The Art of Film :: Jordan Drake with DPReview

published on July 17, 2020

Welcome back everybody to another episode of the artifice RV today is really special because I have a guest not in studio this is mr Jordan Drake you might know him as the video guy from DP review that's what Chris Nichols calls you right you're the video guy

Calls me cameraman which I find slightly condescending offensive if you don't know we are we are actually practicing some social distancing here Jordan is hanging out in Calgary Alberta and I'm down here in Texas laying low and we

Decide we do this thing now you've probably been doing a lot of zooming I imagine Jordan I've done my share of zooming I've been getting zoom shamed a little bit too apparently I shouldn't be zooming but you gotta be silly

So we're FaceTime and today I don't know if I got blowback on that well now they're not gonna know what we're doing because we opted for slightly bent video quality yeah we wrote this is high tech it'll be so seamless that it's a good

Thing you said we were in different places because otherwise people would have no idea because we look cool with headphones is that look that's the real reason that's the giveaway let's take it what yeah they wouldn't know that this

Isn't the same room we're in but we thought this would be fun to kind of like remote in so to speak and do a show now we have been talking a lot about photo assignments and so we're gonna kind of keep that in the same pattern

I'm sorry I forgot to shut the device off that's chirping in here this is it's gonna be a little loose folks the other thing I have to warn you about is there's a train that goes by this window now when I make my videos I turn it off

I curse a lot I throw something the train passes and I'm back on it I'm not gonna do that today so we might just have a train that you hear I'm blown away by the professionalism its I told you this was this was gonna be tough not

You but anyway talking about photo signs I thought it would be cool since we've been talking about available like natural light so and so forth to have somebody who is a proper director of photography from the film world and for

Those of you don't know I know Jordan very well we've gotten to know each other on press trips but before we knew each other by a couple years I was a huge fan of he and Chris when they did the camera store and if you guys haven't

Seen that YouTube channel that's where you came in to your career as he you noticed yeah the origins and now obviously with DP review which everybody sees too so but you and I

Talked off camera a lot about how our on camera side people tend to just want to know about cameras and lenses and yeah tech stuff but we enjoy a much broader range and most people don't know that you have done these short film that you

Recorded was that a year ago or two years ago about a year and a half ago now year and a half ago which is soon to be released it's done some festivals mm-hmm I have had a semi week yeah you're one of the lucky few it just

Finished doing a bit of a festival played slam dance was probably the biggest one it's been around Canada and it was scheduled for some more festival dates but then things went south and hopefully it'll be released here pretty

Quick so everybody can yeah just in case nobody noticed like movie theaters like our that's that's really not proper so yeah yeah people aren't doing the film is called a walk down to water which Jordan was the director of photography

On and you did most of the camerawork correct yeah so I was DP for all of the stuff in our main location there is a small chunk that takes place in Denmark right and that was the director and I had a lot of conversations about how he

Wanted it to look the aesthetic of it but he went there just by himself and got the shots that we needed for that and when he came back I was incredibly envious because everything is beautiful and amazing and Denmark people haven't

Seen this we'll link up to the trailer and we have some cutaway stuff but the Denmark footage is the the moody landscape with the wild stuff in class the terrence malick stuff yeah it's pretty amazing yeah by the way what is

That you're drinking my friend this is la fin du Bois my traditional drink with Ted beer lovely Quebec brewery unibrow I recommend it I I do too but guess who didn't even think Jordans the

Sentimental one and so yeah he remembered this is a call with Ted so I'm gonna have Houston defend him on I did not purchase any I will correct the error of my ways as soon as we're off this call and I will hit specs because

It's the liquor stores essential item it's essential services essential services yeah and so they're they're definitely open but back to what we were talking about though I you know it's it's fascinating because when I said

When I did turn this around and went into photo assignments it all of a sudden had like made sense me it gives people something to do at home it gives them an escape from I don't know like the first thing I did the

First couple days is I watched way too much news and got really depressed yeah and thought I can't do this and so I thought it would be fun and what's interesting is like I've done photo science in the past before but I'm doing

