In this podcast episode, we talked about working with the legendary Morgan Freeman, our non-profit announcement, and the power of collaboration.
Our recent journey led us to an AFI tribute honoring Nicole Kidman, featuring Morgan Freeman.
This incredible journey at CFA just got better—we're now an official non-profit! This opens the door to more grants, donations, and educational opportunities. As a newly minted public charity, we're reshaping the industry's future, one groundbreaking step at a time.
For our listeners, CFA’s teamed up with We Make Movies to get you a discount on production management services, including access to comprehensive production insurance and workers' comp for your next shoot.
Visit wemakemovies.org/insurance and use code CFA23 on your intake form for 10% off your quote.
Calling all actors! Take 25% off your membership at WeAudition with code: CFA25
Website: www.cinematographyforactors.com
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TikTok: https://www.tiktok.com/@cinematographyforactors
Cinematography for Actors is a community aimed at bridging the gap between talent & crew through our weekly podcast & community events. Our weekly show supports the filmmaking community through transparent, honest & technically focused interviews with the goal of elevating the art of effective storytelling.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
The CFA methodology worked, and it worked with
Morgan Freeman, so that's why Iwanted to talk about it.
First of all, I just don't wantto like gloat that I was
shooting something cool.
It was more like, because I'mnow living proof, I can come
back to the community and saylike, yep, it does work on
bigger things.
Okay, it works.
Maybe not on everything, butit's starting to, and I trust
the process.
This is the Cinematography forActors podcast.
(00:22):
More than a podcast.
Speaker 2 (00:23):
the Cinematography for Actors podcast.
More than a podcast,cinematography for Actors is a
vibrant community devoted tobridging the gap between talent
and crew.
Each week, our show offerstransparent, insightful
conversations with industryleaders.
We unveil the magic behind thescenes, from candid discussions
about unique filmmakingprocesses to in-depth technical
exploration.
(00:43):
Join us in unraveling theintricacies of filmmaking, one
episode at a time.
It's more than just cameras andlenses.
We aim to inspire, educate andempower as we peel back the
curtain on the art of effectivestorytelling.
Now on to the episode.
Hi everybody, hi everyone, andwelcome back.
It's just us on the couch today.
(01:04):
What a rare sight.
Speaker 1 (01:05):
We haven't done this in a while we really haven't but
we have.
We we've decided like we like,took a top sheet for the company
and we wrote down all of thethings we like and enjoy doing
and what we want to move forwardwith.
And obviously podcast was topof that list.
But we decided we need to getback to a little bit of, like
(01:26):
the founders talk, becausethere's so much going on here,
we're learning so many thingsand sometimes it can be hard to
navigate different interviewsand get back to, like the core
and foundations.
So I think what we're going totry to do and don't hold me to
it, but we'll do two foundersepisodes a month.
We'll do a process episodewhere you get to hear from
someone in the community whatthey're working on, someone
(01:48):
that's definitely like amongstpeers and like-minded part of
our community, and then we'llend it with an interview with
someone that we think is specialand save that for you.
Speaker 2 (01:59):
Yeah, I'm excited about it.
Yeah, I was listening to someearly podcasts of ours and I
mean, maybe I'm just about it.
Yeah, I was listening to someearly podcasts of ours and I
mean, maybe I'm just anarcissist, but I really enjoy
the episodes when we're talkingabout us and like building a
company and our personaljourneys and sharing that with
(02:19):
our listeners.
Speaker 1 (02:20):
Yeah and yeah, like you said, I think it makes it a
lot easier for us to keep thepodcast on in alignment with
what we're doing, because, youknow, something we're always
saying is like we want to growtogether, and a lot of that is
grow alongside this community.
So, for the community somethingHaley and I were screaming
(02:40):
about earlier in excitement wehave great news.
Haley, what is what were wereally screaming about earlier
in excitement?
We have great, hailey.
What is what were we reallyscreaming at today?
Speaker 2 (02:48):
we found out because indiana decided we should look
it up online instead of justwaiting for the mail, like, like
I wanted to.
I was like, let's wait thenight, the full 90 days?
And she said absolutely not.
And we found out today that ourtax-exempt status has been
approved by the IRS, meaning weare now a nonprofit entity, a
(03:12):
public charity, and that meansthat one.
We'll be able to apply forgrants so that we can get
funding to bring moreprogramming to our community
without having to charge ourcommunity which is something I
really love and it's so excitingto me and we'll be able to take
(03:33):
donations from sponsors thatwill be tax exempt for them.
Speaker 1 (03:38):
Yes, that's correct, which is really cool, because
it's not money you're not.
You know it's not extra moneyyou're spending, it's a tax
write-off.
Speaker 2 (03:45):
So right, those, those corporations, those
sponsors, those companies canwrite off everything that
they're giving to up to acertain amount, I'm sure, up to
however much tax they owe, Ibelieve, can write it off to a
non-profit company and thatmeans it's the taxes they were
going to be spending anyway.
They're just giving it, or?
(04:07):
To you the art personalcontribution so probably I mean
like, don't go to court overwhat I've just said.
Speaker 1 (04:14):
We're figuring it out , we're learning and this is for
, as we're growing,entertainment, what we're
supposed to say entertainmentpurposes.
This is not legal advice, it isnot or tax advice, but we do
know that it means we are goingto be able to do even more
community-based, peer-to-peereducation yes, to help everyone
(04:35):
grow with it and so here's ourplan and we'll find out more of
the logistics, because I do wantto put it out to the community
that you know, if you have acertain allotment that you
normally donate to charitablecauses or you're looking to add
one, you can add it to the CFAcommunity, because now which is
exciting because it'll directlybenefit everyone involved free
(05:08):
education, sponsored education,um workshops, in-person classes,
hayley's building out, um witha special guest, a real workshop
for actors it will go towardsbenefiting our community, which
is what we wanted to do from thestart.
We have done from the start,but now it'll be just an easier
way to accept acceptablecontributions and then at the
end of the year, we give you areceipt, like you would if you
went to Goodwill.
You'll get a form.
You'll get a form that you justput on your taxes and you write
(05:30):
that off.
So we will find out the detailson amounts, values, status,
because perhaps what we'll do issimilar to AFI, which I like,
is you donate a certain amount,you become a different status,
you get benefits back which arelike an added value, and so
maybe we start looking at that.
But we also something we want todo is fiscal sponsorship, and
(05:51):
something we actually, sorry,don't want to.
Now we can do.
We can do it for you and forthose that don't know, fiscal
sponsorship is when you areraising money for your short
film or your series or feature,anything like that, and you want
your donors to be able to writethat sum of money off rather
than just giving you money, orbeing more of a donor rather
than an investor, so they don'tget back end, you can have them
(06:14):
donate money, go through a passthrough, so like us, like a
fiscal sponsor, and then thatmoney becomes a write-off and we
allocate those funds and take asmall percentage.
Speaker 2 (06:23):
The standard is like three to five percent, because
we'll give them a form, becausebasically the reason you
wouldn't apply for a 501c3 asjust a short film, as your
production company, is becauseit is so much work.
You guys, yeah, we put so manyhours into this application and
making sure that we dideverything correctly so that we
could make it happen.
Speaker 1 (06:44):
And then apparently it's quite expensive, which
we're gonna find out how much itcosts for compliance but it's
also, your films are for profita lot of the time, and so if you
make one film and you have acharity, yeah, it just wouldn't
make sense.
Speaker 2 (06:56):
It just wouldn't make sense, but it does make sense
for them to be able to write itoff so that people sometimes
will be to give you the money tomake your film, um, and then
we're doing that work for you soand that's why that three to
five percent is taken.
Speaker 1 (07:11):
So you know this is all to say that this is.
This means bigger things forcfa and it means we're able to
support you in a different way.
Not only do we havepartnerships with, you know, we
make movies to help you ondiscounted insurance.
You know you can use code cFA23for that without sounding too
salesy, but it's just.
I love discounted insurance.
That's so helpful and that's sofantastic.
But now we can.
We can actually help you withfilm funding, in addition to the
(07:34):
education required, you know,for you to feel more confident
on set.
So, like, look how well-roundedthis is.
It's so exciting.
If you're interested in any ofthose things like you're coming
up on a short film and you wantto, you know, try fiscal
sponsorship, or you're lookingto have people donate, you can
reach out to us always.
You can either DM us onInstagram or contact at
(07:55):
cinematographyforactorscom.
If you end up looking like youwant to donate to CFA, which you
know, everything, whatevermoney we make, has to be um,
actually it's funny charitieshave to show what they're making
online, so it's publicknowledge you'll be able to see.
We don't think own the companyanymore.
Um, the government does yep,and we have a board of people
(08:16):
that are exciting and awesomethat are gonna tell us what to
do with votes yeah, so it's allreally exciting, um, and it just
supports further what we'retrying to do.
And so if you're interested inany of those things or you, you
know I eventually want I knowyou want to do like the real
workshop and a bunch of stuff,like I do, but I really want to
have a film fund so helpingpeople make their short films or
(08:38):
features even, or developconcepts beauty of being being
able to provide education andbuild a community is that
eventually we see these people,who we have been able to teach
through mentorships andpeer-to-peer education how to do
the craft that they want to doCorrect.
Speaker 2 (08:57):
Then they're finding the people they want to do it
with, yeah, and then we'll alsobe able to provide avenues to
get the funding and actuallycreate these stories they want
to create.
