The Making of “The Last 3 Minutes”
It was terrific meeting everyone at NAB this week. Thank you for all of the wonderful comments and support. Let’s continue fueling the DSLR revolution with your passion for shooting.
Here are details from our EPK crew on The Last 3 Minutes. With this first-person perspective, it is not like a scene where you do a wide shot and then go in for coverage. It plays out like a play where everything has to work. If you did a normal scene, there would be 5 takes on a master, 6 takes on over the shoulder, another 6 takes on over the shoulder, 4 takes on a close-up and 4 takes on another close-up. We did 10-20 takes so it all worked as one shot which was very challenging. One of the most difficult things in filmmaking is to have it all happen in one shot and not break it up into individual set-ups.
Here is how we did it.
EPK Director/Camera Operator: Tim Holtermann
When Shane told me he wanted to shoot behind-the-scenes footage of The Last 3 Minutes I was very excited as I had only used the 5D MKII for narrative work. I knew that using the 5D for run-and-gun style documentary work might be a challenge and loved the idea of diving in head first.
There was no real prep for this because of time constraints and schedules so I pretty much showed up on set day one and just started shooting. However, we had discussed some things ahead of time like shooting freehand (no rigs) vs mounting the camera on a RedRock shoulder mount rig with follow focus and a Zoom H4n for sound. What we found out after a few hours on day one was that freestyle was the way to go. It was light, nimble, and easy to move around a sometimes crowded set. The less intrusive the better – especially for low-key documentary-style stuff.
Shane’s Elite Team Members Marc Marguiles and Rudy Harbon helped me with delivering two different perspectives with their camera work. Not only was it a blast to work with Marc and Rudy but a privilege too. Nothing like a good group around you when you are pulling long days and nights.
Aside from the 5D, MKII my lens of choice was the Canon EF 24-70mm f/2.8 L lens. This lens proved to be a great help in low-light situations and is perfect for run and gun-style shootings. I tend to stay around 24 for most handheld work because it just helps keep the image steady but there were occasions where I did zoom in, you just have to watch the motion. Marc used the Canon EF 24-105 f/4 with IS. The image stabilization seemed to work well when he zoomed in which was helpful for those times when we couldn’t get close enough. When we were shooting in low light he would be up in the 1600 ISO range whereas I was happy at ISO 640. So there are some trade offs.
For the most part, it was just the 5D MKII and a lens griped with our hands. No tripods, no camera supports, no lighting, nothing at all.
I guess I could have included this in the gear section but I think audio is important so it gets its own special section. We did have a Zoom H4n and a Rhode microphone with us and if I had an extra sound guy to follow us around I might have had it rolling sound. The problem with recording sound like this is that you have to deal with it sooner or later in post. You either need to slate your shots or use some type of plug-in to help sync up the sound with the visuals not to mention the extra time you’ll need to catalog all of the sound files.
Sometimes in run and gun style documentary shooting there is just no time or ability to shoot a slate so the question became, do we just roll the audio and attach the Zoom to one of us and hope for the best or should we just concentrate on the visuals and hope the camera mics hold up. We decided to let the cameras record with their own mics. We just didn’t have the time or crew to fuss with the Zoom in such a fast-paced schedule. For the most part, the sound from the cameras holds up pretty well except during any amount of wind or camera/handshake.
If we had the time beforehand
I would have tested a few more options. For example, mounting one of the smaller mics such as the Rhode VideoMic or Sennheiser MKE 400 directly to the camera which would have probably been a lot better than the onboard mic and since they would feed directly to the camera we would not have to worry about syncing the audio up later. The other nice option would have been to try out the new audio control of the 24P firmware but there was no time.
We wanted to get some dialogue from Shane to lay down as voice over as well as an introduction so when there were a few minutes to spare during lunch on one of the days we put Shane under a tree with a Sennheiser G3 wireless lavalier which fed into the Zoom H4n and recorded away. This was the only time we ended up using the second system sound.
So the bottom line is I was surprised the camera mics did as well as they did. I would have loved to have improved upon this and will make sure to get some testing done before the next run and gun shoot.
