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Short Film Casting Call: Burn

September 28, 2015 by Aric Spence

Short FIlm Casting CallSFN member Amanda Steen asked if I would post this Casting Call on the the SFN website and notify our members of the opportunity. Full details below.

CASTING NOTICE

Production title: Burn
Union / Non-Union: Non-Union
Production Type: Independent\Micro-budget
Project length: Short Film (20 minutes)
Project format: 16:9 HD
Posted on: Monday, September 28, 2015
Production location: Coeur D’ Alene, Idaho
Production Company: Steen House Entertainment and STIA
Productions Director: Amanda Steen
Producers: Lauren Denos and David Steen
Casting Director: Amanda Steen
Auditions: Video submissions
Shooting Location: Coeur D’ Alene, ID
Email: Steenhouse1981@outlook.com
Compensation: No (food and a copy of the project will be provided)

KEY DATES

Auditions:
Video submissions* accepted, September 28th – October 5th

**Please email: Steenhouse1981@outlook.com with a current head-shot, resume and the character\s you will be auditioning for, to receive the appropriate script sides.**

Call Backs: October 12th
Shooting Starts: November 6th, 2015
Shooting Ends: November 9th, 2015

Synopsis:

“Burn” tells the story of Betty, a woman haunted by the man who emotionally abused her. A traumatic event separates her physically from her tormentor, but her mind refuses to let him go. Betty must find the strength to move forward, before the ghosts of her past consume her.

CHARCATER BIOS

[BETTY] [GENDER: FEMALE] [AGE: 45-50] [LEAD]

Betty is a wounded soul with an inner strength that is aching to come out. She has been tormented for so long that she isn’t sure the woman she used to be still exists. With the help of a new friend, she starts to recognize the powerful female within.

[BEAR] [GENDER: MALE] [AGE: 40-50] [LEAD]

Bear is a nasty emotional abuser. He has very little self esteem and tries to control Betty to make himself feel better. His wickedness starts to escalate as Betty becomes stronger, and more able to let him go.

[ANN] [GENDER: FEMALE] [AGE: 40s] [SUPPORTING]

Ann is Betty’s best friend. She hasn’t seen Betty for a very long time. Her friend has been hiding herself away and Ann has been very worried about her.

[COLLEGE KID] [GENDER: MALE] [AGE: 21-25] [FEATURED]
He’s just trying to have a good time with his buddies. He isn’t expecting an altercation with some

stranger at the bar, but he gets one and his cocky, bad attitude shows through. [WOMAN] [GENDER: FEMALE] [AGE: 20-40] [FEATURED]

She has some pretty sweet tattoos and the local general store clerk takes notice of one in particular: A cover tattoo done by a local artist. She is proud of the work done and willing to show it off.

[TATTOO ARTIST] [GENDER: FEMALE] [AGE: 20-40] [FEATURED EXTRA] Works at the local shop where Betty gets her tattoo.
[MAN] [GENDER: MAN] [AGE: 20-40] [FEATURED EXTRA]
Interacts with Betty briefly as she sits, waiting for her date to arrive.
[BICYCLIST] [GENDER: MALE\FEMALE] [AGE: 20-40] [FEATURED EXTRA] Rides passed Betty and interacts briefly with the MAN as he\she rides by.

Filed Under: Casting Call, Filmmaking, Short Film

Short Film Casting Call – Spread the Virus [UPDATED]

August 2, 2015 by Aric Spence

Planted Roots ProductionsUPDATE (August 8): Script Posted (PDF) download script here.

Audition Date: 11AM August 15th at Cedar Street Bridge, last suite before the stairs on the 2nd floor, above Creations (we will put up signs). There is a LOT of casting left to do …. And we still in need of some crew. Please contact: PlantedRootsProductions@gmail.com (Sarah and Hailey Hines) before Saturday Aug. 15th, 2015

UPDATE (August 5): Filming dates are tentatively set for August 28th-30th and September 4th-6th. Premier in October

CASTING – Main Characters Needed
Compensation: Non-Paid
Women Age 18-65
Men Age 15-65
Extras – All Ages
Full Cast List is included below.