Yeah.
It's helping you through everystep of the way, which is so
exciting and feels very fullcircle and we're all growing
together.
Speaker 1 (09:17):
So I think everyone who's listening is probably
pretty excited about this.
And if you want moreinformation, maybe we'll do like
a little online workshop orlike an in-person event where we
talk more about fiscalsponsorship and educate people
on it, and also so that you canhave that context, because even
if you don't do like fiscalsponsorship through us, it's
(09:39):
still a good way ofunderstanding how to fund
something without having to askpeople for money out of pocket
because it's a tax write-offalso anyone who has worked in
these spaces.
Speaker 2 (09:50):
We're learning, so we're happy to hear from you as
we're talking to lawyers andaccountants.
Speaker 1 (09:56):
This is.
Speaker 2 (09:57):
It's daunting, like we're going to do it because we
keep doing the scary stuff,because we're passionate about
this, but yeah, any, any adviceis welcome and like, how cool is
this?
Speaker 1 (10:09):
look at where, like, if you're watching the video of
this, which can be, is availableon youtube.
You know we started our podcastat an hourly like pirate
studios, which was a fantasticlaunching place, like like a
fantastic place to start, but,like it's been less than two
years, I was doing our timelinefor our about us on Instagram
that we're coming up with andwe're like now a public charity.
(10:33):
We have thousands of people inour community.
We are represented in 41countries by those listeners and
we're also like sitting in ourown podcast.
Little studio, this is our ownbackdrop that we painted.
Speaker 2 (10:49):
You see it a lot.
We've made it, we painted that.
It's ours.
We're really proud of it.
We have our own mics and Itaped them to the cords, because
why?
Speaker 1 (10:58):
myself, because we're terrified of any buzzing, and
so if anyone does sound on here,that is something we need to
learn more about.
Speaker 2 (11:12):
I'm ap, she's an actor, so advice 13 we need help
.
It's all to go with that.
Yeah, um, also, um, I mean timerackles indiana.
Yeah, you got a haircut today.
Hayley did my hair, I cut andlisten, we do it all.
We do it all over here.
Speaker 1 (11:19):
We're.
You know we're just likeeveryone in la.
We are.
We're the town of hustlers, andI know you don't love that word
LA, we are.
We're the town of hustlers, andI know you don't love that word
hustler, but we're the town ofpeople who get a lot of things
done on a daily basis.
Sometimes you gotta.
Speaker 2 (11:32):
Sometimes I'm not as scared of it anymore.
Right, yes, that's what we do.
I think we should also takesome time to like have a picnic
every once in a while.
Yeah, but I think I'm justfiguring out.
To get stuff done, we're'regoing to have to hustle a little
bit.
Speaker 1 (11:47):
Okay, I'm so excited about that.
We're going to have moreinformation on this CFA
Institute that's what it'scalled Legally, cfa Institute.
We're going to have moreinformation on how people can
get involved, how people can usethis as a pass-through for
physical sponsorship and allthat good stuff.
Uh, and that's you know, we'llramp it up as quick as we think
we can do it with our small team, but, uh, but I'm very excited
(12:07):
about it also, I don't know ifwe've sat here and told them
about our new podcast not yet.
We were going to film a networkbumper, so why don't we actually
talk about it?
Speaker 2 (12:19):
yeah, let's just tell them directly about it.
Yeah, hello, aj, come in.
Come on in, hurry, you're good,we'll cut that out.
We didn't tell you we weredoing this, we just decided to
start doing it.
Yeah, we'll cut it out.
So, yeah, let's sit here andtell everyone about our new
podcast.
Speaker 1 (12:35):
Yeah, let's do it.
So we have the Indie Woodpodcast, which is hosted by
Yaroslav Altunin, or Yaro, andwe met him when he was the tech
editor at no Film School, buthe's also a writer, director and
I, like we love Yaro becausehe's the perfect person to talk
about wearing multiple hats, andhe's creative, he's technical,
he's practical and that's allthe things that we we vibe with
(12:58):
here at CFA and keep talkingabout Yaro is so technically
focused yes, and she is soexcited about gear and about how
gear works.
Speaker 2 (13:08):
And while you and I are excited about gear, we do
not have the time to get asin-depth about it as Yaro does
and likes to do.
Yeah, so in order to bring youthe best information about new
gear and about certain technicalprograms and things like that,
(13:29):
it was such a no brainer, yeah,to bring Yaro in, and it's so
exciting that he that he can doa whole podcast about it.
Speaker 1 (13:39):
Yeah, and he's bringing in a whole network of
people that we don't currentlyhave, with a focus more on like
every season, so every fourepisodes, which is a month,
obviously, because we're doingit weekly.
He's going to be interviewingone guest over four weeks and
it'll talk about their career,the many hats of their careers,
and then talking to them aboutstuff they don't specifically
(14:00):
know about.
So what those questions wouldlook like if you were a director
wanting to learn more aboutediting or if you were an actor
wanting to learn more aboutcinematography.
So, really, touching on theidea of, it's called Indie Wood,
not because of me, and I reallyneed to make sure everyone
knows that, it's becauseindependent cinema.
What is his tagline that I loveso much?
It's like we all want to beHollywood, but first we have to
(14:22):
be Indie Wood.
Wood, yeah, and I think thatjust speaks to like our
community as a whole and ourmission of just community
building.
And you know we have to juggleso many things.
Um, whether we're shooting, youknow, a huge series or not,
we're still juggling and findingbalance amongst all the things
we're interested in versus thethings that feel compulsory.
Speaker 2 (14:40):
So slightly different format, different host, but so
beautifully aligns with our loveof learning together and
growing together yeah, umamazing.
Speaker 1 (14:52):
I I did promise we would do an episode on something
I recently shot oh my gosh,guys, it's happening.
Speaker 2 (14:59):
Okay, indiana, indiana, tell us everything.
For those of you who don't know, indiana recently shot, will
you?
Will you tell it's so excitingindiana shot?
No, don't tell it, I'll tell.
All right, all right, I'll beright here.
Indy shot a spot not just anyspot, though I'm sure everyone
(15:24):
of you has seen online at somepoint because it went viral.
You remember nicole kidman'sAMC we Come to this Place
monologue.
That was a viral cultural eventfor a number of years.
And now you go to the theaterand it happens and no one's
screaming the monologue alongwith her anymore, but it's still
(15:47):
exciting and we all stillrecognize it.
Well, she was honored at theAmerican Film Institute's Life
Achievement Awards this year andas a gift to her, her good
friend Morgan Freeman decidedlet's reshoot it and put me in
there and guess who shot it?
Indiana Underhill, I did my cohost.
(16:12):
You gotta tell us everything.
You have to tell us everything.
You have to tell us, becauseyou told me about it, but you
were already a few talks in,right, because it was a secret,
I couldn't even know.
So by the time it got to me itwas like yeah, this happening,
and like the ball was rolling,so I want to know from the very
beginning how those firstconversations went.
Speaker 1 (16:33):
Yeah, and the reason I wanted to talk about this and
I normally wouldn't talk aboutmy work here, but the reason I I
wanted to talk about it was itreally made my heart melt,
because it it really was whatCFA is trying to do by bridging
the gap between talent and crew.
And a lot of people fight usand they say, well, this doesn't
apply on large sets and thisdoesn't apply in this part of
(16:54):
the industry and this doesn'tapply Like you can't have actors
be involved in the process tothat extent.
And I always was like, ok,that's fine, but what I'm trying
to do with Haley is is changethe way our industry is
advancing, so advance it in away that feels like it's it's
progression and include peoplein that collaboration and
collaborative process.
So you know, sure it doesn'tapply right now on these huge
(17:21):
shows, but I think that there is, if enough of us are learning a
certain way of filmmaking, thateventually, when we are on
bigger shows, we will employsome of those practices and
techniques.
And this was one of those thingswhere I was like, look, the CFA
methodology worked, and itworked with Morgan Freeman.
So that's why I wanted to talkabout it.
First of all.
I just don't want to like gloatthat I was shooting something
cool.
It was more like because I'mI'm now living proof, I can come
(17:41):
back to the community and saylike, yep, it does work on
bigger things.
Ok, it works, maybe not oneverything, but it's starting to
and I trust the process.
Speaker 2 (17:49):
I don't want to gloat and say that you did that, oh,
and say that you did that, oh,thanks.
I think we're all very proud ofyou.
Thanks, haley and team.
Okay, so, yeah, sorry, okay.
So then tell us, how did youapply our CFA methodology?
Speaker 1 (18:02):
Yeah, okay, well, your first question was the
initial talks.
So the way I found this job andthis is also actually a
proponent of CFA is when I wasat AFI in first year.
I went up to someone I didn'tknow at the AFI Warner Brothers
building, which is like the mainbuilding when you drive up on
campus, and I was like, oh, areyou lost to that person?
(18:24):
And that person, who isdirector Chris Merrill, who is
the director of AFI production,so he's in charge of AFI Fest,
afi Awards and the LifetimeAchievement Awards, and he was.
He was not lost.
But I did ask him if he was alost screenwriter in first year
and he said, um, no, I've workedhere for two decades.
And I said, okay, and then wejust became friends, um, over a
(18:46):
couple of years because, okay,every time his office was on
campus and every time we'd runinto each other, we'd catch up
like how's this is going?