Well, there wasn’t any – not by the behind-the-scenes crew anyway. We relied on available light. Outdoors we used the sun to our advantage but had to ND the lens most of the time. There were a few times where I just stopped the camera down past 11. Usually, lenses show their weaknesses when you go into the 11+ range but since we were not shooting things for beauty I wasn’t too concerned. In fact, the images look pretty good and it allowed me to keep focus more easily. The choice was either to worry about a less pristine image due to the aperture or an out-of-focus image. I would rather have the focus, at least in this situation.
During the lower light scenes and night shots, we tried to use the set lighting as much as possible. There were times when I was wide open at 2.8 and 640 ISO or higher but the camera held up fine. It’s just that pulling focus can be a problem at this point so I highly suggest getting used to using the camera’s 10x magnification feature, finding a focus point, and then hitting record quickly or using something like the Zacuto ZFinder.
Shooting the scenes for The Last 3 Minutes was a labor of love. It was challenging, fun, and exhausting all at the same time but that is what makes filmmaking so rewarding. It was great documenting Shane and the rest of the crew at work as they are all so passionate about what they do. A true pleasure.
EPK Camera Operator: Marc Marguiles
When you tell a story it is important to have a beginning, middle, and end. I thought of opening the case and ending it by putting the camera back in the case and the in-between would be sequenced by a scene by scene telling a story within the story.
I preferred using the 5D over 7D and 1D because it was more familiar and we had done extensive testing with picture quality and noise reduction. The lens choice needed to be able to do a wide shot while also capturing close-ups without being right in the middle of the action or in everyone’s face and getting in the way of production. I chose a Canon 24:105 zoom with a Tiffen ND .9 or ND 1.2 to decrease the depth of field while shooting at 160 ISO during the daytime to make it look more like film. The night shots were at 1600 and 3200 ISO because the t-stop was a 4.0 on that lens.
It was great to collaborate with Tim to compliment certain shots; we alternated with wide or tight angles. The overall vision was to have an education on how The Last 3 Minutes was made so the audience felt like they were actually present on the set. If you would like to discuss everything in more detail, my email is Marc@hurlbutvisuals.com.”
Great article, but the Vimeo video is set to private?
Terry, so sorry, we pulled it down and fixed the problem, sorry about the inconvenience. It is now back up for everyone to view.
The video says it is password protected.
Christopher Francis, I am so sorry, we pulled it down and fixed the problem, it is back up for everyone to view. There are more to come in the following weeks. Stay tuned.
here we are. Since I have exchanged my Canon XL H1s for an EOS 5D MK2, I see the world in a different light. My Team and I have a quite
young 3-headed VFX production and at this Webspace we gonna have our new Websites online soon.
We all like your ground breaking going with HDSLR and the way you express
what is in your mind.
With this intention I like to mention about your success with HDSLR and embed the Making of TheCarnival from “The Last three Minutes” on our new Sites. Please let me know if you agree with that idea.
it would be to me a big honor.
Best greetings from Germany
Christian Roos, I would be honored. Thank you so much for your kind words and support.
thanks for all the awesome info on DSLR filmmaking!! it’s always a treat when the hurlbut blog appears in my rss feed!!
I’m going to Colombia next month to shoot some footage for an NGO. This blog post is perfect timing, because I am going to face a lot of same issues: kit needs to be kept to an absolute minimum, and because I will be traveling with a team whose primary purpose is not posing for nice visuals, I will have to be ready for anything without any prior notice. I’ve been really torn when it comes to camera support. I’m not yet entirely comfortable with any solution (do i go for a counter-balanced shoulder rig? something smaller and lighter? i’ve even considered bring something like a glidecam 2000 pro!) But after seeing this BTS footage, I’m wondering if I need anything at all! that would be ideal for flexibility and portability, but i’m worried about shake.
If you could have added support/stabilization to your bts rigs, what would have been the most helpful? also, did you use a z-finder for the bts, or just work off the naked LCD?
thanks so much,
Dirk, you are so welcome, for what I was trying to do with keeping the camera as small as possible so that I could get it right next to our actor’s head was my objective. Did I use the Z-finder, yes for a one shot and then could not keep it smooth, so I took it off and went with the raw LCD screen for the entire piece? Would I have used some kind of stabilization if I could have? Well, what could I have done to get the footage in the intimate way the director Po Chan wanted it. I could not use a gyro. One they ruin all your sound and the next you cannot pan or move in any way with them, without the gyro bottoming out and jerking your arm off. I think you need 3 modes. I say a handheld rig built to your specs, one that has some weight and counter balance, like studio hand held mode, but it then can be stripped down into a man cam mode number 2 and then a stripper if needed for your third mode.
great behind the scenes Shane, looked like it was a lot of fun making this film. will there be more behind the scenes footage?
ilia djondric, yes there will be at least 3 more, we will go into each scene in William’s life and show you how we did it, with me narrating. Stay tuned.