PRODUCTION TITLE: Spread the Virus
PRODUCTION COMPANY: Planted Roots Productions
SHOOTING LOCATION: Multiple – Sept. 2015 – Sandpoint, Idaho
AUDITION LOCATION: Conference Room – Cedar Street Bridge, Sandpoint, Idaho
AUDITIONS: Saturday August 15th, 2015 @ 11:00am (Please arrive on-time in casual attire)
CALL BACKS: Saturday, August 22nd, 2015 (If Needed)

SYNOPSIS: Every day there are opportunities for people to be kind, to show compassion, to lend a helping hand, or maybe even just smile at someone who looks like they are having a bad day. We want to take the opportunity to show the world that being kind has a great effect on everyone’s lives, not just the person doing a good deed, or the person on the receiving end. Kindness creates a ripple. So imagine if kindness literally became a virus… Spreading to each person who saw it, thought it, witnessed it or received it. Imagine the wave it would cause, and how soon the effects could be seen around the world!

Please contact:
PlantedRootsProductions@gmail.com (Sarah and Hailey Hines) before Saturday Aug. 15th, 2015
To be informed of future opportunities like this please Join the Network!

Cast List (In Order of Appearance)
Narrator 1 – Sarah Hines
Narrator 2 – Male Age 21-30, tall (Possible – Eric Wallace?)
Narrator 3 – Male Age 21-30, tall (Possible – Ryan Marks?)
Narrator 4 – Hailey Hines
Mother – Deb Lindner
Toddler 1 – Sam Lindner
Toddler 2 – Brittian Williams
Grocery Clerk – Male/Female Age 30-45
Bagger – Female Age 16-21
Homeless Man/Elderly Man – Male Age 50-70
Male Onlooker – Male Age 25-40
Young Woman – Female Age 21-30
Baby – Male/Female Age <1
Shelter Clerk – Female Age 50-65
Shelter Nurse – African American Male Age 25-40
Teenage boy/Team Member 1 – Male Age 16-19
Senior 1/Team Member 3 – Male Age 16-19
Senior 2/Team Member 2 – Male Age 16-19
Frantic Mother – Female Age 35-48
Frantic Sister – Female Age 14-17
Young Boy – Male Age 6-8 (Possible Sam Williams or Josh Lindner?)
Young Mother – Female Age 35-50
Young Father – Male Age 35-50
Kid 1 – Child age 10-12
Kid 2 – Child age 5-8
Extras – Shoppers, Volunteers and Onlookers

Needed Crew:
Grip x 2 (sound and lighting)
A1 – Sound recorder op
Dedicated Clapper master/mistress
Script supervisor
Camera or lighting assistant
Production assistant
Wardrobe/makeup
Snacks/refreshments

For questions please email Sarah and Hailey Hines at PlantedRootsProductions@gmail.com
To be informed of future opportunities like this please Join the Network!

Filed Under: Filmmaking, Sandpoint, Short Film

Anatomy of a Lighting Design – Filmmaking in Sandpoint

June 17, 2015 by Aric Spence

Barn Light - Lowell Fren-LSomething that I love to do is watch light. So keep that in mind, if you ever see me staring blankly at an object for an extended period of time or watching how the leaves of a tree dance in the sunlight on a breezy day. The way light falls on things in different situations can be studied and then drawn upon later when the need arises. When I am in the role of Director of Photography (DP), there is a huge responsibility to make things look appropriate, and more often than not, time limits the amount of lighting design that can be done for certain scenes.

For the barn scene in Give up the Ghost (GUTG) I met with the Director Rob Lindner weeks ahead of time and we walked through what he was hoping to achieve in the space. I was able to provide artistic input and then develop a plan of execution for lighting the space. This was the only location where we would be using lights as all the other scenes in GUTG were being shot outside with reflectors and bounce cards being our light modifiers.

