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A Money Machine
Written and Directed by Peter Crees

My Role: Lighting and Sound

Night Shoot #1 - 31st March/1st April (6pm-8am):



Between the painfully numbing cold and draining batteries I was controlling the lighting to help achieve the desired look under the lead of Dean Batty (DOP/Cinematographer), as well as controlling the Marrantz Sound Mixer to get the required sound levels for the dialogue scenes from the radio microphones we attached to the two cast members.



It was surreal arriving in Birmingham in the light, setting up as the sun set and starting to shoot in the dark then shooting throughout the darkness until past 6am when the civil twilight started and leaving as the sun rose.



Whilst working under the authority of the Director of Photography (DOP), Dean Andrew Batty, I learnt many skills of lighting, especially the power of LEDs. Both the strength of the light they can project and how useful they are and can be. Although we had a lot of available lights from floor lighting and lamp posts we still had to be very precise to continue the look and feel of the surrounding, as well as creating the right mood for the scene and to illustrate the characters and their personalities when on screen. 



 

 

 

 

 

 

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​​Night Shoot #2 - 2nd/3rd April (6pm - 6:30am):​



Starting in a warm location was what every member of the crew was wishing for and was shown with everyone being more active and sociable yet still hard-working. You could definitely tell the effect it had on the crew being in the warm! Also made the shoot that much more bearable and enjoyable.



Within the science centre we used as much available light from the floor and lights on sensors on other levels, in order to help illustrate a large and active building, posing as a luxury apartment block. Importance and style of lenses and focus pulls.



We then had to re-schedule our day at Fat Cats to the following day, therefore we then brought forward to other exterior scenes from the next day. Back outside in the cold, with the chilly winds that cut you in half, was not ideal! Especially when the camera crew were struggling to change lenses in the weather. However, once the setting was set up and ready to shoot I took the opportunity to talk to the camera crew, Jack Monk and Daniel Hughes, and watch over them as they discussed lenses and what effect it had on the style and emphasis of the characters mood. It taught me a lot about the clarity and importance of even the slightest change in lens and focus for the whole style, feel and mood of the shot/scene.























Night Shoot #3 - 3rd/4th April (5:30pm - 4:30am):



This shoot was probably my favourite of the 3 nights due to the sense of panic and sudden rush after waiting on the actors. I know that sounds weird to an outsider of film production but it's almost like an adrenaline rush having to perfect your shot in such a short time, the pressure yet excitement of the finished product. It didn't particularly help that everyone was stressed and tired after the previous night shoots but as it was the last people were running on left over energy, while energy drinks were passed around like currency throughout!

showed me the major importance of gels and what looks you can achieve from using them wisely, especially when we were recreating the club scene at Fat Cats Bar. We ended up using all available light and for the first time using a 300W light to give additional colours to heighten the busy and chaotic atmosphere in the club and for the drunk scenes of the main character.

When at Fat Cars, not only was I running around with lighting, I also helped out as a runner and an extra so am looking forward to the role of the credits on this one!







 













 







 

Call Sheet (31st March - 4th April 2013):

Night Shoot #1: 6pm-8am at Millennium Point, Birmingham = 14hrs
Night Shoot #2: 6pm-6:30am at Science Centre, University Campus. As well as at 'UK Fast Food' Shop, Natwest ATM opposite ODEON, by City Hall in Hanley and at directors house, Stoke = 12.5hrs
Night Shoot #3: 5:30pm-4:30am at Pussy Boutique in Fat Cats Bar, Hanley, a house in Stafford and directors house = 10hrs​

 

​Total hours: 36.5hours

 

Below are some screen shots from the film (Released Late 2013).

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