I’m so glad you put this video up. Fun to hear about the making of. Missed seeing you at NAB. I wanted to tell you that you were right about the small size of this camera and that it should stay that way. I’ve had my 5D for almost a year now and right away I wanted to see a camera with the 5D guts inside a “normal” video camera body but now, I’m not sure. I just finished shooting a low budget feature with the 5D. I built a shoulder rig that is very stable and use a Camhandle to help stabilize the camera. As soon as I started shooting the movie, I began to strip the camera down until it was just the camera, the loupe viewfinder, and a lens hood. I shot almost the entire movie that way, handheld. Very comfortable and I was able to get a huge number of setups this way. I never could have shot this movie with the variety of angles with a bigger camera. Thanks for your insight.
Bob Franco, I am so sorry we missed each other. Thank you so much for your support. Yes, this is what I told the Canon engineers, keep it small, this is your power. You are welcome, hopefully we will meet soon.
Thanks for the great insight info, I’ll be waiting for the rest of the behind the scenes footage!
You always mention how essential is a follow focus in any of your setups. I see the point of such a complex device for a manual-focus lens, but I’m surprised that nobody came with a cheaper/easier solution to use with the autofocus lenses. I mean, the Canon L lenses already have a very efficient and silent motor, why not use it? I would assume that making a remote controller to control that motor is not that difficult or expensive. What do you think about it? Did you have the chance to talk about this with Canon?
Thanks a lot,
Gerard, you are so welcome, I did talk to Canon about this and they are going to be working on it. But for me an auto focus is just that, I want to be able to direct the audience to what I choose to be in focus and right now that is a human being not a computer that can think and anticipate and have much more of an organic feel. Technology will soon figure this out and have it so that you can be much more selective in your focus but not right now. Not only is he my focus puller, he is my co-collaborator, assistant, operator, media manager, and camera tech all in one.
Hi shane, loved the whole thing, just a comment away from the gear, The people working with you look they have a few years on them and lots of experience, not too many pimply faced youth on the set…..gives some hope to us older budding 5d film makers, cheers rod
rod Hardinge, I veered into the technology and I feel like I am 5 years old again, but all the skills that I have learned are able to take this camera to the next level. Keep on creating, it does not matter what the age.
Thanks for taking the time to do the BTS. I always enjoy them. Awesome results!
Tony Reale, you are so welcome. Stay tuned because about many more are on the way breaking down every scene in the short.
Shane, I just wanted to thank you for all your time and effort into putting up so much information/resources on this website because these DSLR cameras are amazing but as everyone knows they have some tricks to get the best image out of them.
I just recently shot a low budget feature with a 7D and didn’t have the time or resources to do all the lens tests myself so your post on the best lenses to use with these cameras helped me out a lot and I ended up going with the zeiss primes which are beautiful lenses.
Keep up the good work.
Jesse Anthony, you are very welcome and thank you so much for your support and wonderful comments. The Zeiss are amazing.
I used to record audio to a field recorder, just like you guys did for the BTS interviews onto the Zoom. With the new firmware upgrade I found an optimal in camera audio recording setup for my G3’s, just like you’re using. If you’re interested I did a blog post about it here…
Doing this research with the 5D made my life in post a lot simpler.
S. Allman, thank you so much for all that info. I will check it out and send it to my sound mixer.
I’ve been picking up a lot of nice tricks from your blog, thank you so much. I’m shooting with the 7D at the moment with the zeiss EOS lenses and the Flash cards you recommend, yet I’m still getting rolling shutter effects. Is this a symptom of the 7D, or am I missing something? Also, what did you use to mount your camera to the c-stand for the baby basket scene? I think that’s an ingenious way to use this camera and I fully plan on ripping it off. Thanks again for sharing what you’re learning.