Him now and it's like I have friends that are getting into him Thomas Heaton did that great video the other day your wife has been doing them and posted a bunch of stuff on Instagram and she was doing awesome stuff at the farm the fog

Machine out finally my kid was so excited I didn't let him know it was in the house until now that he knows that's what we do we fog things now it's permanently hey so is it yeah he'll never come back away but I thought that

Was in fact I should have EV on here too because she's been she's been rocking the photo assignments so you know sorry I don't want you on here no I'm teasing it's I'll just walk off turn brown walk out of here and I'm starting to behave

Like Chris and we can't have that you know yeah but I did think it would be fun to have somebody from more of the filmmaking side of things because I think that that's what you know first of all the line between and there's still a

Line between actually proper filmmaking and proper still photography even though our cameras allow us to go back and forth and do both that line is blurred a little bit in the fact that most of us dabble in the other but I think it's

Still a specialty one thing that struck me in particular man asking about this about the film is working with available light which is our concept now and the beginning of the movie starts off I can describe it can I even though it's not

Released yet yeah and hopefully we'll have some frames to give people go well I won't spoil anything it's this guy who runs a motel and one of the intro scenes he goes into this room to check on somebody who is not conscious and it

Really impressed me how you were able to handle that scene because one that's tough the dynamic range is crazy it's a dark that hotel room the door opens you have this crazy backlight most of it is shot backlit from the perspective of the

Bed and you see the motel owner come in and you're seeing him but you can see everything there what was that was presumably pretty challenging to work with yeah exactly and in those situations really the great thing about

Vidi are well filmmaking that separates it from for geography as you do tend to have a lot more control over things so we had a fair amount of lighting in the hotel room to balance things out a little bit

But the director Tyler Houser is a really interesting guy because in that case he said like for the actors I don't want my lead guy boban walking into a you know room that's lit up like an airplane hangar which is usually what

You see when you're lighting a high contrast scene like that right so we did really it was quite dim in there and then we just had kind of count on you know the camera being able to we shot it on a red dragon so we're shooting raw

Video so we do get a little bit of wiggle room to bring down those highlights a little bit boost the shadows but we made the decision in that that it was going to be very very high contrast which is something I fight a

Lot you know especially as a guy who's out working in the world without a lot of lights all the time when I can control them I'm like oh let's just compress everything so there's no dynamic range required whatsoever we've

Got a crew here but I do think it makes it feel very naturalistic in that moment the other thing that's interesting is when that balances out to the scenes that happen in front of the room that are actually in the parking lot yes how

Picky were you guys about time a day that kind of thing because it's it's pretty high noon lighting it appears but it doesn't you know it looks good yeah so we made the decision against every instinct it's like man I'm not

Gonna get any any cinematography Awards for this because we said we want it to be harsh and you know very uncomfortable when he's outside our hotel owner he's out of his element in that he feels very vulnerable so we said okay all we're

Gonna do we'll bring you know a couple bounces we'll have some Flags available but for the most part we're not adding any light to this we're not putting on everybody under a big light tent like I would typically do we wanted it to feel

Very harsh and I think that definitely gets across you know it is uncomfortable again because of the camera we were using we were able to hang on to a little bit of that in the high contrast but I know when we were doing the grade

We made the decision to even you know blow some highlights some blacks we wanted it to feel that way and then once we're back inside then we're back on – you know lighting those scenes getting a more conventional kind

Of contrast ratio there's a lot of play in that short film with out well I would say I mean this is common in film but but with subtleties that you probably are going to feel more than you're going to notice unless you know what you're

Looking for you know little subtleties like you know using a locked-off shot which basically if you're not familiar with the term it just means on a tripod the cab's not moving versus there's a scene where this little girl comes in

And it's supposed to make you slightly uncomfortable it moves to handheld yeah there's little subtleties when you guys are planning through that so you've got the director and it's his concept and everything right he's not just the

Director he's his film do you guys sit down and kind of talk through that vision a little bit it's not improvised in the moment I know from a very early point yeah as soon as there's people who are outside of his control you'll see we