Lighting Setup GUTG Barn Scene

Here is a photo showing the location of the lights.

The Barn scene needed to be dark, but not too dark or we would not be able to see anything or follow the action taking place. I do not want to give away too much of the plot, so let me move on to breaking down the lighting that we used in the barn for the initial long shot. With the help of SFN member Roger DeClements I was able to execute my lighting plan in about 3 hours.

What lights were used for the barn wide shot?
3 – Lowell Pro lights 250 watt
1 – Lowell Fren-L 650 watt
7 – Cheap clamp lights
1 – 250 watt hardware flood light
2 – Dimmers (used on the Lowell Pro lights)

Some of the lights listed above are not visible in the diagram as it was a panning shot and they appeared earlier in the frame.

Lighting Setup GUTG Barn Scene Finished Frame Grab

A frame grab from the footage that we shot in that location.

For me, the whole idea of a good lighting design is to create depth in the frame and lead the viewer’s eyes in the direction you want them to look or follow. This means eliminating any overly bright areas, which immediately draw the eye to them, and taking some time to think about the finished composition when setting the initial lights. Lighting is pretty subjective and some may not like the plan I executed, but I am pretty happy with the end result. The initial design also served to light the close shots later in the scene with very little adjustment to any of the main lights.

I hope you found this blog post helpful. If you did, please comment below and let me know. I may break down some other shots from GUTG if there is enough interest.

Filed Under: Filmmaking, Sandpoint

Give up the Ghost – Filmmaking in Sandpoint

June 14, 2015 by Aric Spence

One rarely has the opportunity to work on an low-budget independent film production where all of the pieces fall into place perfectly. Well… I recently had that experience and it was due to exceptional pre-production, close Director and Director of Photography communication/preparation, coupled with talented actors and crew who executed the scenes masterfully. But perhaps most important of all, was the respect everyone showed for what each other does, this really goes a long way when the temperature is rising and multiple takes are required for certain scenes.

Give up the Ghost - Sandoint Filmmaking
That may all sound like an easy thing to pull off, but it is not. For me, filming “Give up the Ghost” a short film by Robert Lindner was a wonderful experience that I will not soon forget. Watching the footage we shot during the four day shoot is magical (truly) and it still blows me away what we were able to capture in such a short period of time. The visuals stir me emotionally every time I see them and I can hardly wait to see what the rough cut looks like a few weeks.

Give up the Ghost - Group Car- Sandoint FilmmakingBeing a perfectionist, of course there are things that wish I had composed or exposed differently, but the majority of the shots (95%) are exactly what I had hoped for and more. Allowing the creative process of filmmaking to unfold organically even though there are time constraints is a hard thing to do, but this is what makes for exceptional footage. There has to be time for the magic to happen, otherwise all you get is footage that falls flat rather than stirring visuals that move people in unexpected ways.

Give up the Ghost - Hailey Hines - Sandoint FilmmakingOne the technical side, I shot most of the film with a very shallow depth of field. I was often shooting wide open to achieve the dreamy look that the Director and I both thought was appropriate to the story he wanted to tell. I also used vintage lenses to enhance, what I feel, is a very cinematic look. Shooting so shallow creates major focus challenges that can sometimes constrain movement within the frame and cause takes to be unusable. Having a dedicated focus puller would have helped some, but we made happen using a focus handle and… the Director and I even tag teamed some of the really complex shots to accomplish what we were both after.

Give up the Ghost - Hailey and Hilary- Sandoint FilmmakingAnother thing that made for a successful shoot was the fact that we were very nimble and not weighed down by a lot of gear. What do I mean by nimble? Well, a tripod and camera with variable ND and lens hood. Granted, some shots required more gear, but even then we still traveled very lite which made for gathering footage more quickly than would have been possible otherwise.