John David Wynne, You are very welcome. The 7D has a lot of problems because of the small sensor and increased depth of field. What ends up happening because of that increased depth of field more is in focus so moire issues and aliasing issues are more apparent. Are you shooting at 1/50 sec shutter speed? Are you shooting with a rig, or just in your hands? Having a rig stabilizes your camera and helps with rolling shutter. That little feature at the top was the ingenious invention of my Elite Team member Darin Necessary. It is a really right stuff bracket with a really right stuff clamp plate and then a rod that he welded on to it.
Hi Shane. I have an elementary question, but first I wanted to say many thanks for inspiring and educating the public that are passionate about cinematography and filmmaking. Just a quick question about your exposure. On your 5D, what is your default shutter speed when you base your readings on your cinemeter @ 24p? 1/50? Thanks again, Shane! Looking forward to seeing more from you. Cheers!
John C, Thank you so much for your kind words, yes 1/50sec shutter speed. You are very welcome.
Thanks for your response. I’m using a counter balanced shoulder rig and I never hold the camera in my hand alone. I’m shooting at a 1/50 shutter. The rig definitely makes everything look smoother, but it’s still a little iffy at times. I’ve noticed that in 60p all rolling stops, I’m guessing because it’s scanning faster than 24p.
John David Wynne, I would have to look at the footage so that I can get my tech wizards in post to have a gander at it. Can you send me some stuff, maybe password protect on vimeo? Thoughts?
I have a question about lighting “The Last 3 Minutes.” It goes specifically toward the bedroom scene with the husband and wife beneath the sheets. Was that only practical lighting passing through the sheets? Also where there any ISOs that you avoided during shooting? (I keep reading about the ‘artificial’ or electronic ISOs of the 1/5/7D DSLRs and how they should be avoided.)
Thanks, and a big thank you to the production team for taking the time to write about this shoot in your blog!
Dorian White, I used my batton lights that I designed to light her while she is on the bed and then when she moves to the end of the bed I have another one that picks her up, when she goes under the sheets I dim up the one that was lighting her when she was sitting on the bed in the beginning. The next BTS episode will have a ton of my batton lights in it and I will explain how I use them. ISO that you only shoot. 160,320,640,1250,1600 no others. You are so welcome.
Hi Shane, when you want to achieve first person point of view with the camera on the helmet or close besides the actors face where usually does the other actor look at, in the eyes of the actor or the camera lens?
thanks again for having this great blog!
jorn, the actor looks directly into the lens, that gives you that intimate first person feel. You are so welcome. Thank you for your support.
Amazing blog and really appreciate your willingness to share.
I’m a stills guy and haven’t shot more that a couple of minutes of motion in my life-’till now :>))
Curious about one technical detail. (well a thousand but I’ll start with one)
You mention shooting at 1/50. One behalf of all the newbie morons like myself, “Why”.
Why not shoot at 1/250 if it helps get the aperture to the sweet spot that might be desired
to help set the look for a particular scene?
Does shooting at higher shutter speeds create problems with the footage or downstream in post?
Mark Tomalty, Thank you so much for your kind words. 1/50sec shutter speed is like a 200 degree shutter on a film camera. All film cameras start at a 180 degree shutter. So at a 200 degree shutter it slightly takes the edge off of the sharpness of HD. Anything higher than 1/50 sec makes it look like video. Instead of increasing the shutter to get the right exposure use Neutral Density filtration to bring the exposure into place. This gives you that shallow depth of field that looks filmic and keeps you at 1/50sec.
So, 1/50 helps take the HD sharpness ‘edge’ off .
If I’m not looking to create a mood piece but am looking to create something a little more
‘technical’ where sharpness and detail are part of the creative component then shooting at
higher shutter speeds will help achieve this result with the only side-effect being a
more ‘video’ look than film look ?
Mark Tomalty, yes that is the case, but what comes along with that is more moire issues and rolling shutter problems.
“more moire issues and rolling shutter problems.”
Sweet :>)) Thanks again.
Your work is an inspiration thanks for your openness of sharing what you now and your ground breaking in DSLR Cinematography.
I would love to get a 7D now, but being semi retired the question is get the T2i now or wait for quite some time to purchase a 7D?
I’m 63 and my background includes a combination of commercial still photography and shooting on film and video. TV Commercials, shooting stock video footage and crewing on other peoples projects. I’m shooting now with a Nikon D90.
Greg Crawford, thank you so much for your kind words and support. I would get the Rebel. It is exactly like the 7D but for only $550.00. It will make your stuff shine, you just can’t shoot in the rain with that baby. I hope this helps.