Go to a much more handheld kind of thing even what would typically be a big dolly shot or something with a Steadicam we've got him moving through the parking lot for that we actually just rigged up a moving cart with a bunch of bungee cords

And hand held the camera across the parking lot so it kind of had like a a late 80s Early 90s Steadicam kind of sloppy look to it but it then it's still a little uncomfortable but at the same time you're looking over and we have you

Know Ronan twos and stuff like that we could have a perfectly controlled move but it's just what made sense for the story in that moment and I definitely think it was the right decision it brings up an interesting point because

From a still photography perspective something that I tend to talk a lot about is that it's like I guess the phrase is just because you can doesn't mean you should and when you're talking about I mean it's really tempting if

Especially if you're you know if you're not you're doing a film and that's that's a much more serious planned out execution but just because you have access to Ronan steadicams doesn't mean that that's the right choice for the

Mood of the field that you're you're trying to get across things tend to you know and obviously it's great to say hey we used a red dragon on this but there there's a there's a threshold where like your equipment is going to do a lot

For you but like how creative are you gonna be with the solutions that that come beyond that and I think if you're doing serious still photography you're probably not planning it out the same as a movie although I would argue there's a

Few people Gregg recruits and who probably plans them out too that you know cuz he's got that cinematic look with sets and crazy lights and fog and you know all that stuff and yeah motivated lighting and stuff like that

Yeah exactly it's it's and it was this one your first film to work on was it no I've done a few short films this was the highest budget one that I've been DP on but I've done another film with Levi called metanoia which is a very flashy

Cinematographers movie you know it's kind of dreamlike and I can certainly send you the link for that one but it's very flashy as opposed to a walk down to water which is not that way at all for that I really kind of had to say like

You know you know there were lots of times where I'd be like this would be a really cool shot here like when we have some paramedics show up and stuff like that right but we just went with a more simple still you know locked off or just

A handheld with a tiny bit of Bounce because it works for the story and it's kind of frustrating because you're like yeah this is not this is not gonna be on my reel this moment no but everything as a whole it works it always has to be I

Mean you're kind of a slave to the end result because like that film to me you know it's it's a short film so it's 16 minutes or so in length I guess and it's this beautiful slice of life with kind of I would say three story lines that

Are going on at once that are intersecting at that point and it's it's the kind of thing and I mean this is a compliment to you and Levi both it's something that it's like I want to see this made into a longer film or it you

Know you want more of it which is a great thing too it's the result you want people to feel at the end you know we actually want to see more I think even in still work where they see a series of images if you want to see more you've

Done your job but there are you're right there are points you know another thing that we have like I threw this little kink into the latest photo assignment because I was I used Joseph's sue deck and I guess Tom Burrell there were a

Couple of photographers that I used you know is inspiration for still lives and I noticed and I was being very honest with this I wasn't set up but I actually did a video where it was like I I started to shoot my lighting one right

Because it was overcast and I did this whole video on using window light that was inspired by sue deck and you know you're doing all this stuff and all of a sudden I couldn't get anything so I thought well

I'm just gonna work with what I've got and I hated the shots I got right they were just there was no intention there's no thought it was like I what I was going to is the equivalent what you just said where it's like this is going in

The real and it's not it's a part of a photo assignment that I'm doing yeah and so I realized that that I'm kind of doing this half bizarre way of trying to cop what Sudak did and then I'm starting to look at those photos and you learn a

Little bit I'm like you know I've never had anybody copy something just straight out of the bag before and so that's part of the assignment is actually go in pick a photo and try and copy as close as possible and the idea is not that you're

Going to become a clone of that person in your own work but you're gonna understand and explore the subtleties and I bring this up because two of my favorite videos that you guys have done were the wooden nickels videos that were

They were both cameras store right they weren't we've done one for DP review now eternal sunshine that's right there's my clothes for DP yeah and though I'm gonna add the third because those those are three the way you did them is a long

Pasted video where you showed the behind the scenes obviously because the camera equipment is involved there was the gh 5 I guess the camera with the segment of the fuji film GX h 1x h1 that was it and then the Blackmagic pocket Cinema Camera

