What seems a LONG time ago, when I was just learning my ambition towards cinematography (away from directing/writing), I teamed up with now friend, Cody Greene. We wrote and co-directed (I was also cinematographer!) a short film called 'The Fall Line'.
It's the short story about a prodigy fashion designer under pressure by his agent and sponsors. In a desperate attempt to sabotage his own career, he decides to make nothing for the models to wear. The show must go on, and the models are nude. The crowd mistakenly interprets the action as a work of art, and thus the protagonist has escaped his attempted career suicide, and the pressure has been lifted as he has more time to create his next clothing line.It's a student film people, it's not that clever or original I know. We shot the entire film on an Arri SR-II camera, using Kodak 7217. There was a massive flutter in the gate for the bar scene and I learned a big lesson in camera movement. This was my first large narrative as a director of photography, and despite some learning kinks I got out of my system, parts of the film (mainly the design studio scenes) I am quite proud of.
The biggest lessons I learned on that first big attempt at the short 16mm narrative, is the importance of checking the gate and film movement, along with reading reflective light meter readings vs the incident. I discovered on that set, that I would forever be a reflective spot meter reader. I am a zone system junky, and love to plan an entire scene based off of reflective readings plotted on a zone system.
Enjoy some early work of mine!