Shane, great stuff – thanks for sharing!
In one of the BTS images, I see a metal riser supporting a fluid head. I appears to be bolted to a piece of plywood. I presume this is for low angle shots and support when sticks aren’t the best answer. Will you elaborate on this? Would like to assemble something similar. Thnx!
Jameson Abart, thank you so much, that is called a Hi-Hat. Yes, it is specifically for low angle shots. You can get them at Alan Gordan for 165.00 for a 100mm ball mount head, like a O’connor 10-30 video head. You are welcome.
Shane, thanks so much for making yourself available for our questions like this. Did you have to correct any shutter effects during the spinning around ‘baby’ shot? Or at all? I imagine even with the background out of focus you would deal with some jello-ing on that shot, and I know that tools exist to help remove some of that.
David Jackson, I did not correct anything and did not use any tools. I know that they exist but I wanted to show what you can get pretty much straight out of the camera with a little contrast control in color correction, without all the bells and whistles.
I got the 5D mk II a while ago and then I bought the LCDVF viewfinder, which is pretty nice and helps in stabilization. I find that the 5D is indeed pretty handholdable, but the 24-70 weighs a ton. How long takes did the EPK guys take and how were their arms after that?-D
Tero – we shot takes there were several minutes long at times. It’s just a matter of holding it right. I keep the camera close to me, somewhat chest level with my arms bent and look at the lcd that way. If I was going to shoot much longer than that at one time I would use a monopod, tripod or something but mainly to stable the image. In between takes I would always rest the camera close to me or even over my shoulder where the lens rests on my shoulder.
Shane, I see that you dont use a mattebox or lens hood but only filters, is the use of filters enough to reduce unwanted lens flare caused by lights or the sun? or do you setup your scene in a certain way to avoid lens flare?
thanks for your support!
Jorn, it is a little bit of both. I find that the flaring issue does not happen as much with these cameras as it does on film. I am constantly using just the filters and if the flare is too powerful I will put a little paper tape on the top of the filter to flag the sun off of the lens.
Shane which Neutral Density brand do you use? Great info about the Tiffen Water Whites IR’s getting one. The Digital Ultra clear only protects your lens, or is there another purpose for them?
Didier Clermont, I use WW IR ND’s. The Ultra clears are only to protect the lens, yes, that is correct.
It’s the first time I write in your blog, so no matter how many people have been thankful in words here, I have to write: thank you for all information you share.
My doubt is still about shutter speed. Well, I just wanted to make sure the 1/50s gold shutter works for all framerates available in Canon’s DSLRs. 24, 25, 30, 50 or 60?
Or would I have to try to keep the 180º rule? For example, going 1/125 or 1/100 when shooting 60fps in a 7D.
Michel Gomes, you are so welcome and I thank you for your support. Yes if you go to 60fps on the 7D I always shoot at 1/125. or 1/100 depending on the shot. It sharpens the 720 so that it looks sharper and will cut with the rest of the 1080 footage.
Thank you, Shane!
well i asked you in vimeo and you requested to ask you here, and i’m doing so lol
anyways i have an hdslr but really i cant figure out how to work with the “highlight tone priority” and the “auto lightining optimizer” i’m so confused i dont know when to use them…
and i have another question about picture style, what picture style do you use? sharpnes..? contrast..? saturation..? color tone..? you have such a great quality …i do love it.
i hope you’ll answer ;)
remake, Auto light optimizer always disabled, highlight tone priority always disabled. Picture Style: Neutral. Thank you so much for your kind words.
Thank you for your “vision” and taking the time to share this. Of course, I am only now exploring video via DSLRs – coming from background of photographer and Nikon (got old lenses; new D7000 body).
anyway, it was a treat watching these behind the scenes…
and of course, the actual final “short” simply amazing.
again, thanks… “vision” is sometimes the needed ingredient.
Pablo, Thank you so much for those kind words and support. Vision and story our king. The 5D is just one of the tools to deliver that vision.
Shane, I just wanted to thank you for sharing this incredible amount of information. I can truly tell that your love for cinematography is real and it is this that drives you to share this information with the community.