And if you really dig you'll see the origin of that idea on our fs5 review where Chris did Blood Diamond with Oh awesome really stunning South African accent that I recommend tracking at the production value very low on that to

People on the side of a hill shooting it but oh I love those because one it's fun to watch you guys as the actors I mean I guess that's just the fun part of it but like the links that you went to to really recreate those scenes

Particularly with the XH one lateral collateral yeah and and oh and he did a good Tom Cruise – and Jordan gets shot in that one it's that's fun to watch you know it's but it was really cool because I mean it's absolutely beautiful and

Then when you go through it with people who are real colorists who do this stuff all the time so like I guess what I'm getting at is like what are some of the things that like you took away from a learning standpoint of just like

Straight up I'm gonna recreate a scene from something like what are the subtlety the biggest single lighting lesson I took from anything was when we were shooting that xh1 collateral video which

Looks very glassy-eyed nick did a brilliant job lighting it but it's really a key light and then a couple of motivated lights which are just things that would actually be in you know a real light on the table or on the wall

Something like that but then how he controlled the light is he brought in a truck basically of what we call floppies and this is been a debate on some questions before but yeah he would just put up these essentially big black

Velvet flags and he we would just move them closer and further from all the actors and the main scene at the table is really lit with just one big actually it's and Phil acts like a 1k LED light and then moving a ton of those flops

Around moving them to change the angle and by taking the light away then you get that really nice contrast in the shot you can really control how much shadow you want in the eyes you know suddenly the tone of the scene changes

From kind of a lighter comedy conversation to something much darker and in that moment you'll see we lose the light in one of their eyes which is the case in the original film and we were duplicating that and that is really

The big thing that I took when I started working on a walk down to water is is a very minimal light setup but there's some great I can send you some behind the scenes where we had like six seven flops all around there's a scene I shot

I really loved the first shot in the movie is Sunbeam that slides across the roof and I thought that would be the easiest thing ever to get until I tried to duplicate that so we shot a big LED off of a mirror and we had a whole pile

Of those flags and there's my key grip is sitting right underneath the frame physically pulling a flag down to reveal the light as it moves across the ceiling and you know it's a simple throw away shot we knew we wanted it and we

Probably spent an hour and a half on set getting that right and like a day of prep to do it beforehand and figure out how to make it look convincing but if you're working with available light just a way to subtract a little light can be

An amazing tool and it doesn't mean you have to get a big Matthews floppy or something just grab like a black I love black fur blankets or an amazing tool to just add a little bit of contrast to your shot

Make it look like you're working with more lights than you actually think okay I need more lights right now you just need to control the light that you've got I guess is what it comes well so often do you find the same thing you're

Adding a light to create a shadow absolutely why not just make a shadow you know yeah yeah a lot of flags in the room yeah if I you know if I was sitting right here and moved in just a tiny piece of black you would see that shadow

Really start to move across my face even though the light is over you're a lot younger than I am mini-me my point is just setting anyone's ever said to me no well I I'm heading to this because you know we are both I'm on the older side

Of it but we're both of a strange generation when it comes to doing video because like when I was growing up I always had an interest in it and I think my earliest experience was when me and some of my friends would somebody had

And it was just a camcorder with that took the VHS tapes and we would edit an entire we would copy Ferris Bueller's Day Off but changed the plot to be really stupid into something dumb you know but what we would do is we would go

Around all this is what we did in the summer would go around all day we would bug our friends we need to get a shot the whole thing would be edited in camera in one take at a time and then because there was nothing to do it said

And I had so much fun doing it because nobody cares and there was no YouTube back then I would have loved it if throes and then you know when I got older I was still interested in it but I did still photography videos

Prohibitively expensive early mm-hmm when did you get into like what was your what was your context of what drew you well I did the exact same thing in high school running around with except mine was a digital 8 camcorder and we'll

Actually have a video coming up next week about that then I found out a way to get a video signal out of it so we're shooting an episode on my very first camera but I did the exact same thing and then yeah I

