LIS. I thought, "this person would keep me calm in a storm!" After a second meeting with Iskra, while Lorie was in town, I was taken by her over-all passion, vision and connection to the material....

(this blog has moved -- read the rest here!)