I am a photographer, but my true love is with cinema. With the power of the HDSLRS it is now accessible for me to make movies look how I envision them in my mind. A 2011 goal of mine is to make a short film. I find it difficult to think of anything else. I find your information invaluable, and just wanted to let you know.
Do you have any suggestions for me as I try to reach this goal?
Thanks, and take care.
Hemant J. Naidu, Thank you for all of those kind words. I do love cinematography. I cannot think of doing anything else in the world. Continue to shoot, find composition that you love and light that you love to experience, then start ot try and create that light. I love dawn, and late afternoon light. So I made it my mission to create the most realistic dawn and late afternoon in a sound stage. I feel that my work on Swing Vote was some of my best lighting for early morning that I had done. Then my late afternoon light was We are Marshall and Greatest Game. Never stop looking at light.
hey! you asked me to ask the question on the blog so here it is:
im just wondering what kind of picture styles a professional would you on the 7d to achieve the look of this film? it looks so awesome and i wanna replicate this to my best ability. did you use neutral or like a picture style from online?
Nathan, Neutral picture Style, -1 Contrast, -1 Saturation
The Last 3 Minutes..is my favorite DSLR Film of all time! Love your work and your passion. Watched it like 20 times…LOL Thanks for the effort in making the behind the scenes!
Travis Guerra, Thank you so much for those very kind words. Po Chan knocked it out of the park with her emotional roller coaster ride story and excellent direction. I enjoyed doing the BTS, looking back it was a great time.
Just a small question…. I’m a still photographer and not a filmmaker, so I have to ask, what are those two “cone” looking devices on top of the matte box in some of your setups? I noticed it on the rig you had on top of the maps at the top of the screen.
Jim, those are sonar focus tubes. They give you a digital read out on a small box that tells the First A.C. how far your subject is away from camera. It helps the focus puller with depth. It will tell you down to the inch. It is made by Cinematography Electronics, here is the link.
First off, your film is an absolute dream! I am amazed at how much one can achieve with such a relatively low cost camera. It is thanks to this film that I have chosen to purchase the camera. You have been an inspiration sir and I thank you for that!
My question is:
I am currently in the process of purchasing either the Canon 24-70 or the 24-105. My only concern is that the 24-70 does not have IS and therefore my shots could be a bit shaky. My concern with the 24-105 is that it only reaches f/4.
Which one would you say is an easier fix?
For the 27-70, I can always use a Steadicam but sometimes I need that handheld feeling and I’m afraid that a shoulder mount might not be enough to stop the shakiness.
For the 24-105, I can bump up the ISO but I am afraid that the image will become noisy.
If I could I’d purchase both, but the budget won’t let me!
Santiago, Thank you so much for the kind words and support. I would go with the 24-70. It is a better piece of glass. Just put some weight on your hand held rig and it will help your shakiness. I like my camera about 15lbs. That gives me the most stable platform. The IS function you want to stay away from unless you absolutely need it. It softens the image.
Just read your article in the new issue of “MOVIEMAKER”. I was blown away by the imagery and overall look of what you captured with the 5D in “The Last 3 Minutes”. Absolutely breathtaking! As far as lighting, I was wondering how you lit the following scenes:
1) 000-1:00-The opening janitor scenes.
2) 1:43-Girl under the sheet and bedroom.
3) 2.33-Flashlight and tent
4) 3.24-Outdoor mountain landscape with pink sky in bgrd.
It all looks like very natural, available light and yet you can see all the detail without any noise. What ISO, lens, shutter and f.stop?
Like Santiago above, I’m concerned about what lens to purchase the 5D with to start. B&H Video in Manhattan is selling it with the 24-105 mm. Should I push them to switch to 24-70mm. How wide does that lens go? Also, is the camera’s LCD monitor adequate or do I need to purchase an additional monitor?
I’ve been shooting lately with the Panasonic HVX-200A which I like but your film has inspired me to upgrade my visuals with the 5D. I am only concerned with recording single system good quality audio. Is it possible to do that with the 5D with a plugin external mic or would a Beachtek adapter with an XLR patch work? I see you have a mic attachment in the “Act of Valor” shoot.
Finally, I see Canon is releasing the Mark iii in a month or so. Its sensor is 22.3 vs. 21.1 in the Mark ii. Is it worth waiting for?
Sorry for so many questions but I want to work with the best I can within my tight budget.
Thank you again for making this wonderful inspirational short film available and providing so valuable info.