Really wanted to get into filmmaking you know just that was right around the DVD boom so I spent all my time watching audio commentaries and stuff like that and really thought I would be a director and you know made some short films like

On an old Sony Zed 1u that's how I got together with my wife she was in the film but just got to a point where it's like I want to make something that looks and feels better than that and it does take

You know half a million dollars to get something usable at that point and you know that was right around the time Reds were starting to their first red was trickling into market but they were so unstable I'd never want to use one

Without a huge crew so I just kind of put it aside and got really into photography at that point because at least it was you know manageable to make something that looked the way I wanted it to look and then I know you've got

The exact same story I think half of all people who are really into this have the same thing when the 5d mark ii came out that changed everything and i got back into video in a big big way oh I had I remember when that was announced the

Fight so that I had let's see this girl I was dating her brother had a 5d the original and he was it was Hardy he was a film guy he did music videos he lived in New York but he bought this thing as his still carry around camera and I

Remember we went to this like it was like a wedding or something it was this dinner it was it was pitch black he's in the shooting with no flash and he's showing me the images and I'm like I mean it shot it ISO 3200 it was like

Clean for the most part you know and that was really groundbreaking but then when I found out it was gonna do video it's like okay I'm saving every dime I have I'm eating no lunches for months now and you know to get that camera cuz

It was it was I wouldn't cheap but it also was obtainable you know I think yes I want to say it was like it was under two grand maybe I don't remember and of course it was three in Canada but I have no idea what how you guys were doing

Down well yeah and I don't remember I mean and you'd have to inflate it for today's prices in the economy whatever but that was a that was a huge tipping point and I was working at them you know just started working at the museum and

We were doing a lot of film stuff with documentaries I was using camcorders and junk and I remember moving to the 5d mark 3 and mark 2 and it was just like I still have mine it's just a sentimental thing got it some reason I got my old

Tape camera still yeah it's it's you know you just kind of hang on to it because it's but that was a huge tipping point because like before that I remember because I'm old so one of my first jobs in the 90s this would have

Been 97 98 somewhere in there I was out of college and I had studied music and I went to work for the software coming that was doing this music tutorial software and my introduction to digital video is I had a

Really and I really good friends now but I just met him then he was producing the video so we would make this was back in the days of CD ROMs and so to make one of these we had this software that would be like follow the

Bouncing ball you could buy a cd-rom that would show you how to play songs by Jimi Hendrix let's say it's so I don't even know how I did this back in the day I had to go work up all the Jimi Hendrix songs and play them so people could slow

It down it would move to MIDI but it would still like it would sync up with the video slower which was cool but I remember they had the avid Symphony when it first came out and and for those of you don't know this was an editing suite

That avid made and computers were not what they are today and you had to have external hardware basically to process all the video it still took all night to render this stuff it was it cost a fortune to buy a symphony and we're

Talking about postage stamp-sized 320 by 480 a little quicktime little Sorenson squeeze and and we were good to go but but yeah that's back when it was just I couldn't get into it because it was just it was you you couldn't just do it at

Home and I guess I don't remember when it was but maybe iMovie was a big change in that too because i movie in the first iMac that allowed you to do it probably wasn't HD but it allowed you to do video um you know it's just crazy now that we

Think of 4k or even like when people start getting real excited about 8k and it's like if you know what you'd do with 8 K I think it's probably worth having but if you don't like finding it on a phone now I think is very funny but yes

Yeah there are certainly some uses for it but you know that last film we did was mastered in 6 K and yeah it was nice to have a couple crops in because we wanted to deliver that at 4k once we start delivering at 6 K maybe I'll want

8 K to have that same flexibility but certainly I'm not hurting for resolution right now there is some footage and a walk down to water then when it gets into the forest yes is that so ok so the forest stuff that was Denmark was Levi's

But I would love to know what you think about that there's a phone call I don't wanna give away the movie because it really is cool but there let's just say there's a phone call and that's all you hear and so it's