How's this going?
And I'd be like, what are youup to?
How's AFI fest, things likethat, and it was just like very
casual.
And then he hired me for ashort film because he also
directs outside of AFI, and sohe hired me for a, for an
incredible short film, um, thatI was honored to shoot.
(19:07):
And then you know it's been fouryears, we've known each other
five maybe and you know he wasproducing he, he is in charge of
the Lifetime Achievement Awardsand he was like we have this
last minute spec.
Would you want to come on?
I can't tell you who the talentis, but it would be a
recreation of her viral ad.
And I was like, of course, Iwant to work with you, let's do
it.
Didn't know anything about it.
And then I got a call from theproducers at AFI and they're
(19:29):
like OK, cool.
So you know, what do you needfrom us?
You know, here's the budget.
We're a 501c3.
Keep this in mind.
Blah, blah, blah.
What kind of crew do you need?
And so I just, you know,started to work on it and prep
it.
But this was a perfect exampleof how technical some shoots are
.
They still have to be creativeand they still have to fulfill
(19:51):
their purpose.
But this was a recreation andwe were shooting it entirely on
a stage in green screen, and AMCwas providing the footage, the
raw footage, and we werepainting her, painting over her,
painting her out and puttinghim in.
Morgan Freeman, right.
And so the reason I say likethis is the CFA method, and it's
(20:12):
funny that I'm now claimingit's a method method.
And it's funny that I'm nowclaiming it's a method If you're
new to this.
All CFA is education, communitybuilding.
We believe that everyone shouldbe a part of the collaborative
process because we're here totell better stories and the way
we tell better stories is toinclude people in the technical,
practical and creativedecisions we're making.
And people will argue saying,well, actors actually don't need
(20:32):
to know all that.
You'll overwhelm them Like wetalk about this all the time
because you're an actor and youhave heard that on set.
When Morgan, mr Freeman and histeam arrived on set, I
immediately introduced myself,which I always talk about.
I say always introduce yourself.
So I immediately went up to himand his team and I said, hi,
I'm Indiana, I'm going to beshooting this.
And they were like oh great,and you know, we made an Indiana
(20:56):
Jones joke.
And then when we got on set, wehad four hours to shoot, I
think 18 setups, 16 or 18 setups, which gave us I don't know
what the math is it's like under10 minutes of setup.
So it's that there's a 60 inthere.
So I yeah, yeah, yeah.
It's like let's actually lookit up.
Speaker 2 (21:14):
Okay, see, and while you do that, I'm going to like
take us back a few steps.
Yeah, say that.
Speaker 4 (21:20):
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Speaker 1 (21:54):
Cfa has teamed up with we Make Movies to get you a
discount on productionmanagement services, including
access to comprehensiveproduction insurance and
workers' comp.
For your next shoot.
Visit WeMakeMoviesorg.
Slash insurance and use codeCFA23 on your intake form for
10% off your quote.
Speaker 2 (22:13):
The CFA method can say, is communication and early
interdepartmental collaborationamongst all departments.
That's literally our method.
We believe that that can happenand we believe that it's
important and we believe thatthat serves the story.
Speaker 1 (22:34):
Yeah, so 15 minutes of setup, so I had 15 minutes to
get each shot.
That's wild, which includes, asyou know, this includes, um,
changing camera placement,framing lenses, lighting um,
movement, directing the actor,working with the crew and being
polite about it, so givingpeople enough time to like break
(22:56):
or rest or fly off for a fewminutes, um.
So it was like I have an auraring and it has it measures my
stress, and from the moment, um,mr brie walked on the set until
the moment he left, my stresswas in the like highest level.
Um, it just like peaked andthen continued to go across the
board.
Date up there yeah, yeah, yeah,yeah.
(23:18):
And so I had to be as prepped aspossible, and you know, I had
introduced myself and I had doneabout two weeks of prep where I
looked at the ad over and overagain, I took a screenshot of
every shot and I started toanalyze framing so what focal
length we would want, based offof how close, the magnification,
(23:39):
of how far the background wasfrom subject, as well as how
close she was to camera she wasa camera and then the eye light,
so where in her pupils or, likeon her body, where the shadow
was being cast and how soft orhard it was and contrasty.
So I knew how to like kind ofplace my lights.
And then camera height as well,and you know movement's a whole
other thing, but camera heightas well.
(24:00):
So how far above eyeline, beloweyeline, at eyeline, were we?
Even if it was an inch above?
I took a note, you know, andbecause you need to be able to
paint her out.
Also, if we're moving camera,because the shot's moving in the
ad, you know that has to be thesame because you have to watch
for parallax, which you know canbe a huge issue.
So I had taken technical noteslike a like a thesis statement
(24:25):
on this.
And then when I arrived on set,it was okay because we perfectly
executed everything.
I had an incredible team.
Chelsea Petit was my gaffer andshe was smart because she's
brilliant, but she was smart onset too.
When we had a stand-in, we wentthrough like the first few
setups we could while prepping.
We got like our base unitsbuilt and then we moved things
in and we checked, you know, foreverything.
(24:47):
And we got like our base unitsbuilt and then we moved things
in and we checked, you know, foreverything.
And with the stand-in.
We just replicated certainlighting setups with the units
we wanted, you know regs.
But then she marked on theground with an X and took notes
with a Sharpie on where forsetup one, or, like you know,
for that shot, where we wouldmove that back, so where we
would move that light to, andthen the next one we'd pull back
to here and it would be on thisdimming if it was.
(25:07):
You know, we had some tungsten,some HMI, some LED, but it was
great because everything wascontrolled.
And then my ACs were fantasticbecause they took notes.
They were like hey, set up,we're 32.
, next we're on a 40.
, next we're on a 60.
And it's really bringing yourcommunity together here.
Because I approach sponsors likemy not sponsors, I mean
sponsors for CFA, but likerelationships I have personally
(25:29):
I always go with Keslo.
Cronenworth shot the originalone.
So we went.
I went to Keslo because I lovethem, but also Cronenworth works
with Keslo.
So I just said, can I have theum, the itemized list for that
shoot?
And then I copied the itemizedlist of focal lengths.
We needed types of lenses.
We used to like the light,simulux, cs and then cameras.
(25:52):
So that was great because wereplicated both the technical,
like tools, as well as the setup, in order to make sure that the
creative was a streamlinedonset.
Speaker 2 (26:02):
That is so.
I didn't know that you wereable to get your hands on that
list of gear.
Yeah, so great.
Were you able to get your handson that list of gear?
Yeah, so great.
Were you able to get everythingyou needed, or did you have to?
Speaker 1 (26:11):
Budget wise I couldn't get everything, but
what I did was I made sure I gotthe same focal lengths and
style, because we weren't goingto be able to have a huge color
thing.
So the turnaround was one weekuntil the actual awards.
So I had to do a lot of it incamera and also they have
completely different skin tones.
So I had to do a lot of it incamera and also they have
completely different skin tones.
So I had to keep that in mindas well.
But I just wanted to getplacement correct and softness.
(26:32):
But back to kind of like whyCFA works is and why we're so
excited about it is on set.
It was my first time workingwith like kind of an A-lister
that big of an A-lister.
Directly, he's an A-lister,yeah, yeah, that big of an
a-lister.
Directly he's an a-lister, yeah, yeah, but like a big like for
me, like, yeah, an a-lister um,and you were directly with this
(26:52):
man too.
Speaker 2 (26:53):
It was you.
There are photos of you jokingwith him, like I've seen you
guys talking together yeah.
Speaker 1 (27:00):
So, in addition to kind of introducing myself at
the start which I always say isa good idea, because then people
know like who to come to,regardless of who they are they
can like be like, hey, is thiswhere I'm looking, is this where
I'm like they know who you are,you know and what you're
representing.
And then on set constantly, Iwas like, okay, we're gonna go
into this setup and you know,chris, the director would work
with him on like emotional cues.
(27:20):
But I was very like technicaland I was like our camera's
gonna go here, we're on a 35,you know, for this eyeline and
then I would go stand whereeyeline was, eyeline's going to
be here, we'll put a mark foryou there, and then he would ask
questions.
We'd run through it.
And then there were like a lotof moments where I was like do
you think I would you know,rather than treating actors like
a piece of equipment orfurniture, you know, which a lot
(27:43):
of people end up doing justbecause they're afraid of giving
too many notes with the othersteps, so it ends up being more
directional cues.
I was like, do you think thiswalk like that famous shot where
nicole kidman walks into thetheater and turns and it's our
first line to camera.
We had a pullback on a dollyand we had to pan and so that
was like our big movement I hadto really make sure was correct
(28:04):
in addition to the actor,without it's a green screen
world, so we didn't havesomething for them to walk
around.
Yeah.
So I was like, do you I'm goingto play this clip for you?
This J is it?
Do you think it's this harsh ofa turn?
Do you think it's slight?
And just involving him in thatprocess, he acted it out for me
before and I was like, ok,that's perfect, now I can come
back, because sometimes it'shard to tackle everything at
(28:26):
once, especially when it's notmy job.
I'm not an actor.
He knows it better than anyoneelse here.
He can see that and be like no,it's this.
Like I'm not thinking in likecharacter movement terms all the
time.
I'm thinking about actor cameramoves all the time and I try
and think about character movesand predict them and talk about
it as much as possible.
