"Corrado" - A production blog

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Alright, HD! go get em'!!!!!

On the Corrado front, not much is new. My existence revolves around:
  • Finding locations.
  • Scouting locations.
  • Making offers to location owners.
  • Having them tell me that "another production" may want my dates and being put on hold.
Gunfire terrace (the apartments) is done. Signed, sealed, deposited, done! Apparently in Los Angeles it's easy to find a location where you can displace two apartments full of tenants and fire automatic weapons in the hall, but impossible to find a small coffee shop where two people sit and talk for less than $400 per hour.

I've also had my first run in with a baaaaaaad agent. Now I should just use her name, but I don't want to get sued.

Here's the scenario.

I was looking at another fairly well known actor for the role of Salvatore. You don't know his name, but you know his face. He's been in all kinds of movies. Big movies. Best picture movies. You know his face, trust me. Three weeks ago I send his agent the script. She asks me to make an offer. I offer him $2000 per day. That was three weeks ago.

In those three weeks, it's almost impossible to get a callback. When she does respond, She says (take your pick):
  • Actor's too busy to read it
  • Actor's Auditioning for a pilot, been busy
  • Actor's Filming late into the night, hasn't read it
Blame it on the actor.

Or some variation of the above. Now I know the runaround when I see it. So I give her an ultimatum. I tell her if I don't know anything by Tuesday at 7:00 - I don't want him.

So Tuesday comes, and she sends an e-mail at 4:36pm. She says "He read the script and loves it! He wants to do it! Let's make a deal".

So I get on the horn.

Me: Wow, I'm excited to have him aboard.

Agent: So am I. He loved the story. Sooooo.....how much can you offer?

Silence.

Me: What do you mean - I already offered you $2000 per day.

Agent: Hey, this is XXXXXX we're talking about! He's worth more than that!

Me:
Yeah, I know what he's worth, and I can't afford it. Which is why I offered $2000 per day for 11 days.

Agent: OK, so that's $22K. Can you do $50K?

Me: Of course not!

So we continue this absurd negotiation for about 5 more minutes, until she announces she's late to pick up her child from the nanny. She says she'll call me first thing in the morning and we'll resume the convo.

Morning comes and goes and nothing. I have my agent phone her in the afternoon. Nothing.

Thursday comes, my agent calls her 3 times. No response.

Friday comes, I call her twice, my agent twice. Finally I call a third time and she picks up.

And goes on to tell me that the actor cannot do the role. for "a variety of reasons"

Now my Agent happens to know that this agent is a lazy, greedy schemer. We knew that going into the deal. But the fact that she wasted 3 weeks of precious casting time seems........wrong.

And we both knew damn well the actor would've done it in a heartbeat.

Lesson learned: A shitty agent will stop your career in your tracks. Not calling producers back is a big no-no amongst agents.

I'm over it. Onwards and upwards!
 
Lol hahahahahahaha The lady is freaking crazy. "Ok thats $22k can you do 50?" classic. You gotta remember she's looking out for her pay too, but she's still greedy.
 
Wow, I can't believe I've missed this thread up until now. A lot of great information on here; thanks for keeping us updated, Adam!
 
The Grip Truck, part 2:

It's coming along, not as fast as I would like but I only work on it here and there. Left to do: secure all the lights with cleats.

I don't have my tungsten in there on row two yet.

I'm pretty happy with it so far.

The big green cart on the right is my grip cart and holds flags, nets, cukes, apple boxes, etc. It just rolls down the ramp.

Enjoy!
 

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Adam -
Just curious - do you have any stands in there other than your C-stands?
I don't see any standard light stands. Just curious if they aren't in yet, you don't have them yet,
or you just feel like you don't need them.

By the way, not like you don't have enough to do, but I'd love to see a breakdown of everything you've got in your truck. Would be good for those us trying to build up our own grip/light kits to have something to compare to.

By the way - I burn with envy everytime I see those pictures.
:)
 
Hey Luis,

I had a bunch of that stuff on page 1. To answer your question, I have 6 husky baby stands, 2 junior stands, and 2 Hi-Hi rollers that are in the truck but are kind of hidden. They are all the way forward to the left and right of the light stand and the standing locker, tucked away secured by a cord. Then there are about a half a dozen stands that I don't know the names of.


Here is the list:
  • HMIs - (2) 575s, (2) 1.2Ks, (1) 2.5K (1) 2.5K Par
  • Tungsten: (3) 2K, (5) 1K, (2)650s, (2) 300
  • 100W Dedolights
  • 14 C stands
  • 2 Hi-Hi rollers
  • 6 husky baby
  • Bunch (about 5) big stands whose name currently escapes me
  • 2 juniorw/ wheels
  • 6 x 6 frame
  • 12 x 12 frame
  • Flags,nets, silks
  • Matthews grip cart with about 20 apple boxes in various shapes
  • All kinds of gel
  • Hundreds of little grip clips, mafers, cardellinis
  • A dolly
  • (3) 4 x 4 frames
  • more sandbags than I can count
  • About 10 gobo heads
  • About 8 gobo arms
  • a dozen stingers
  • all kinds of distro equipment
  • 4x4 shiny board
  • A bunch of stuff I left out
Hope that helps!
 
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The Grip Truck, part 2:

It's coming along, not as fast as I would like but I only work on it here and there. Left to do: secure all the lights with cleats.

I don't have my tungsten in there on row two yet.

I'm pretty happy with it so far.

The big green cart on the right is my grip cart and holds flags, nets, cukes, apple boxes, etc. It just rolls down the ramp.

Enjoy!

Hi Adam:

Have you done anything to beef up security on that truck? I have always wanted to do the same with my 3 ton package, buy a small grip truck to keep it all in the truck but I would be a little paranoid keeping my $75,000.00 worth of grip and lighting in a $2,500.00 truck, at least on the street.

