Although there’s often a desire for big, Hollywood films, having too many resources, and too much polish, contradicts the mission of art. Independent films can be shot with minimal equipment and lend themselves to bigger, bolder ideas in a smaller package. In ArtiFact 50, Alex Sheremet and Joel Parrish reflect on shooting their first film, “From There to There: Bruce Ario, The Minneapolis Poet”. Topics covered: film and audio equipment, cinematography, production and post-production, finding interviews, and the pract...
Although there’s often a desire for big, Hollywood films, having too many resources, and too much polish, contradicts the mission of art. Independent films can be shot with minimal equipment and lend themselves to bigger, bolder ideas in a smaller package. In ArtiFact 50, Alex Sheremet and Joel Parrish reflect on shooting their first film, “From There to There: Bruce Ario, The Minneapolis Poet”. Topics covered: film and audio equipment, cinematography, production and post-production, finding interviews, and the practical as well as theoretical foundations of filmmaking.
You can also watch this conversation on our YouTube channel: https://youtu.be/u4hX_OSyWs4
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Joel Parrish’s poetry and photography: https://poeticimport.com
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Timestamps:
0:00 – the excitement of guerrilla filmmaking
1:36 – the final night of our Minneapolis trip; splitting camera responsibilities; over-scheduling yet still getting everything done; how capturing footage helps define the screenplay; Robbinsdale in Minneapolis; managing sixteen hour days
13:52 – the final night in Minneapolis; nighttime guerrilla filmmaking; accidental imagery & footage; Alex finds some bud; shooting without a plan; every alley has something that can be captured; Joel hops on a city bus and captures video & conversation; checking off a checklist vs. improv filmmaking
22:06 – how shooting a film altered Alex’s perception of watching movies; paying attention to cinematography; Alex’s thoughts on the 1995 hip-hop vampire film, The Addiction; how text styles on the screen can become quite dated; avoiding dated, faddish aesthetics; long vs. short takes; making a well-produced film on a budget using today’s software & equipment
31:20 – the post-production process; how we went from an informational, “good” documentary, to something far more ambitious; going through our equipment: a Canon M50 with an additional lens; DaVinci Resolve for film & color grading; capturing deep nighttime grain; SSD storage for keeping all files in 1 place; Zoom Podtrak P4 for an XLR connection to Audio-Technica’s lavalier microphone & AT2005 mics; Hollywood vs. anti-Hollywood aesthetics; Joel’s professional setup, cameras, GoPro, and audio equipment; getting the most out of any camera at a discount; GAS: Gear Acquisition Syndrome
53:50 – the pre-planning stages for an independent film; why a documentary is a great first movie; the importance of split responsibilities
FOR PATRONS: Joel’s planning stages for the film; acquiring interviews; the perils of overplanning; reducing the amount of equipment; Joel praises Alex as an interviewer; returning to Minneapolis: catching segregated neighborhoods, visiting other parks, 5-minute interviews with locals; capturing Minneapolis footage vs. footage from other cities; frozen falls; some wonderful descriptions of nature in Bruce Ario’s “Cityboy”
Tags: #film #art #artist
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