But to go to the person who'sgoing to actually be acting it
out and not being afraid of whatthat communication is was
(28:49):
wonderful.
Speaker 2 (28:51):
That is so great and, honestly, such a gift to be
able to give to an actor and foran actor to receive, because
there have been moments whenI've been called to set and I
get there and they're like, okay, we're doing the turn, yeah,
and it's like great, yeah, yeah,should we talk about it first?
And but they're afraid, they'reafraid, and so you're like,
(29:11):
okay, just um, try to do itperfectly, yeah, and no one's
talked about it.
You haven't, you haven'tchoreographed, you haven't
worked at it at all, yeah, soit's a mystery.
And then you shoot it a coupletimes and then they're like, oh
yeah, that doesn't work.
Speaker 1 (29:26):
Now we're ready to work on it, but there are now
there are like feelings ofconfusion already, and so you
just avoided that I just wantedto make sure everyone was
included, especially because wehave a certain amount of time,
and I think a lot of peoplewould see efficiency as we'll
just give the cues and expecteveryone to be on par with it,
and for me it was more likelet's give context and let's
(29:47):
take the extra minute to give asmuch context as possible that's
relevant and not redundant, andthen everyone knows why we're
doing that thing, whether it'smy camera department or lighting
, or I would check.
I had a tick in my like achecklist in my brain that was
like for every setup, I askedhis costume team, his makeup
(30:07):
team, I asked, you know,director, I had my crew, I made
sure everyone was okay and Imade sure that everyone had a
voice.
And I think that's what CFA,why we started it, because I
don't want people to feelisolated anymore and and I don't
want to say that this isapplicable on every set, but I
think you know you'll findcertain actors that are very
(30:28):
amenable to it and very excited,and this was luckily one of
those cases where we had afantastic working relationship
for a short amount of time and Idon't expect every you know,
larger a-list actor to be thatway, but it shows that it is not
just like black and white thatdoesn't work on larger sets with
larger, right right, this was alarger set with larger talent
(30:48):
and it helps the day move somuch more smoothly.
Speaker 2 (30:51):
Yeah, and we got a better product.
We definitely like sold it.
You got a great product.
People were so excited, thankyou, and it looks good.
Speaker 1 (31:00):
Hey, check it out, it's on our instagram it is and
there's a comparison on therewhere we break down the green
screen and, if you like, haveany questions about it, you can
feel free to DM us of how wekind of really recreated it.
But I will give a shout out toCreamSource and DOP Choice, who
CreamSource provided a few demounits of their Vortex 8s and
then we had we were the first inAmerica, I think, to use the
(31:25):
DOP Choice Stefan Lettuce Usethe use the air glow which
attaches to either two by onepanels or one by one panels,
depending on the size, but thetwo by one panel we had.
Um, and it is you.
You mount the light that and itshoots vertically up and then
you put a balloon.
It's an inflatable unit, ummodifier.
You put it on top, you blow itup with a pump.
(31:46):
It takes like 30 seconds andthen it bounces into Ultra
Bounce and goes through MagicClaw and so it's like a book
light, but it's contained ontoone stand, which is fantastic
for smaller spaces.
But also, if you don't want tomove a lot of Gak around and you
have limited time, you can justput it on some rollers and roll
(32:06):
it around with a unit.
Obviously that's a really softlight, because you're going to
lose like three or four stops oflight through ultra bounce and
I think maybe three, three and ahalf stops through ultra bounce
.
And then magic cloth.
But man, magic cloth is likethe best rag to use.
Speaker 2 (32:20):
This is another reason that CFA works, because
let's talk about how you endedup getting to use that as the
first person, the firstproduction in the united states
that got to use that amazing newpiece of gear.
Uh, as much of our communityknows, we love to go to
different festivals.
We love to go to different.
(32:41):
Um, yeah, what is it aconvention?
What's a conference?
Um, so, we were at a conference.
We were at nab and we were atnab in las vegas.
Yeah, and indiana knows stefanfrom years and years.
She was 17 years old.
They have inside jokes um, he'sthe owner of DOP Choice.
(33:05):
He's created this stuff.
We went over to say hello tohim and she saw this piece of
gear doing its work and she saidthat is so cool, can I use it?
Speaker 1 (33:16):
And he said, yeah, they found a way to drive it
back to Los Angeles.
Speaker 2 (33:20):
CFA Works.
Speaker 1 (33:21):
That was a community connection, yeah, networking
connection that Indiana had andhas been fostering for years,
years, and was just able to usethis new cool piece of piece of
gear yeah, I mean, the biggestthing vendors want is for their
gear to be used and so if it canbe used in a way that the you
know it was either intended ornot, but in a surprising way was
used, I think you know it'sjust more power to them.
(33:44):
You know it's marketing at theend of the day and and it just
makes sense because I that was atool I needed for that and I
felt was really useful and I'mreally excited that we didn't
just stick to, like you know,having a sky panel or a light
matter or an aperture unit thaton its own that we're used to
having, but we like tested andexperimented with an addition to
those lights, a newmodification, like I think if
(34:05):
you can have the time and makethe time on set to test a new
piece of equipment every time insome way, you know you'll,
you'll have a more comprehensiveunderstanding of what you enjoy
and what you don't and why yeah, and you're learning about the
new stuff and it's I mean, yes,that, yes, it's good for them,
but also, that wouldn't havebeen possible if you weren't
(34:26):
getting out, you weren'tnetworking, you weren't yes, you
know cultivating this communityof people that you like to be
around and like, see, youcouldn't have just been like any
random person and walking upand being like that's cool.
Speaker 2 (34:38):
Can I use it?
Speaker 1 (34:39):
like, yeah, you have to have the relationships, which
is we say a lot, yeah, go makethem exactly, and I and I you
know, I know I'm speaking from acinematography standpoint and I
know there's actors listeningwho are like I know you guys
always talk about networking andgoing to conferences.
But that's like normal for youknow dps and crew, but here's
hayley talking about how she wasat nab and how beautiful those
(35:01):
relationships are.
So if anything like go tonetworking events, come to ours,
ours, go to conferences, go tofestivals, like introduce
yourself, I think you know.
Yes, if some people are turnedoff by the fact that you're an
actor, I know that happens a lotfor actors.
They see people like glaze overtheir eyes glaze over, I think.
Speaker 2 (35:20):
In places like this, though, where it's not really
common to see an actor, it'scool, it's cool, it's cool, I
agree.
Speaker 1 (35:28):
You need to learn about this stuff, because they
always talk to you about that.
They're always like oh, wow, anactor, like that's awesome,
like what, what do you need toknow?
Like what can we tell you about?
And we went to road at nab andthey like had stuff specifically
that was perfect for you, andthey actually handed us a road
wireless pro.
Yeah, go, kit for loves.
That would be that's going tobe used for.
Speaker 2 (35:48):
It's going to be so great for self.
Yeah, it was just.
Yeah, it's really cool, sodon't think that these spaces
aren't for you.
Yeah, um, we actually have aprocess episode that's going to
come out soon that you'll beable to listen to, where one of
our community members, who alsospends a lot of time going to
these conferences we see her alot she actually has a story
(36:11):
about how that has paid off forher as an actor on set.
She's worked on having met andknowing these people.
So, yeah, it's not, it's notjust for people on the crew side
it really can benefit you as anactor correct.
Speaker 1 (36:26):
So yeah, so yeah.
That's kind of like with theMorgan Freeman thing, I mean,
that's what I really wanted tosay is that I don't.
I think our industry can change.
I think you know us being thispublic charity now means that we
can change a lot quicker andfind better ways to do it.
You know, we started as an LLCand we still have that LLC, but
(36:47):
it'll just be separate,completely separate, and I'm
sure we'll end up dissolving itbecause we'll find that
everything is a part of ourmission.
But everything is going toeventually, yeah, but we're
learning, and I think.
But one of the key things thatyou know we are very true, stand
by and are true to, is the factthat we are education,
(37:07):
community building for a reasonthat it helps us tell better
stories and it helps us bebetter filmmakers.
We could have gotten jobsanywhere, doing whatever we
wanted to some extent, but youknow like we could have gotten
jobs that were a lot easier tomake money at.
And so why are we in thecreative field?
And it's to pursue passion andyou know, in that pursuit, if we
(37:30):
can do it in a polite andhealthy and organic way that
enriches your life, why not?
Speaker 2 (37:35):
and that's the cfa method.
Speaker 1 (37:37):
That's the cfa method , hey um hayley, thank you so
much for interviewing me oh yeah, and chatting with me back on
this couch.
Speaker 2 (37:46):
I'm glad that we did this.
Speaker 1 (37:48):
Yeah, I'm always glad when we do that and I will say
um, if you have not met us inperson yet, subscribe to our
mailing list so that you cancome to our events and come hang
with us and meet our community.
Um, subscribe to the podcast.
You can hear about all theeducation and get started, and
then you can check outcinematography for actors
youtube as well as for theactors, where we do some fun
unboxings about gear we like touse, as well as kind of.
(38:10):
If you're an actor, we have howto use casting networks, how to
use actors access, things likethat.
And then we also have ourcourses on there and we hope to
get back to shooting those thissummer.
We have plans.
We have plans.
Speaker 2 (38:21):
We have a lot in the works, so stay tuned.
I mean, the podcast is great,the podcast is fun, but use us
as much as you possibly canTotally Possibly, can.