Just cutaway stuff that's essentially b-roll that you're looking at to have this emotional experience and so the phone conversation and the b-roll are two different things but they work together for this heightened emotional

Effect all of a sudden it kind of looks anamorphic in spots it's soft focus in spots it has a dreamlike quality to it and I thought you're either using broken stuff or I thought maybe it was anamorphic okay you're working with

Light but it was the effect was incredible but all right kill it for me this is why the director Levi is one of my favorite people is first of all we made the decision that there were two points in that movie where we were going

To use vintage lenses so he finds a body in a hotel room that room is shot entirely on old Nikon AI lenses Wow come from the 70s once we get to the forest footage from Denmark there we're shooting it on those same AI lenses but

We actually rigged up a contraption so we could put panes of glass to emulate kind of a Tom he'd oh look it's really what we were going for I went through that whole photo book a bunch of times with the director and then we had it on

A couple of clamps so we could shift the angle of the light and then we could spray it with water if we needed to to give it yeah that looking through the headlights or looking out a window kind of look to us it's just a slight

Refraction that's going on that just it's a stray subtle yeah but I loved it you can see the light is yeah it's bending in a way you wouldn't normally expect it to and if you look at the highlights they're not anamorphic

And I love the look of it we used it very sparingly in the movie but when he uses it I think it just has such a that scene is designed to be very nostalgic and wistful and I think it totally feels like being a kid looking out the window

Of a car or something like that that's why she discussed a lot leading into it oh yeah I thought it was fantastic and it's not overused I mean it's it's used for a reason and you don't notice it I mean I noticed those things because you

Know here my friend just sent me his movie and so I'm like really trying to be alert when I'm intellectually interview him about this but but now I thought it was it was it was fantastic and I think that's

Actually an interesting topic too that I okay so you were on the podcast that I did with jarran and I can't murder whether we had this discussion or not because it's something he obsesses over a lot these days but the whole idea that

You know modern lenses you know we there's been strides in lens design in the last twenty years that have put us into like even crappy well I wouldn't say crap even cheap lenses and is inexpensive

Are usually I mean they can give you a really clean sharp image they look great right sometimes you might get some chromatic aberration but other than that it's you know that's what you're dealing with but what one thing that I've

Noticed though is they get so sharp and so clean that they start they don't really don't have a lot of soul and and my friend who had the avid back in the day we were talking about this and he loves that's why he likes to use the old

70s Nikon AAA lenses because they they just give it a little it it's hard to explain they're not quite as sharp and they just have a little more soul to them but I also think what you're talking about we're essentially you're

Building a refraction filter to go over the lens I mean there's a lot you can do with a really slick clean lens to give it that effect because I was convinced you were using something that was either broken or really specialized or yeah

Just messing with the light in front of the lens very slightly and yeah grab a UV filter and you know we all have some of those kicking around and I don't tend to use him that much anyways scratch them up or two I you know take them a

Little bit off the lens and just shift it a little bit to do that same kind of effect spray some water on it there's a lot of really cool stuff you can do with that kind of effect I'll do the neutral density to use filters much when you

Film there is a pro mist filter anytime we're indoors in that film which just softens the image gives it a little bit more of a filmic kind of look it diffuses the light a very tiny amount but we made the decision again when we

Were outside we wanted it harsh and clean so we actually used a set of Sony cine Altos for that which have their sharp lenses but they have almost no character and you can definitely feel when we're in the office to me it feels

Very warm very cinematic once we get outside it's yeah it's somewhat uncomfortable I would say in that kind of our goal going into it they're very yeah they're technically great lenses those cine Alto spiders

I just find they don't look like movie lenses to me so that's why we use them for those situations well and I'm sure you watch your share of Netflix these days we all do theirs yeah this well it is yeah this is the time and you're

Gonna notice that there is definitely from a photography standpoint and a lot of these miniseries where there is a look that like I know that peaky blinders they're very into the it's not the Pro mist it's the black set and I

Think they use a lot of those diffusion filters and then the the Queen no say the crown the crown yeah the crown the crown I remember what their filter choices but you know a friend of mine said before

