• Catalog
  • Mentors
  • Store
  • Pricing
  • Blog
  • Start Free Trial
  • Login
  • Search
  • Menu Menu
Pre Production, Production

Independent Filmmaking – Helen Disconnected

Black and white goggled man on train

 

By Julien Lasseur

Helen Disconnected is a one-character story that explores the illusion of enhanced connectivity through technology. On the surface, the narrative follows the meticulous pace of a woman cleaning her house. The script had a powerful prosaic quality in its creation of a small and insular atmosphere that feels almost inaccessible to anybody but the protagonist; it could have easily been a short story in a literary mag. But when translating to the screen, the director, Brian Groh, couldn’t simply rely on the pacing of the character’s ominous movement toward the final reveal. Without the external drama of human interaction to carry the narrative onscreen, the visuals had to create the stakes for the audience. As Groh put it, “We’re asking the audience to watch a woman clean her house for six minutes. How do we make that interesting?”

To begin answering that question, I asked Groh to make a mood board. This was my first collaboration with him, so I wanted to get a sense of his visual language before we began production. The boards were refreshingly clear in conveying the emotional atmosphere of each shot, but the technicalities – color pallets, lighting, and overall shot composition – weren’t part of his vernacular. That’s where I came in. We used the mood board as a launching point for a dialogue about how to accomplish what Groh had envisioned.

Budget-minded filmmaking forces you to solve your problems within limitations. Without a set decorator, Groh had initially planned to shoot the scenes with whatever was available at the location and some borrowed furniture and props from friends. However, given the importance of the visuals to engage the audience in the story, we needed creative control over every aspect of the film’s aesthetic. I encouraged Groh to bring on Jamie Thalman, a set decorator with whom I’ve collaborated closely on many projects. Thalman’s contributions to the film were crucial; literally every shot in the film benefited from his work.

Groh and Thalman got hold of a number of items that play prominently onscreen and go a long way toward informing the audience. Two pieces that had especially significant effects were the orange vacuum cleaner and the lime green tea kettle, both of which were shopped to support the look of “future vintage.” With the addition of items like these, I was feeling much more confident in my goal to achieve a visually-captivating film that would engage the audience in the inward narrative of its sole character.

Once we got into lighting the scenes, all of the prep and photo studies began to pay off. The painstaking discussions about the aesthetic made for very little deliberation between director and DP on the day of the shoot. I already had a shorthand with Thalman, so it was easy to work with him to achieve a frame that satisfied both me and Groh, who could then focus on capturing the narrative and the actor’s performance without having to spend time and energy worrying about what was showing up on the monitor.

The next time I saw the film was after picture lock. I came to do frame adjustments and work with the colorist. Groh was eager to keep me involved in every aspect of the film’s visuals, including the outputs. From the earliest stages of the process to the final strokes of post, I felt a strong sense of purpose in my DP role. It’s a good feeling when each member of the crew can feel the necessity of his or her role in the completion of the work. This isn’t always the case for a project, and we achieved it through constant communication. That’s what’s most rewarding about filmmaking for me: when each indispensable piece comes together to make the whole.

Total Budget: $3,000 ($2,000 Production / $1,000 Post-Production)

– Many thanks to the cast and crew who donated their time for this project.

Camera Equipment:
5DMKII
Leica R glass
Dana Dolly
Sachtler 0450 FSB-6T Head w/ Sticks

G&E Equipment:
1 x 1200 Se Ltm Par w/ Electronic Ballast
2 x 4ft4 Kino
2 x 650 Arri Fresnel
1 x 300 Arri Fresnel
1 x 2ft Single Kino
2 x Etc Source 4 750 Fixture
2 x 26 Degree Source 4 Lens
1 x Source 4 Iris
1 x Source 4 Pattern Holder
8 x 25′ Edison Stingers
3 x 50′ Edison Stingers
6 x Cube Taps
4 x 1k Hand Dimmer
8 x 40″ C-stands
2 x 24″ C-stands
1 x Baby Mini Menace Arm
2 x Beaver Board (Baby Pin On Pancake)
1 x Duck Bill Clamp
2 x 6″ C-clamp
2 x 12″ C-clamp
3 x Cardellini – End Jaw
1 x 8ft Speedrail
1 x Menace Arm Kit
10 x 20lb Sandbags
2 x Apple Box Family
3 x #1 Grip Clips
6 x #2 Grip Clips
6 x #3 Grip Clips
1 x 48×48 Beadboard Bounce w/ Silver
1 x 18×24 Kit (1) Sgl (1) Dbl (1) Slk (2) Flg
1 x 18×24 Flag Box – Wood
2 x 42×42 Solid Floppy
2 x 48×48 Empty Frame
Opal & 250