Yes, use what we have for youbecause it's all there and we're
giving it to benefit you,because it benefits all of us,
(38:42):
yeah, so come on out.
Come on out, scream and shout,join us, thanks.
This has been another episodeof the CFA Podcast Scream and
shout.
Speaker 1 (38:47):
Join us.
Thanks, this has been anotherepisode of the CFA Podcast.
We'll see you soon.
Bye.
Speaker 3 (38:52):
Join us in bridging the gap between talent and crew.
Start by subscribing on yourpreferred podcast platform.
Sign up for our newsletter tostay up to date on vendor
discounts, community events andnew podcast releases, and
educate yourself through ourfree course releases on YouTube.
It all starts atcinematographyfractorscom.
The CFA methodology worked, and it worked with
Morgan Freeman, so that's why Iwanted to talk about it.
First of all, I just don't wantto like gloat that I was
shooting something cool.
It was more like, because I'mnow living proof, I can come
back to the community and saylike, yep, it does work on
bigger things.
Okay, it works.
Maybe not on everything, butit's starting to, and I trust
the process.
This is the Cinematography forActors podcast.
(00:22):
More than a podcast.
Speaker 2 (00:23):
the Cinematography for Actors podcast.
More than a podcast,cinematography for Actors is a
vibrant community devoted tobridging the gap between talent
and crew.
Each week, our show offerstransparent, insightful
conversations with industryleaders.
We unveil the magic behind thescenes, from candid discussions
about unique filmmakingprocesses to in-depth technical
exploration.
(00:43):
Join us in unraveling theintricacies of filmmaking, one
episode at a time.
It's more than just cameras andlenses.
We aim to inspire, educate andempower as we peel back the
curtain on the art of effectivestorytelling.
Now on to the episode.
Hi everybody, hi everyone, andwelcome back.
It's just us on the couch today.
(01:04):
What a rare sight.
Speaker 1 (01:05):
We haven't done this in a while we really haven't but
we have.
We we've decided like we like,took a top sheet for the company
and we wrote down all of thethings we like and enjoy doing
and what we want to move forwardwith.
And obviously podcast was topof that list.
But we decided we need to getback to a little bit of, like
(01:26):
the founders talk, becausethere's so much going on here,
we're learning so many thingsand sometimes it can be hard to
navigate different interviewsand get back to, like the core
and foundations.
So I think what we're going totry to do and don't hold me to
it, but we'll do two foundersepisodes a month.
We'll do a process episodewhere you get to hear from
someone in the community whatthey're working on, someone
(01:48):
that's definitely like amongstpeers and like-minded part of
our community, and then we'llend it with an interview with
someone that we think is specialand save that for you.
Speaker 2 (01:59):
Yeah, I'm excited about it.
Yeah, I was listening to someearly podcasts of ours and I
mean, maybe I'm just about it.
Yeah, I was listening to someearly podcasts of ours and I
mean, maybe I'm just anarcissist, but I really enjoy
the episodes when we're talkingabout us and like building a
company and our personaljourneys and sharing that with
(02:19):
our listeners.
Speaker 1 (02:20):
Yeah and yeah, like you said, I think it makes it a
lot easier for us to keep thepodcast on in alignment with
what we're doing, because, youknow, something we're always
saying is like we want to growtogether, and a lot of that is
grow alongside this community.
So, for the community somethingHaley and I were screaming
(02:40):
about earlier in excitement wehave great news.
Haley, what is what were wereally screaming about earlier
in excitement?
We have great, hailey.
What is what were we reallyscreaming at today?
Speaker 2 (02:48):
we found out because indiana decided we should look
it up online instead of justwaiting for the mail, like, like
I wanted to.
I was like, let's wait thenight, the full 90 days?
And she said absolutely not.
And we found out today that ourtax-exempt status has been
approved by the IRS, meaning weare now a nonprofit entity, a
(03:12):
public charity, and that meansthat one.
We'll be able to apply forgrants so that we can get
funding to bring moreprogramming to our community
without having to charge ourcommunity which is something I
really love and it's so excitingto me and we'll be able to take
(03:33):
donations from sponsors thatwill be tax exempt for them.
Speaker 1 (03:38):
Yes, that's correct, which is really cool, because
it's not money you're not.
You know it's not extra moneyyou're spending, it's a tax
write-off.
Speaker 2 (03:45):
So right, those, those corporations, those
sponsors, those companies canwrite off everything that
they're giving to up to acertain amount, I'm sure, up to
however much tax they owe, Ibelieve, can write it off to a
non-profit company and thatmeans it's the taxes they were
going to be spending anyway.
They're just giving it, or?
(04:07):
To you the art personalcontribution so probably I mean
like, don't go to court overwhat I've just said.
Speaker 1 (04:14):
We're figuring it out , we're learning and this is for
, as we're growing,entertainment, what we're
supposed to say entertainmentpurposes.
This is not legal advice, it isnot or tax advice, but we do
know that it means we are goingto be able to do even more
community-based, peer-to-peereducation yes, to help everyone
(04:35):
grow with it and so here's ourplan and we'll find out more of
the logistics, because I do wantto put it out to the community
that you know, if you have acertain allotment that you
normally donate to charitablecauses or you're looking to add
one, you can add it to the CFAcommunity, because now which is
exciting because it'll directlybenefit everyone involved free
(05:08):
education, sponsored education,um workshops, in-person classes,
hayley's building out, um witha special guest, a real workshop
for actors it will go towardsbenefiting our community, which
is what we wanted to do from thestart.
We have done from the start,but now it'll be just an easier
way to accept acceptablecontributions and then at the
end of the year, we give you areceipt, like you would if you
went to Goodwill.
You'll get a form.
You'll get a form that you justput on your taxes and you write
(05:30):
that off.
So we will find out the detailson amounts, values, status,
because perhaps what we'll do issimilar to AFI, which I like,
is you donate a certain amount,you become a different status,
you get benefits back which arelike an added value, and so
maybe we start looking at that.
But we also something we want todo is fiscal sponsorship, and
(05:51):
something we actually, sorry,don't want to.
Now we can do.
We can do it for you and forthose that don't know, fiscal
sponsorship is when you areraising money for your short
film or your series or feature,anything like that, and you want
your donors to be able to writethat sum of money off rather
than just giving you money, orbeing more of a donor rather
than an investor, so they don'tget back end, you can have them
(06:14):
donate money, go through a passthrough, so like us, like a
fiscal sponsor, and then thatmoney becomes a write-off and we
allocate those funds and take asmall percentage.
Speaker 2 (06:23):
The standard is like three to five percent, because
we'll give them a form, becausebasically the reason you
wouldn't apply for a 501c3 asjust a short film, as your
production company, is becauseit is so much work.
You guys, yeah, we put so manyhours into this application and
making sure that we dideverything correctly so that we
could make it happen.
Speaker 1 (06:44):
And then apparently it's quite expensive, which
we're gonna find out how much itcosts for compliance but it's
also, your films are for profita lot of the time, and so if you
make one film and you have acharity, yeah, it just wouldn't
make sense.
Speaker 2 (06:56):
It just wouldn't make sense, but it does make sense
for them to be able to write itoff so that people sometimes
will be to give you the money tomake your film, um, and then
we're doing that work for you soand that's why that three to
five percent is taken.
Speaker 1 (07:11):
So you know this is all to say that this is.
This means bigger things forcfa and it means we're able to
support you in a different way.
Not only do we havepartnerships with, you know, we
make movies to help you ondiscounted insurance.
You know you can use code cFA23for that without sounding too
salesy, but it's just.
I love discounted insurance.
That's so helpful and that's sofantastic.
But now we can.
We can actually help you withfilm funding, in addition to the
(07:34):
education required, you know,for you to feel more confident
on set.
So, like, look how well-roundedthis is.
It's so exciting.
If you're interested in any ofthose things like you're coming
up on a short film and you wantto, you know, try fiscal
sponsorship, or you're lookingto have people donate, you can
reach out to us always.
You can either DM us onInstagram or contact at
(07:55):
cinematographyforactorscom.
If you end up looking like youwant to donate to CFA, which you
know, everything, whatevermoney we make, has to be um,
actually it's funny charitieshave to show what they're making
online, so it's publicknowledge you'll be able to see.
We don't think own the companyanymore.
Um, the government does yep,and we have a board of people
(08:16):
that are exciting and awesomethat are gonna tell us what to
do with votes yeah, so it's allreally exciting, um, and it just
supports further what we'retrying to do.
And so if you're interested inany of those things or you, you
know I eventually want I knowyou want to do like the real
workshop and a bunch of stuff,like I do, but I really want to
have a film fund so helpingpeople make their short films or
(08:38):
features even, or developconcepts beauty of being being
able to provide education andbuild a community is that
eventually we see these people,who we have been able to teach
through mentorships andpeer-to-peer education how to do
the craft that they want to doCorrect.
Speaker 2 (08:57):
Then they're finding the people they want to do it
with, yeah, and then we'll alsobe able to provide avenues to
get the funding and actuallycreate these stories they want
to create.
Yeah.
It's helping you through everystep of the way, which is so
exciting and feels very fullcircle and we're all growing
together.
Speaker 1 (09:17):
So I think everyone who's listening is probably
pretty excited about this.