You could shoot log readily on most cameras that he actually would rig up and stack a bunch of that stuff so you can lift shadows and bring back highlights and essentially like do this weird manual log thing that would

Give him some flexibility and post that I guess we're spoiled today because you don't technically need it yeah you know a lot of the the but the Netflix look though that they're going for is that when you have the the filters that will

Somewhat start to give a little haze to highlights if you have any kind of direct light blowing in you know the crown they shoot a lot of stuff in a window and it gives it a really soft portrait look it's a period piece too

Well in the crown is hazed a lot like I was talking about pulling up the fogger for the kid but you know you most the time you don't want to be able to see the fog but if you just lightly mist a set with it you can even get little

Aerosol things that'll just spritz a little bit of haze in the atmosphere you can see the direction of the light and it's a really cool effect even just you know when I'm popping a hair light on a strobe or something like that it's a

Cool little tool to have in your back pocket just haze that one light so you can see the direction of it and it does tend to look very cinematic what do you think if I start filming on my YouTube videos like that I just like you have to

Yeah every two minutes we just you know people don't you cut out the part where you're running around with the fog machine and the brand talking head yeah right sit back down put the hair light up yes that's the way Ted yes who sees

This you saw here first the new look of the art of photography where I was hired you know i it's also funny because I remember you know starting with the 5d mark ii and i was a member Final Cut Pro 7 I guess is what I

Was using before they just completely overhauled the interface and you know at that time what was it was was a magic bullet was was the LUT software you could get as a plug you know it was yeah red red giant made it and they had all

The looks in there and stuff and I remember well I'm gonna go for the film looking when I make my YouTube videos and you realize real fast that there's the right look for the right time and it's there's a proprietary content yeah

You know but yeah that was this work those were fun days Jordan it's the amount of plugins I've you bought and I'm like this is now that like I went through the film convert phase and everybody liked that and yeah at the end

Of the day it just depends on the project at hand yeah I'm glad I have those film convert plugins should that come up a walk down to water does have a tiny bit of that say did you grade the the film no I sat in when we did the the

Great honor you were part of this I was it yeah I was I was in the team yeah it's beautifully great Alan today yeah he did a wonderful job on that yeah look okay yeah but yeah I was a pleasure to kind of sit down and actually work with

A pro is just a whole other you know we've done that for the wooden nickels too we've had and the best colorist in Calgary and then we've had you know a guy who works on Marvel movies do that collateral one like yes it's crazy when

You see someone at that level working and they just view color in a different way oh my gosh it's amazing well one thing that I think really helped that outdoor footage I jokingly mentioned earlier but

But Chris Nichols daughter Maddy makes a parents in it she's one of the kids and if you haven't seen Chris's daughter she is a gorgeous kid with the most beautiful red hair and then the lead actress in the film also has really

Pretty red hair and I just noticed that that really it's almost that you know when you used to look at Transparency film you know that's on a projector and the Reds would have that glow to them and I think that helps with a lot of the

Harshness too because it's not flat does that make sense it's there's there's a really beautiful tone to a lot of the colors that go on and which I think you know there's so much of that sequence there where you're both

Trying to direct kids which is incredibly difficult right so Levi's trying to deal with that but also because of her hair we really want her backlit in a lot of that stuff so you're trying to get them in the

Right foot no but like head up but no no you're in the moment like no she took your crayon you have to react come on you're mad oh man it's unbelievable like that was the hardest I've ever slept was the day

We rapped after shooting in a hot parking lot with kids all day that wears you out more than just having one of your own it's a yeah alright Jordan thanks for coming on and thank you guys for watching and yeah

Leave questions below we'll have him on again so we'll bring you back for more and I think this is a cool perspective with coming from a big film background with a real film filmography person and definitely stay tuned for a walk down to

Water coming out very soon yeah on streaming we will as soon as it's available all sent end the Lincoln you can add it to that or yeah and then we'll do another one of these and we can like you know ruin the ending and stuff

So oh let's go in let's do a spoiler episode okay sounds good man appreciate it catch you guys later see ya later time

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