Just curious if this has entered your mind? I live in a relatively bucolic suburb but there are still reports in the police blotter about vehicles being broken into to steal tools and purses.

It's a shame that we have to be almost paranoid but that's a lot of money sitting out in the open.

Best,

Dan
 
Insurance is the name of the game, Dan. Also parking somewhere safe every night. I'll really have to cross that bridge when we film. The current plan is for the gaffer, whom I know and trust, to take the truck home with him at night.
 
Insurance is the name of the game, Dan. Also parking somewhere safe every night. I'll really have to cross that bridge when we film. The current plan is for the gaffer, whom I know and trust, to take the truck home with him at night.

I think, in way, it would be an advantage to make sure that the exterior on the truck looks a bit scruffy. If you make it look perfect and clean, that just says, "I must contain some really nice stuff" to potential thieves.

Right on, as long as you have it covered. I gave up my producer's policy a few years ago, it was too expensive for the amount and types of projects I was doing. When I need it, I just buy short terms now, but even that is a hassle and expensive and is more for liability in case I or a crew knock over a light onto a talents head, these policies don't usually cover gear. My problem is that I am a corporation and do some projects as a corporation, but I also do a lot of freelance producing and DPing, sometimes with some of my gear and sometimes with clients gear.

I know that this is probably in the previous posts somewhere but what is your policy you have now? Are you a corporation, LLC, DBA or just Adam? Is your policy just for the production of the film or do you have a permanent policy? Sorry, just was curious since you definitely have your act together business-wise.

Thanks,

Dan
 
Actually I didn't put signs on the doors for that reason. Kinda leaves it anonymous.

I am uninsured right this minute, but my quote is almost done for the production policy for Corrado. Looking at about $8K total cost. Buried in there is coverage for $150K of owned equipment, just a little bit more than I actually own.

I'm not worried about the truck parked in my driveway because I live in an extremely good neighborhood in a very low crime town. Atually most of the OC is very low crime.

As for the company, it is Taormina Films, LLC.
 
On a side note, I wanted to poll the collective about a certain aspect of Corrado. As you know, I am filming this on my HVX with Letus Extreme adapter and my set of Nikon primes.

Like my title says, I hate to rent. But I am on the horns of a dilemma.

Although my Nikkors have great image quality, I have become very concerned about the short throw for focusing on some of the lenses.

The longer the lens, generally speaking, the longer the throw on the barrel. My 135 has probably a 200 degree turn, which is great.

One of my problem lenses is my 50 f1.2 - an awesome still lens. I did some tests and had a person walk a taped off mark - the distance was about 5'. This resulted in a turn of the FF wheel of less than 10 degrees!!!!!! At that point, even the thickness of the dry erase marker line comes into play!

And forget pulling focus with a tape measure - the markings are too small to be of any value.

So I am currently thinking of buying a PL mount for the Letus and renting a set of PL primes - Cooke S4s, Zeiss Superspeeds, whatever.

I used Digiprimes on my TV pilot on an F900 and they were great (but B4 mount).

Much as I hate to rent anything, I am now weighing the cost of inaccurate focus pulling, delays, angry 1st ACs, you name it. I'm sure there is a quality difference as wellm but this is really secondary.

Also, we will be doing quite a bit of Jib and Steadicam work, and I need to rent a wireless Follow Focus such as a Bartech.

I felt like the Wireless FF would just magnify the problems of focusing with those short barrel turns.

So it's not etched in stone that I am going this route, but I would love to hear what you guys think.
 
I think its a no-brainer Adam. Given what you describe you face some nightmare focus pulls and, even worse, possible blown takes. The improvement in lens quality coupled with the decent focus throws pretty much answers the question in my mind.
 
So I am currently thinking of buying a PL mount for the Letus and renting a set of PL primes - Cooke S4s, Zeiss Superspeeds, whatever.

You took the words right out of my mouth. The other factor is the damned breathing. I love how my Nikons looks but jeez, try to pull focus on a moving subject and it looks like the freakin Hitchcock Vertigo shot. If you rent some real lenses, you won't have to put up with nearly this amount of breathing.

You have answered your own question. Without a doubt, buy the PL mount and rent some real lenses. With some shopping and bargaining, I bet you can get a 3-4 week rental for a very good deal. After all, the glass is everything.

Dan
 
I know it, guys, I know it. You both confirmed my thoughts.

The LEX+Nikons are cool for little shorts and stuff where there's no schedule. I've even made a feature length doc with them that was mostly interviews.

Thanks for the input! I value both your opinions.
 
Hey, regarding your lenses, we're using a set of Nikon primes... 35mm, 50mm, 85mm, 135mm, and they have performed spectacular! One of the 50's is a little touchy in the focus department, but it hasn't been too bad. We just finished week 1 of 3 on our feature shoot. (Using HVX+SGPro btw)
 
Hey Brandon,

I think it depends on what you're doing. Do you have a lot of steadicam or jib shots? That's what I thought would be the killer. Regular dialog scenes would probably suit the Nikons better.

Tell me more about your experiences.
 
Hey Adam,
Man its 5am and I've been reading your post for a little while. Getting excited for you and your project. Congrats. If you need any help send me a PM.

Also, you mentioned the bartech. I know a guy that has a kick ass Preston. Really nice Steady Cam operator who rents his Wireless FF. If you are interested send me a PM and I can see what his rental fee is.

The nice thing about the Preston is that is super accurate and you can zoom the scale. (ex. the control on you hand can be set to a full turn for only 10 degrees of the actual lens turn. so you can focus from the nose to the ear with much accuracy.)
 
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