And if you want moreinformation, maybe we'll do like
a little online workshop orlike an in-person event where we
talk more about fiscalsponsorship and educate people
on it, and also so that you canhave that context, because even
if you don't do like fiscalsponsorship through us, it's
(09:39):
still a good way ofunderstanding how to fund
something without having to askpeople for money out of pocket
because it's a tax write-offalso anyone who has worked in
these spaces.
Speaker 2 (09:50):
We're learning, so we're happy to hear from you as
we're talking to lawyers andaccountants.
Speaker 1 (09:56):
This is.
Speaker 2 (09:57):
It's daunting, like we're going to do it because we
keep doing the scary stuff,because we're passionate about
this, but yeah, any, any adviceis welcome and like, how cool is
this?
Speaker 1 (10:09):
look at where, like, if you're watching the video of
this, which can be, is availableon youtube.
You know we started our podcastat an hourly like pirate
studios, which was a fantasticlaunching place, like like a
fantastic place to start, but,like it's been less than two
years, I was doing our timelinefor our about us on Instagram
that we're coming up with andwe're like now a public charity.
(10:33):
We have thousands of people inour community.
We are represented in 41countries by those listeners and
we're also like sitting in ourown podcast.
Little studio, this is our ownbackdrop that we painted.
Speaker 2 (10:49):
You see it a lot.
We've made it, we painted that.
It's ours.
We're really proud of it.
We have our own mics and Itaped them to the cords, because
why?
Speaker 1 (10:58):
myself, because we're terrified of any buzzing, and
so if anyone does sound on here,that is something we need to
learn more about.
Speaker 2 (11:12):
I'm ap, she's an actor, so advice 13 we need help
.
It's all to go with that.
Yeah, um, also, um, I mean timerackles indiana.
Yeah, you got a haircut today.
Hayley did my hair, I cut andlisten, we do it all.
We do it all over here.
Speaker 1 (11:19):
We're.
You know we're just likeeveryone in la.
We are.
We're the town of hustlers, andI know you don't love that word
LA, we are.
We're the town of hustlers, andI know you don't love that word
hustler, but we're the town ofpeople who get a lot of things
done on a daily basis.
Sometimes you gotta.
Speaker 2 (11:32):
Sometimes I'm not as scared of it anymore.
Right, yes, that's what we do.
I think we should also takesome time to like have a picnic
every once in a while.
Yeah, but I think I'm justfiguring out.
To get stuff done, we're'regoing to have to hustle a little
bit.
Speaker 1 (11:47):
Okay, I'm so excited about that.
We're going to have moreinformation on this CFA
Institute that's what it'scalled Legally, cfa Institute.
We're going to have moreinformation on how people can
get involved, how people can usethis as a pass-through for
physical sponsorship and allthat good stuff.
Uh, and that's you know, we'llramp it up as quick as we think
we can do it with our small team, but, uh, but I'm very excited
(12:07):
about it also, I don't know ifwe've sat here and told them
about our new podcast not yet.
We were going to film a networkbumper, so why don't we actually
talk about it?
Speaker 2 (12:19):
yeah, let's just tell them directly about it.
Yeah, hello, aj, come in.
Come on in, hurry, you're good,we'll cut that out.
We didn't tell you we weredoing this, we just decided to
start doing it.
Yeah, we'll cut it out.
So, yeah, let's sit here andtell everyone about our new
podcast.
Speaker 1 (12:35):
Yeah, let's do it.
So we have the Indie Woodpodcast, which is hosted by
Yaroslav Altunin, or Yaro, andwe met him when he was the tech
editor at no Film School, buthe's also a writer, director and
I, like we love Yaro becausehe's the perfect person to talk
about wearing multiple hats, andhe's creative, he's technical,
he's practical and that's allthe things that we we vibe with
(12:58):
here at CFA and keep talkingabout Yaro is so technically
focused yes, and she is soexcited about gear and about how
gear works.
Speaker 2 (13:08):
And while you and I are excited about gear, we do
not have the time to get asin-depth about it as Yaro does
and likes to do.
Yeah, so in order to bring youthe best information about new
gear and about certain technicalprograms and things like that,
(13:29):
it was such a no brainer, yeah,to bring Yaro in, and it's so
exciting that he that he can doa whole podcast about it.
Speaker 1 (13:39):
Yeah, and he's bringing in a whole network of
people that we don't currentlyhave, with a focus more on like
every season, so every fourepisodes, which is a month,
obviously, because we're doingit weekly.
He's going to be interviewingone guest over four weeks and
it'll talk about their career,the many hats of their careers,
and then talking to them aboutstuff they don't specifically
(14:00):
know about.
So what those questions wouldlook like if you were a director
wanting to learn more aboutediting or if you were an actor
wanting to learn more aboutcinematography.
So, really, touching on theidea of, it's called Indie Wood,
not because of me, and I reallyneed to make sure everyone
knows that, it's becauseindependent cinema.
What is his tagline that I loveso much?
It's like we all want to beHollywood, but first we have to
(14:22):
be Indie Wood.
Wood, yeah, and I think thatjust speaks to like our
community as a whole and ourmission of just community
building.
And you know we have to juggleso many things.
Um, whether we're shooting, youknow, a huge series or not,
we're still juggling and findingbalance amongst all the things
we're interested in versus thethings that feel compulsory.
Speaker 2 (14:40):
So slightly different format, different host, but so
beautifully aligns with our loveof learning together and
growing together yeah, umamazing.
Speaker 1 (14:52):
I I did promise we would do an episode on something
I recently shot oh my gosh,guys, it's happening.
Speaker 2 (14:59):
Okay, indiana, indiana, tell us everything.
For those of you who don't know, indiana recently shot, will
you?
Will you tell it's so excitingindiana shot?
No, don't tell it, I'll tell.
All right, all right, I'll beright here.
Indy shot a spot not just anyspot, though I'm sure everyone
(15:24):
of you has seen online at somepoint because it went viral.
You remember nicole kidman'sAMC we Come to this Place
monologue.
That was a viral cultural eventfor a number of years.
And now you go to the theaterand it happens and no one's
screaming the monologue alongwith her anymore, but it's still
(15:47):
exciting and we all stillrecognize it.
Well, she was honored at theAmerican Film Institute's Life
Achievement Awards this year andas a gift to her, her good
friend Morgan Freeman decidedlet's reshoot it and put me in
there and guess who shot it?
Indiana Underhill, I did my cohost.
(16:12):
You gotta tell us everything.
You have to tell us everything.
You have to tell us, becauseyou told me about it, but you
were already a few talks in,right, because it was a secret,
I couldn't even know.
So by the time it got to me itwas like yeah, this happening,
and like the ball was rolling,so I want to know from the very
beginning how those firstconversations went.
Speaker 1 (16:33):
Yeah, and the reason I wanted to talk about this and
I normally wouldn't talk aboutmy work here, but the reason I I
wanted to talk about it was itreally made my heart melt,
because it it really was whatCFA is trying to do by bridging
the gap between talent and crew.
And a lot of people fight usand they say, well, this doesn't
apply on large sets and thisdoesn't apply in this part of
(16:54):
the industry and this doesn'tapply Like you can't have actors
be involved in the process tothat extent.
And I always was like, ok,that's fine, but what I'm trying
to do with Haley is is changethe way our industry is
advancing, so advance it in away that feels like it's it's
progression and include peoplein that collaboration and
collaborative process.
So you know, sure it doesn'tapply right now on these huge
(17:21):
shows, but I think that there is, if enough of us are learning a
certain way of filmmaking, thateventually, when we are on
bigger shows, we will employsome of those practices and
techniques.
And this was one of those thingswhere I was like, look, the CFA
methodology worked, and itworked with Morgan Freeman.
So that's why I wanted to talkabout it.
First of all.
I just don't want to like gloatthat I was shooting something
cool.
It was more like because I'mI'm now living proof, I can come
(17:41):
back to the community and saylike, yep, it does work on
bigger things.
Ok, it works, maybe not oneverything, but it's starting to
and I trust the process.
Speaker 2 (17:49):
I don't want to gloat and say that you did that, oh,
and say that you did that, oh,thanks.
I think we're all very proud ofyou.
Thanks, haley and team.
Okay, so, yeah, sorry, okay.
So then tell us, how did youapply our CFA methodology?
Speaker 1 (18:02):
Yeah, okay, well, your first question was the
initial talks.
So the way I found this job andthis is also actually a
proponent of CFA is when I wasat AFI in first year.
I went up to someone I didn'tknow at the AFI Warner Brothers
building, which is like the mainbuilding when you drive up on
campus, and I was like, oh, areyou lost to that person?
(18:24):
And that person, who isdirector Chris Merrill, who is
the director of AFI production,so he's in charge of AFI Fest,
afi Awards and the LifetimeAchievement Awards, and he was.
He was not lost.
But I did ask him if he was alost screenwriter in first year
and he said, um, no, I've workedhere for two decades.
And I said, okay, and then wejust became friends, um, over a
(18:46):
couple of years because, okay,every time his office was on
campus and every time we'd runinto each other, we'd catch up
like how's this is going?
How's this going?
And I'd be like, what are youup to?
How's AFI fest, things likethat, and it was just like very
casual.
And then he hired me for ashort film because he also
directs outside of AFI, and sohe hired me for a, for an
incredible short film, um, thatI was honored to shoot.
(19:07):
And then you know it's been fouryears, we've known each other
five maybe and you know he wasproducing he, he is in charge of
the Lifetime Achievement Awardsand he was like we have this
last minute spec.
