Po Chan’s Vision for “The Ticket” – The Digital Convergence Podcast
In this special edition of the Digital Convergence Podcast, Chris Fenwick delves deep into the mind and vision of Po Chan – a remarkable visual storyteller, artist, and director of both “The Last Three Minutes” and The Ticket.
“How is editing more than just ‘cutting’? What role does a colorist play in evoking emotion and meaning? How does a director bring the story to life and propel it forward by means of camera position and moves? What role does light play in breathing life into the film?
This interview with Po Chan by Chris Fenwick provides insight and commentary on these questions. You will enjoy the scene-by-scene breakdown by Po Chan as she explains her thinking – why it was framed, lit, shot, edited, and graded as it was.
The Digital Convergence Podcast team thanks Po Chan for taking the time to talk with us and share her conversation with our listeners.”
Learn more about the making of The Ticket and the Canon IDC DSLR 4k here and here.
Download (iTunes AAC):
Download (MP3 version):
Below are some screen grabs, BTS stills, and video to accompany the discussion during the podcast.
5:20 Still frame of Emma’s flowing dress.
Story Board of Emma’s dress while she is running
14:50 Extreme close-up of Vince’s eye
Story Board of the opening shot
18:55 Mirror shot in the hallway of the Hospital
21:00 Vince tying Emma’s shoes
22:55 Exiting the Hospital as the Taxi pulls up
23:45 D.P Shane Hurlbut, ASC getting ready to film in the back of the Prius
22:52 Director Po Chan sitting on the floor of the Prius
25:00 The Boutique Location
25:55 Building the ramp for the hand off shot
D.P Shane Hurlbut, ASC handing off the camera to operator Chris McGuire
Operator Chris McGuire standing by on the ramp for the hand off
Storyboard of the hand-off sequence
29:37 Wide shot of Vince and Emma running in front of the chandelier store
30:15 Vince and Emma ripping the tags off of their clothing
37:45 Dutch angle of Vince in the ending hospital sequence
Schedule 1-on-1 Video Call with Shane Hurlbut, ASC
Looking for mentorship in the film industry? Schedule a 1-on-1 meeting with Shane Hurlbut, ASC today! This is where you can get expert advice from an industry professional on your career or a particular project.
About Filmmakers Academy Cinematographer Mentor Shane Hurlbut, ASC
Director of photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.
Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.
This looks gorgeous. The hand-off shot over the balcony is so insanely cool!
Cameron Downing. Thanks for the kind words and support.
Awesome ! Thanks for sharing experiences about production of The Ticket.
I was impressed with Emma’s flowing dress scene, was really beautiful see the story and the moment happening with a beautiful scene, all together was fantastic..
Great camera with great talents as Shane and Po, incredible results is a fact.
M
Matheus. Thanks for the kind words and support.
Thank you so much for sharing my podcast. This one was special. It’s been a great privilege having you on it and now Po Chan, too. The feedback on this episode has been tremendous. I look forward to having you on again soon!
Thank you for posting this. It’s nice to break up the film into sections for this interview because they talk about sections at a time. I couldn’t scrub through on your main page either, it won’t let me. Thanks!
Brendan. You’re welcome and thanks for the support.
Thanks for posting this. It’s an incredible short film! I have a small question, I’ve seen this alot in your pictures. In the picture where you are in the back of the taxi, you have two white pieces of something on the back of your LCD screen. What is that exactly and what is it used for? Thanks.
-Justus-
Justus. Thanks for the kind words and support. The tape marks are 2.35 aspect ratio markers for the LCD.
Shane,
This off topic, but do you have a solution on marking on the display screen to shoot 2:35:1 aspect ratio. I have seen people using Gaff tape on there 5D MII for reference but dont know if they are the right measurements for 2:35:1 display screen.
Steve, on the 5D I have a very simple solution that works perfectly. Move your focus box to the top of your LCD screen, the bottom of the focus box will be the top of your 2:35, then move the box to the bottom and the top of the focus box will be your bottom line of the 2:35. Use 1/8 focus marking tape and you are good to go. That way you still see what is coming in your frame so your can avoid stuff you don’t want to frame as well as seeing you menu settings.
Great job Shane!
The shot of the ramp for the hand off is incredible, (handing the camera to operator Chris McGuire… WOW!!!!!!!!!)
Today, I watched in a cinema with a 4K projector “MOBIUS”, “MAN & BEAST”, “JUST C IT !”, “THE TICKET” and “XXIT”.
For me “THE TICKET” had the best image.
It seems to me that in the scene in slow motion, the sharpness is less, even watching on vimeo (because 1080 60p and not 4K? or a style effect? in Behind the Scenes I saw a dirty filter you use for this scene…)
I’m sorry if you explain it in behind scene but I don’t understand English.
LaurentB, thank you for your kind words. I agree, out of all of them the 1DC is king. The slow motion was suppose to feel like a dream that is why we used 1080 and used glimmer glass filters and vaseline on the lens.
LaurentB, thank you so much. I agree, the dark horse, the sleeper car will be the 1DC. It has the special secret sauce my friend. Yes we went to slow mo and did that as a creative choice.
ok, thanks for sharing.
LaurentB, you are very welcome
Shane, what’s your approach to exposure and color temperature when shooting with Canon log? Do you shoot with view assist always on? Do you rely heavily on the histogram and if so do you ever ‘expose to the right’ as with other generic flat profiles?
In daytime or highly lit scenarios do you shoot at ISOs lower than 400 or would you always opt for ND? Would you ever use S35 mode on the 1DC and if so, when and why?
Jim B, here you go: I use all different temps. I dial it into eye, never AWB, never use 3200 or 5500. I use view assist if I am using the back LCD, but I expose all my images with an AC-7 with their canon log LUT, never use histograms, they suck. I always stay at 400 ISO to gain all the latitude. I would love if they offered S35 at 4K. I made all these suggestions a year ago.