Independent short films often have a reputation of being highly disorganised, rushed and generally an unpleasant experience however I can happily say that Night Shift was none of the above.
There aren’t many productions that I have worked on in the last year that I have a genuine interest in watching and I’m very glad to say that this will be one of them. A great cast, a comical script and an enthusiastic director made the job that much more pleasant and enjoyable. On top of that Ben Bailey was an absolute pleasure to work under and look forward to the day where’s his name pops up in my email inbox.
There were little to no hiccups on the shoot and I encountered only one problem in the final hour. Our only BNC drum had a fault and my absence from the camera prep meant we did not have a backup drum. Fortunately the only remaining shots were two static shots and a very small tracking shot pictured above. It was our luck that the Alexa came with a 3m BNC cable which was just long enough to not cause problems. In hindsight I should have noticed the lack of a spare drum and asked for a backup as soon as I realised.
As I had mentioned in the previous article, I had little information about the shoot so I turned up a earlier than breakfast to label up the set of ultra primes (16mm, 24mm, 32mm, 50mm and 85mm) and get to know the kit. At the beginning of every job I open all the cases and take photos of the contents. Its a good habit to ensure you return the kit with all the bits that came with it. I recently came into possession of a mag liner so I proudly set it up for the first time laying the lenses, hard mattes and focus rings on top before wheeling into the first location.
All in all I couldn’t have asked for a better shoot and like to think I made a good impression on the rest of the camera department and hope to work with them in the near future.