Would you want to come on?
I can't tell you who the talentis, but it would be a
recreation of her viral ad.
And I was like, of course, Iwant to work with you, let's do
it.
Didn't know anything about it.
And then I got a call from theproducers at AFI and they're
(19:29):
like OK, cool.
So you know, what do you needfrom us?
You know, here's the budget.
We're a 501c3.
Keep this in mind.
Blah, blah, blah.
What kind of crew do you need?
And so I just, you know,started to work on it and prep
it.
But this was a perfect exampleof how technical some shoots are
.
They still have to be creativeand they still have to fulfill
(19:51):
their purpose.
But this was a recreation andwe were shooting it entirely on
a stage in green screen, and AMCwas providing the footage, the
raw footage, and we werepainting her, painting over her,
painting her out and puttinghim in.
Morgan Freeman, right.
And so the reason I say likethis is the CFA method, and it's
(20:12):
funny that I'm now claimingit's a method method.
And it's funny that I'm nowclaiming it's a method If you're
new to this.
All CFA is education, communitybuilding.
We believe that everyone shouldbe a part of the collaborative
process because we're here totell better stories and the way
we tell better stories is toinclude people in the technical,
practical and creativedecisions we're making.
And people will argue saying,well, actors actually don't need
(20:32):
to know all that.
You'll overwhelm them Like wetalk about this all the time
because you're an actor and youhave heard that on set.
When Morgan, mr Freeman and histeam arrived on set, I
immediately introduced myself,which I always talk about.
I say always introduce yourself.
So I immediately went up to himand his team and I said, hi,
I'm Indiana, I'm going to beshooting this.
And they were like oh great,and you know, we made an Indiana
(20:56):
Jones joke.
And then when we got on set, wehad four hours to shoot, I
think 18 setups, 16 or 18 setups, which gave us I don't know
what the math is it's like under10 minutes of setup.
So it's that there's a 60 inthere.
So I yeah, yeah, yeah.
It's like let's actually lookit up.
Speaker 2 (21:14):
Okay, see, and while you do that, I'm going to like
take us back a few steps.
Yeah, say that.
Speaker 4 (21:20):
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Speaker 1 (21:54):
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Speaker 2 (22:13):
The CFA method can say, is communication and early
interdepartmental collaborationamongst all departments.
That's literally our method.
We believe that that can happenand we believe that it's
important and we believe thatthat serves the story.
Speaker 1 (22:34):
Yeah, so 15 minutes of setup, so I had 15 minutes to
get each shot.
That's wild, which includes, asyou know, this includes, um,
changing camera placement,framing lenses, lighting um,
movement, directing the actor,working with the crew and being
polite about it, so givingpeople enough time to like break
(22:56):
or rest or fly off for a fewminutes, um.
So it was like I have an auraring and it has it measures my
stress, and from the moment, um,mr brie walked on the set until
the moment he left, my stresswas in the like highest level.
Um, it just like peaked andthen continued to go across the
board.
Date up there yeah, yeah, yeah,yeah.
(23:18):
And so I had to be as prepped aspossible, and you know, I had
introduced myself and I had doneabout two weeks of prep where I
looked at the ad over and overagain, I took a screenshot of
every shot and I started toanalyze framing so what focal
length we would want, based offof how close, the magnification,
(23:39):
of how far the background wasfrom subject, as well as how
close she was to camera she wasa camera and then the eye light,
so where in her pupils or, likeon her body, where the shadow
was being cast and how soft orhard it was and contrasty.
So I knew how to like kind ofplace my lights.
And then camera height as well,and you know movement's a whole
other thing, but camera heightas well.
(24:00):
So how far above eyeline, beloweyeline, at eyeline, were we?
Even if it was an inch above?
I took a note, you know, andbecause you need to be able to
paint her out.
Also, if we're moving camera,because the shot's moving in the
ad, you know that has to be thesame because you have to watch
for parallax, which you know canbe a huge issue.
So I had taken technical noteslike a like a thesis statement
(24:25):
on this.
And then when I arrived on set,it was okay because we perfectly
executed everything.
I had an incredible team.
Chelsea Petit was my gaffer andshe was smart because she's
brilliant, but she was smart onset too.
When we had a stand-in, we wentthrough like the first few
setups we could while prepping.
We got like our base unitsbuilt and then we moved things
in and we checked, you know, foreverything.
(24:47):
And we got like our base unitsbuilt and then we moved things
in and we checked, you know, foreverything.
And with the stand-in.
We just replicated certainlighting setups with the units
we wanted, you know regs.
But then she marked on theground with an X and took notes
with a Sharpie on where forsetup one, or, like you know,
for that shot, where we wouldmove that back, so where we
would move that light to, andthen the next one we'd pull back
to here and it would be on thisdimming if it was.
(25:07):
You know, we had some tungsten,some HMI, some LED, but it was
great because everything wascontrolled.
And then my ACs were fantasticbecause they took notes.
They were like hey, set up,we're 32.
, next we're on a 40.
, next we're on a 60.
And it's really bringing yourcommunity together here.
Because I approach sponsors likemy not sponsors, I mean
sponsors for CFA, but likerelationships I have personally
(25:29):
I always go with Keslo.
Cronenworth shot the originalone.
So we went.
I went to Keslo because I lovethem, but also Cronenworth works
with Keslo.
So I just said, can I have theum, the itemized list for that
shoot?
And then I copied the itemizedlist of focal lengths.
We needed types of lenses.
We used to like the light,simulux, cs and then cameras.
(25:52):
So that was great because wereplicated both the technical,
like tools, as well as the setup, in order to make sure that the
creative was a streamlinedonset.
Speaker 2 (26:02):
That is so.
I didn't know that you wereable to get your hands on that
list of gear.
Yeah, so great.
Were you able to get your handson that list of gear?
Yeah, so great.
Were you able to get everythingyou needed, or did you have to?
Speaker 1 (26:11):
Budget wise I couldn't get everything, but
what I did was I made sure I gotthe same focal lengths and
style, because we weren't goingto be able to have a huge color
thing.
So the turnaround was one weekuntil the actual awards.
So I had to do a lot of it incamera and also they have
completely different skin tones.
So I had to do a lot of it incamera and also they have
completely different skin tones.
So I had to keep that in mindas well.
But I just wanted to getplacement correct and softness.
(26:32):
But back to kind of like whyCFA works is and why we're so
excited about it is on set.
It was my first time workingwith like kind of an A-lister
that big of an A-lister.
Directly, he's an A-lister,yeah, yeah, that big of an
a-lister.
Directly he's an a-lister, yeah, yeah, but like a big like for
me, like, yeah, an a-lister um,and you were directly with this
(26:52):
man too.
Speaker 2 (26:53):
It was you.
There are photos of you jokingwith him, like I've seen you
guys talking together yeah.
Speaker 1 (27:00):
So, in addition to kind of introducing myself at
the start which I always say isa good idea, because then people
know like who to come to,regardless of who they are they
can like be like, hey, is thiswhere I'm looking, is this where
I'm like they know who you are,you know and what you're
representing.
And then on set constantly, Iwas like, okay, we're gonna go
into this setup and you know,chris, the director would work
with him on like emotional cues.
(27:20):
But I was very like technicaland I was like our camera's
gonna go here, we're on a 35,you know, for this eyeline and
then I would go stand whereeyeline was, eyeline's going to
be here, we'll put a mark foryou there, and then he would ask
questions.
We'd run through it.
And then there were like a lotof moments where I was like do
you think I would you know,rather than treating actors like
a piece of equipment orfurniture, you know, which a lot
(27:43):
of people end up doing justbecause they're afraid of giving
too many notes with the othersteps, so it ends up being more
directional cues.
I was like, do you think thiswalk like that famous shot where
nicole kidman walks into thetheater and turns and it's our
first line to camera.
We had a pullback on a dollyand we had to pan and so that
was like our big movement I hadto really make sure was correct
(28:04):
in addition to the actor,without it's a green screen
world, so we didn't havesomething for them to walk
around.
Yeah.
So I was like, do you I'm goingto play this clip for you?
This J is it?
Do you think it's this harsh ofa turn?
Do you think it's slight?
And just involving him in thatprocess, he acted it out for me
before and I was like, ok,that's perfect, now I can come
back, because sometimes it'shard to tackle everything at
(28:26):
once, especially when it's notmy job.
I'm not an actor.
He knows it better than anyoneelse here.
He can see that and be like no,it's this.
Like I'm not thinking in likecharacter movement terms all the
time.
I'm thinking about actor cameramoves all the time and I try
and think about character movesand predict them and talk about
it as much as possible.
But to go to the person who'sgoing to actually be acting it
out and not being afraid of whatthat communication is was
(28:49):
wonderful.
Speaker 2 (28:51):
That is so great and, honestly, such a gift to be
able to give to an actor and foran actor to receive, because
there have been moments whenI've been called to set and I
get there and they're like, okay, we're doing the turn, yeah,
and it's like great, yeah, yeah,should we talk about it first?
And but they're afraid, they'reafraid, and so you're like,
(29:11):
okay, just um, try to do itperfectly, yeah, and no one's
talked about it.
You haven't, you haven'tchoreographed, you haven't
worked at it at all, yeah, soit's a mystery.
And then you shoot it a coupletimes and then they're like, oh
yeah, that doesn't work.
