Space Command: Redemption, that's a wrap!

Yesterday we wrapped the second leg of shooting on Space Command: Redemption and that is a wrap on principle photography.  We shot 13 first unit days, 7 second unit days, and now we wait for editing and post to see if there are any pickups that are needed.  We had quite a few sweltering hot days, but made it through.

It was a pleasure to work with the many talented actors who came on board: Ethan McDowell, Sara Maraffino, Doug Jones (Pan's Labyrinth, Hellboy, Falling Skies), Robert Picardo (Star Trek: Voyager, Stargate: Atlantis), Bill Mumy (Babylon 5, Lost in Space), Mira Furlan (Lost, Babylon 5), Bryan McClure, Bruce Boxleitner (TRON, Babylon 5, TRON: Legacy), and Michael Harney (Orange is the New Black, True Detective, Deadwood).


Space Command: Redemption in production

I've been busy the last couple weeks with prepping and shooting leg two of Space Command: Redemption.  We just wrapped day 4 and things are going well.  We're getting some really good footage.  The first leg we shot was fairly static, as it had a ton of visual effects and needed a more or less locked camera for the sake of not driving our VFX team insane.  So on this part, I've been taking advantage of us being on sets to add some movement and energy to the shots.  On our bridge set, I have the camera moving at all times, putting our Dana Dolly to good use.  Today we shot out a corridor of the ship and we brought in my Steadicam guy (and 2nd Unit DP), Scott Baker, who did a fantastic job.

It's been four long, hot days and we have six more days coming up,  five on set and one on location.  I'm tired and glad we have a 14 hour turnaround today, but I'm excited to see what else we shoot.  The shoot has been a challenge, but we are making our way through it and getting some great stuff.  Props to my fantastic G&E team.


Ed Tullett - Malignant music video

Flew out to Chicago this past week to shoot a music video for independent artist Ed Tullett.  The weather forecast wasn't too promising, but we ended up having good weather for our shoot.  It was a sunset and night shoot in the woods, with us packing in all our lighting and power from a distant parking lot, so keeping the gear to a minimum while still lighting up a forest was a challenge.

We ended up picking up a couple generators (giving us 4 20-amp circuits) and I lit primarily with 3 2K Junior Moles (backlight and forest background) and a 1K Baby Fresnel through some half white diffusion for our key light.  One of the two generators ended up giving us issues, running for 10-15 minutes at a time before shutting off (with a 5 minute turnaround before it would start up again).  We managed to work around the problem, though it added an hour or two to our day.

We shot on fast Canon EF glass (F1.3) to maximize the small amount of light we had.  Camera was a RED Epic Dragon and we shot 48 FPS 6K 2.37 Scope format at 800 ISO for the majority of the shoot.

Written, produced and directed by Daniel Sather. http://danielsather.com/


Anomalies teaser

A friend of mine was working on a sci-fi/action webseries idea and needed some help developing it a bit further.  I gladly agreed to help and we got to the point where we decided to shoot a teaser trailer to help potential investors get an idea for the look and feel we were going for.  So we put together a one day shoot and shot a bunch of little scenes.  The short teaser turned out pretty well and should be useful as my friend pitches her idea.  The working title is Anomalies, though the actual title may change down the road. I directed the trailer and shot on RED Epic MX with Canon EF lenses.


ZEFR launch party

Single day shoot in a parking lot.  We had a 12x12 silk that we used to bounce sun back at the actors and virtually the whole things was shot at 300FPS.  I had never had the chance to do the whole Mentos in Coke thing before, so it was a lot of fun seeing the geysers of soda exploding everywhere.  Shot on RED Epic with Canon zooms.


San Diego Comic Con 2014 recap

This was my first time at Comic Con and I had a great time.  I attended every day (including preview night) and there was plenty to see and do.  Lots of great costumes, tons of beautiful art, and huge quantities of people to meet.

I had two projects I shot/am shooting (Nobility and Space Command: Redemption) with panels at Comic Con, but unfortunately they had overlapping schedules so I couldn't attend the entirety of either one.  I caught the first 40 minutes of Nobility's panel and then made my way quickly to the opposite end of the convention center to catch the last 30 minutes of Space Command.  Both rooms were pretty full and the projects seemed to be very well received.  The Nobility panel was especially fun, as Christopher Judge kept making everyone laugh and there was an incredible camaraderie between the entire cast.

Both projects also had booth signings that attracted large crowds with long lines.  I can't wait to go back for Comic Con 2015!

Here is a picture of the crowd at the Nobility panel:

And a full room at the Space Command panel:


Space Command: Redemption

Alright, I'm about to head off to San Diego Comic-Con and thought I'd squeeze in one more pertinent update, as it has a panel there this year.  Earlier this year I worked on a science fiction feature film called Space Command: Redemption.  We shot the first part of the film in April and the editor has been preparing a sneak peek trailer for their panel at San Diego Comic-Con.  This past week, they decided to do a few pick-up shots on our nearly completed bridge set to round out the trailer.  I've been extremely busy shooting the pilot for Nobility, but managed to coordinate shooting the Space Command pick-ups on my one day off.

We only had a few lights, but fortunately I've been working closely with our ship designer and builder to integrate as much lighting into the design of the ship as possible.  This allowed us to shoot the pick-up shots relatively quickly and with a minimal crew (basically just my gaffer and I) and a very small lighting package.  I was quite pleased with the look we got.  The directors asked for Star Trek Into Darkness but with a less flat look to the lighting.  I think we got a pretty close look to what they were asking for and we managed to do it for just a little bit less money than J.J. was working with.

I'm looking forward to the show going back into production (probably in late August or early September) so that we can shoot the final two-thirds of the movie.