 

July 16, 2014/by Shane Hurlbut, ASC
Tags: Canon, Canon 5D
Share this entry
  • Share on Facebook
  • Share on Twitter
  • Share on WhatsApp
  • Share on Pinterest
  • Share on LinkedIn
  • Share on Tumblr
  • Share on Vk
  • Share on Reddit
  • Share by Mail
https://www.filmmakersacademy.com/wp-content/uploads/2014/07/t_ww_190714.jpg 250 640 Shane Hurlbut, ASC https://www.filmmakersacademy.com/wp-content/uploads/2021/10/Filmmakers-Academy-Filmmaking-Courses.svg Shane Hurlbut, ASC2014-07-16 10:09:582022-02-10 17:26:40Independent Filmmaking – Helen Disconnected
You might also like
Arri Alexa vs Canon C500 Part 2 poster Arri Alexa vs. Canon C500 Part 2
Deadfall Camera breakdown “Deadfall” – Camera Breakdown: Artistry Meets Organization
Operating camera on crane on set of music video BTS on the Keith Urban “Act of Valor” Music Video
Photographers and light bulbs flashing My Go To Lighting Package Part Two: The Basics
Accessorizing 1DC in the studio Accessorizing Your 1DC for Cinematic Capture
Man cam in minivan with Shane Hurlbut ASC Keeping It Small
4 replies
  1. Ron
    Ron says:
    July 17, 2014 at 9:02 PM

    Well done. Very engaging. Cheers.

    • Alan Nicholas
      Alan Nicholas says:
      July 19, 2014 at 9:36 AM

      Visuals, Story Concept and cinema photography are excellent !! Great Job !!

      • Shane
        Shane says:
        July 19, 2014 at 8:56 PM

        Alan,
        Thanks so much for the kind words and support! Julien did a fantastic job.

  2. Trae
    Trae says:
    October 28, 2014 at 1:08 PM

    Great stuff, Julian! Hey, just wanted to point out that the Vimeo embed at the top of your article has some kind of a problem. :)

    Thank you for sharing your experience!

Comments are closed.

Blog Catagories

  • Announcements
  • Business
  • Camera
  • Composition
  • Directing
  • Film Theory
  • Lenses
  • Lighting
  • Post Production
  • Pre Production
  • Production

Latest Blog Posts

  • BLUESHAPE 2022: Powering the Film IndustryBLUESHAPE 2022: Powering the Film IndustryJune 24, 2022 - 4:56 PM
  • The Look of Top Gun MaverickTHE LOOK OF TOP GUN: MAVERICKJune 21, 2022 - 9:11 PM
  • 2022 5DayDeal BundleWhat’s in the 2022 5DayDeal?June 9, 2022 - 7:07 AM

Newsletter Signup

SUBSCRIBE

Join our community to take advantage of personal insights, techniques, and skills from Hollywood professionals. They put in the time and effort so you don’t have to!



BROWSE COURSES

Cinematography
Lighting & Grip
Directing
Camera And Lenses
Post Production
Coming Soon
View All Courses

ABOUT

Pricing
Store
Blog
Our Story
Our Mentors
FAQs
Student and US Military
Shane’s Kit
Glossary
Press Kit
Contact Us

DOWNLOAD
SIGN IN
BECOME A MEMBER

Our Partners

 
PreviousNext
Red Digital Cinema logo
Matthews Studio Equipment logo
The Tiffen Company logo
Musicbed logo
Keslow logo PNG Transparent
Blueshape logo
MBS Equipment Company logo
 

Filmmakers Academy, Los Angeles, CA Born in Los Angeles, CA.

Terms Of Use         Cookie Policy         Privacy Policy

2022 © Hurlbut Visuals, All Rights Reserved.

Scroll to top