Speaker 1 (29:26):
Now we're ready to work on it, but there are now
there are like feelings ofconfusion already, and so you
just avoided that I just wantedto make sure everyone was
included, especially because wehave a certain amount of time,
and I think a lot of peoplewould see efficiency as we'll
just give the cues and expecteveryone to be on par with it,
and for me it was more likelet's give context and let's
(29:47):
take the extra minute to give asmuch context as possible that's
relevant and not redundant, andthen everyone knows why we're
doing that thing, whether it'smy camera department or lighting
, or I would check.
I had a tick in my like achecklist in my brain that was
like for every setup, I askedhis costume team, his makeup
(30:07):
team, I asked, you know,director, I had my crew, I made
sure everyone was okay and Imade sure that everyone had a
voice.
And I think that's what CFA,why we started it, because I
don't want people to feelisolated anymore and and I don't
want to say that this isapplicable on every set, but I
think you know you'll findcertain actors that are very
(30:28):
amenable to it and very excited,and this was luckily one of
those cases where we had afantastic working relationship
for a short amount of time and Idon't expect every you know,
larger a-list actor to be thatway, but it shows that it is not
just like black and white thatdoesn't work on larger sets with
larger, right right, this was alarger set with larger talent
(30:48):
and it helps the day move somuch more smoothly.
Speaker 2 (30:51):
Yeah, and we got a better product.
We definitely like sold it.
You got a great product.
People were so excited, thankyou, and it looks good.
Speaker 1 (31:00):
Hey, check it out, it's on our instagram it is and
there's a comparison on therewhere we break down the green
screen and, if you like, haveany questions about it, you can
feel free to DM us of how wekind of really recreated it.
But I will give a shout out toCreamSource and DOP Choice, who
CreamSource provided a few demounits of their Vortex 8s and
then we had we were the first inAmerica, I think, to use the
(31:25):
DOP Choice Stefan Lettuce Usethe use the air glow which
attaches to either two by onepanels or one by one panels,
depending on the size, but thetwo by one panel we had.
Um, and it is you.
You mount the light that and itshoots vertically up and then
you put a balloon.
It's an inflatable unit, ummodifier.
You put it on top, you blow itup with a pump.
(31:46):
It takes like 30 seconds andthen it bounces into Ultra
Bounce and goes through MagicClaw and so it's like a book
light, but it's contained ontoone stand, which is fantastic
for smaller spaces.
But also, if you don't want tomove a lot of Gak around and you
have limited time, you can justput it on some rollers and roll
(32:06):
it around with a unit.
Obviously that's a really softlight, because you're going to
lose like three or four stops oflight through ultra bounce and
I think maybe three, three and ahalf stops through ultra bounce
.
And then magic cloth.
But man, magic cloth is likethe best rag to use.
Speaker 2 (32:20):
This is another reason that CFA works, because
let's talk about how you endedup getting to use that as the
first person, the firstproduction in the united states
that got to use that amazing newpiece of gear.
Uh, as much of our communityknows, we love to go to
different festivals.
We love to go to different.
(32:41):
Um, yeah, what is it aconvention?
What's a conference?
Um, so, we were at a conference.
We were at nab and we were atnab in las vegas.
Yeah, and indiana knows stefanfrom years and years.
She was 17 years old.
They have inside jokes um, he'sthe owner of DOP Choice.
(33:05):
He's created this stuff.
We went over to say hello tohim and she saw this piece of
gear doing its work and she saidthat is so cool, can I use it?
Speaker 1 (33:16):
And he said, yeah, they found a way to drive it
back to Los Angeles.
Speaker 2 (33:20):
CFA Works.
Speaker 1 (33:21):
That was a community connection, yeah, networking
connection that Indiana had andhas been fostering for years,
years, and was just able to usethis new cool piece of piece of
gear yeah, I mean, the biggestthing vendors want is for their
gear to be used and so if it canbe used in a way that the you
know it was either intended ornot, but in a surprising way was
used, I think you know it'sjust more power to them.
(33:44):
You know it's marketing at theend of the day and and it just
makes sense because I that was atool I needed for that and I
felt was really useful and I'mreally excited that we didn't
just stick to, like you know,having a sky panel or a light
matter or an aperture unit thaton its own that we're used to
having, but we like tested andexperimented with an addition to
those lights, a newmodification, like I think if
(34:05):
you can have the time and makethe time on set to test a new
piece of equipment every time insome way, you know you'll,
you'll have a more comprehensiveunderstanding of what you enjoy
and what you don't and why yeah, and you're learning about the
new stuff and it's I mean, yes,that, yes, it's good for them,
but also, that wouldn't havebeen possible if you weren't
(34:26):
getting out, you weren'tnetworking, you weren't yes, you
know cultivating this communityof people that you like to be
around and like, see, youcouldn't have just been like any
random person and walking upand being like that's cool.
Speaker 2 (34:38):
Can I use it?
Speaker 1 (34:39):
like, yeah, you have to have the relationships, which
is we say a lot, yeah, go makethem exactly, and I and I you
know, I know I'm speaking from acinematography standpoint and I
know there's actors listeningwho are like I know you guys
always talk about networking andgoing to conferences.
But that's like normal for youknow dps and crew, but here's
hayley talking about how she wasat nab and how beautiful those
(35:01):
relationships are.
So if anything like go tonetworking events, come to ours,
ours, go to conferences, go tofestivals, like introduce
yourself, I think you know.
Yes, if some people are turnedoff by the fact that you're an
actor, I know that happens a lotfor actors.
They see people like glaze overtheir eyes glaze over, I think.
Speaker 2 (35:20):
In places like this, though, where it's not really
common to see an actor, it'scool, it's cool, it's cool, I
agree.
Speaker 1 (35:28):
You need to learn about this stuff, because they
always talk to you about that.
They're always like oh, wow, anactor, like that's awesome,
like what, what do you need toknow?
Like what can we tell you about?
And we went to road at nab andthey like had stuff specifically
that was perfect for you, andthey actually handed us a road
wireless pro.
Yeah, go, kit for loves.
That would be that's going tobe used for.
Speaker 2 (35:48):
It's going to be so great for self.
Yeah, it was just.
Yeah, it's really cool, sodon't think that these spaces
aren't for you.
Yeah, um, we actually have aprocess episode that's going to
come out soon that you'll beable to listen to, where one of
our community members, who alsospends a lot of time going to
these conferences we see her alot she actually has a story
(36:11):
about how that has paid off forher as an actor on set.
She's worked on having met andknowing these people.
So, yeah, it's not, it's notjust for people on the crew side
it really can benefit you as anactor correct.
Speaker 1 (36:26):
So yeah, so yeah.
That's kind of like with theMorgan Freeman thing, I mean,
that's what I really wanted tosay is that I don't.
I think our industry can change.
I think you know us being thispublic charity now means that we
can change a lot quicker andfind better ways to do it.
You know, we started as an LLCand we still have that LLC, but
(36:47):
it'll just be separate,completely separate, and I'm
sure we'll end up dissolving itbecause we'll find that
everything is a part of ourmission.
But everything is going toeventually, yeah, but we're
learning, and I think.
But one of the key things thatyou know we are very true, stand
by and are true to, is the factthat we are education,
(37:07):
community building for a reasonthat it helps us tell better
stories and it helps us bebetter filmmakers.
We could have gotten jobsanywhere, doing whatever we
wanted to some extent, but youknow like we could have gotten
jobs that were a lot easier tomake money at.
And so why are we in thecreative field?
And it's to pursue passion andyou know, in that pursuit, if we
(37:30):
can do it in a polite andhealthy and organic way that
enriches your life, why not?
Speaker 2 (37:35):
and that's the cfa method.
Speaker 1 (37:37):
That's the cfa method , hey um hayley, thank you so
much for interviewing me oh yeah, and chatting with me back on
this couch.
Speaker 2 (37:46):
I'm glad that we did this.
Speaker 1 (37:48):
Yeah, I'm always glad when we do that and I will say
um, if you have not met us inperson yet, subscribe to our
mailing list so that you cancome to our events and come hang
with us and meet our community.
Um, subscribe to the podcast.
You can hear about all theeducation and get started, and
then you can check outcinematography for actors
youtube as well as for theactors, where we do some fun
unboxings about gear we like touse, as well as kind of.
(38:10):
If you're an actor, we have howto use casting networks, how to
use actors access, things likethat.
And then we also have ourcourses on there and we hope to
get back to shooting those thissummer.
We have plans.
We have plans.
Speaker 2 (38:21):
We have a lot in the works, so stay tuned.
I mean, the podcast is great,the podcast is fun, but use us
as much as you possibly canTotally Possibly, can.
Yes, use what we have for youbecause it's all there and we're
giving it to benefit you,because it benefits all of us,
(38:42):
yeah, so come on out.
Come on out, scream and shout,join us, thanks.
This has been another episodeof the CFA Podcast Scream and
shout.
Speaker 1 (38:47):
Join us.
Thanks, this has been anotherepisode of the CFA Podcast.
We'll see you soon.
Bye.
Speaker 3 (38:52):
Join us in bridging the gap between talent and crew.
Start by subscribing on yourpreferred podcast platform.
Sign up for our newsletter tostay up to date on vendor
discounts, community events andnew podcast releases, and
educate yourself through ourfree course releases on YouTube.
It all starts atcinematographyfractorscom.
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