3rd day of Coming Down the Mountain

Woke up and got the shot list worked out last night's meeting. I quickly run the numbers: 23, 3 locations. Yup. The list was oozing with the desperation from losing precious production time. It was impossible list unless we were running 2 units, but I wasn't going to complain. It wasn't my decision, nor my position, but I pretty much saw what to expect from today. We drove nearly an hour to get to this small, old-fashioned, house habited by an equally old lady with many knick-knacks. We got quick shots off the exterior house and began to move closer to the heart of the scene. Since we didn't have a Gaffer, we asked a local electrician, Eric I believe that was his name, to help us out to tie-in from the house electric box. He helped us move out lights and gears more than setup the distro box, which I'm grateful for I lacked capable, strong hands. I also gained a Grip, Dave Kahn, who was a friend of Frank from Cicinnati. Dave was an educational video maker who had an keen interested in filmmaking process. He talked to Ken often about cameras and other stuff whenever he was free. I was grateful more extra hands whenever I can because I became the truck bitch, organizing gears in the truck, controlling its perpetual chaotic state. It was trying job since the specially-designed carts of various gears were pricey, so our beat-up gears were in plastic carts. I never knew I had it easy when I doing the Gaffer work in Full Sail. I thought those c-stand carts came with the gears, but I was very, very wrong. I could move 20 c-stands easy with its cart, but without it, even two was heavy. Ugh. I and Charlie were drenched in our sweat under the bright Kentucky summer sun.

We finally got our 2500 Watt HMIs out for the interior shots. The rental house actually had a cart full of lightbulbs to plug them in. I let Ken do it because I wasn't ready to mess around with $2500 lightbulbs. Who said filmmaking was cheap? The problem was that the antique house had only limited electricity that can't support three HMIs and other stuff running the various gears. I was afraid of this, and it came to reality. Where's Jenny when you need one? We ended up scrapping the dolly and the lighting setup that took almost two hours and shoot outside the porch with the Kinos--the hardest working light in this side of mountains. Yes, I know Kinos. They are my best friends.