Sandpoint Filmmaker - Aric SpenceCar shots can sometimes be problematic and very time consuming, but the Ronin-M made them much easier. I was able to pop out the sunroof of the Saab and shoot both as the lead car and chase car as well as inside the car without a problem. Speaking of car, a special thanks goes out to George Eskridge for allowing Rob the use of his beautiful classic Ford 1956 hardtop convertible for the short film.

Give up teh Ghost - Sandpoint FilmamakingFor anyone interested in the gear details, here is some information about the camera, lenses and gear that was used in the shoot.

Camera: Canon 60D running Magic Lantern firmware hack.
Camera color profile: VisionColor
Lenses: Vintage Takumar lenses (17mm, 24mm, 35mm, 50mm, 85mm)
Tripods: Gitzo Studex (vintage French versions) with Manfrotto fluid heads.
Dolly: Nautilus Tripod Wheels on metal conduit track.
Focus Handle: Ultra-Simple Follow Focus
Gimbal: Ronin-M
Camera Jib: Advanced Digital 8′

Give up teh Ghost - Sandpoint FilmamakingFor those wanting to see the finished short film, be sure to attend the Sandpoint Film Festival on November 1, 2015 and vote for “Give up the Ghost”.

CAST:
Barn Girl: Hailey Hines
Field Girl: Solange Marcotte
Make-Out Girl: Hillary Mosman
Savior Boy: Alexander Loper
Make-Out Boy: Shea McCormick
Field Boy: Justin Marks
Field Boy: Greg Marks
Mother: Debbie Lindner
Father: Rob Lindner

To everyone involved in the production (wish I had all your names), you have my sincere gratitude, THANK YOU!!

Filed Under: Filmmaking, Sandpoint

Co-Op Grain Elevator – Sandpoint, Idaho

February 22, 2015 by Aric Spence

I recently had the honor of being able to film inside the Co-Op Grain Elevator. The project started as a simple short and has expanded a bit from what I had initially had in mind. You see there are much more to grain elevators than one might think at first glance. Read on to find out more…

Co-Op Grain Elevator - Sandpoint, IdahoFrom the outside, they look like there must be several levels or floors to the structure, but that is actually not the case. The grain bins are several stories tall and there are no levels to speak of except for two near the very top where a rotatable chute would allow the operator to choose which bin the grain being elevated was to go. You can only access the top by climbing roughly 80 feet up a wooden ladder.

Co-Op Grain Elevator - Sandpoint, IdahoThe first level you reach is the right below the top level and since the windows were boarded up, there is no light to speak of, save for the battery powered lights I brought with me. This level is where the tops of the multistory bins are located. An operator would have accessed this level to service the chutes and take inventory of how much grain was in each bin. This is also the level that contains the metal chute that was used for directing grain to the awaiting train cars on the east side of the elevator.

Co-Op Grain Elevator - Sandpoint, Idaho

Next, it is up another wooden ladder to the top. The reward for overcoming my initial fear, which hit me at ground level by the way, was literally a birds eye view of Sandpoint from the tallest building in town. It is hard to describe my elation of finally being above the Panhandle State Bank Building, or whatever it is now called. SIMPLY AMAZING!

Co-Op Grain Elevator - Sandpoint, Idaho

I still have a lot exterior filming left to do, but just thought I would share some initial visuals of the grain elevator short film project. The Co-Op Grain Elevator in Sandpoint is without a doubt one of the few historic gems our town still has left. Remembering and honoring where we came from is so important to navigating our future. Thanks for reading.

Want to be part of projects like this in the future? Sign up to become a member of Sandpoint Filmmakers Network and join nearly 30 other creatives who have an interest in helping each other make films.

Feel free to leave a comment below.

Filed Under: Filmmaking Tagged With: Co-Op Grain Elevator, Filmmaking, Grain Elevator, History, Idaho, Sandpoint

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