BEHIND THE SCENES

Any creative process is filled with obstacles along the way.  For this reason, problem-solving skills and selfless team-mindedness are the two biggest criteria in my search for collaborators. Every once in a while there comes along a project that you know just wouldn’t be the same without the input from talented others.  This was one of those projects.

G&E CREW’S SETUP for our first sCENE

G&E CREW’S SETUP for our first sCENE

BACKGROUND

Last summer, John Devoie, from Hot Table Panini, contacted me and said that he was looking for a video to aid in presentations that he gives to strip mall developers to promote Hot Table to new markets.  Hot Table has a very specific identity that they want to share with the world, and so I wanted to respect their vision and create something that they would be proud to present to others.  

John asked that the presentation video might show off their newest location in Marlborough, MA.  I started by looking at photos of the location on their social media account.  In doing so, I found that the restaurant space has huge floor-to-ceiling windows on 1 1/2 walls.  This told us that we were going to have to work with bounced sunlight a lot. 

Additionally, as I scrolled through Hot Table’s social media pages, I came across many photo posts that were being put out by their marketing firm.  The photos looked great and had a pretty consistent use of poppy, bright but slightly muted colors, and hard sunlight/shadows.  I loved what I saw from them and I wanted to remain consistent with the brand image that they had been putting out but also put my own touch on the video.  

ALL THE WINDOWS

ALL THE WINDOWS

THE CREW

I knew we needed to assemble a great team to get the job done.  I had initially planned to direct and DP.  I had asked my friend and very talented cinematographer, Evan Bourcier, to be my gaffer.  A few days later, we took a ride out to the location it was absolutely beautiful, but being there in person changed a lot of things for us (location scouts are super important for this reason).  We found that the Google Maps that we looked at were not up-to-date and the building was actually facing the complete opposite direction than what we had initially anticipated.  We were going to be working with direct sunlight coming through the huge windows during the only time of day we could schedule production (due to business hours).

Directing the crew on the first setup

Directing the crew on the first setup

At this point, I realized that working with direct sunlight was going to require a lot more lighting power and shaping than I wanted to deal with while also trying to direct the talent.  So while standing in the location with Evan, we decided that it would be best for me to concentrate on directing the talent and for him to handle the cinematography.  

That was a difficult decision because I enjoy cinematography and operating the camera.  I did not want to give up that amount of control, but I knew that it was going to be best for the project as a whole.  Also, I completely trusted Evan to do a fantastic job (even better than I could do).  

EVAN WORKING WITH Dan TO LIGHT THE SHOT

EVAN WORKING WITH Dan TO LIGHT THE SHOT

working with direct sunlight

working with direct sunlight

fRAMING THE WIDE SHOT

fRAMING THE WIDE SHOT

So we called up Dan Peck at Fast Lights and he was totally the right choice to be the gaffer.  He and Evan worked very well as a team and got some absolutely amazing images.  They put together just the right camera and lighting packages to work with the amount of sunlight and the location we had.

WORKING WITH NON-ACTOR TALENT (AND MY OWN FAMILY)

The day of the production arrived and, even though we put hours and hours into pre-production, we still had the uncertainty of whether our extras would show up.  We called in a bunch of favors from friends and family to fill the restaurant space.  I have done this on previous projects, and you just never can be certain if people will actually show up.  To my delightful surprise, everyone showed up!  

Scary part number 1 was taken care of.  Next was the difficulty of stuffing 10 lbs of stuff into a 5lb bag.

IT’S GREAT WHEN ALL THE TALENT AND EXTRAS SHOW UP

IT’S GREAT WHEN ALL THE TALENT AND EXTRAS SHOW UP

We only had 4 hours before the restaurant opened for business and we had 4 setups to shoot.  We needed to work quickly.  Setting up the first scene, the awesome camera department did everything efficiently and with quality.  

Scary part number 2 was taken care of.  Next, was the task of directing inexperienced talent.

DIRECTING CHILDREN IS ONE THING. DIRECTING YOUR OWN CHILDREN IS ANOTHER

DIRECTING CHILDREN IS ONE THING. DIRECTING YOUR OWN CHILDREN IS ANOTHER

While all of the awesome crew were doing top-notch jobs, I was struggling to get my own children to perform on-camera.  My wife, Jasmine, did a great job preparing them and helping to get them into character (she studied theater and loves acting).  But the informal nature of a parental relationship makes working with your children on-set a whole other world.  After several takes where we just weren’t getting the expressions we needed, I realized that I was being too uptight and felt I needed to loosen up, especially with my son.  We began to joke around a bit, included all the tickles and giggles we could, and started rolling camera just when the kids were at their happiest.  You can’t see it in the shot, but Jasmine is actually tickling Clara to get that smile.  And telling an eight-year-old that he can drink the juice if he pours it well is an added leverage you can use with kids.

After that, the other setups went very well.  Eddie Gagnon, a childhood friend of mine, absolutely shined on camera.  He took direction very well, as though he could read my thoughts rather than just hear my words.  

Keith and Shannon Mumblo waited very patiently for their camera time and Keith’s jokes brought smiles to everyone and helped ease the tension for the kids.  At one point, we just let their son and daughter play together at the table and we got their thumb wrestling action naturally!

EVAN’S ARRI AMIRA WORKING HARD

EVAN’S ARRI AMIRA WORKING HARD

DENIS CROSSING THE T’S AND DOTTING THE I’S

DENIS CROSSING THE T’S AND DOTTING THE I’S

THE RESULT

Evan, Dan, and Wes brought absolutely awesome looks out of the location and really captured the bright-but-contrasty look we were going for.  

Denis Zenchenko, our AD, saved the shot on several occasions by keeping continuity, dealing with background talent, and even offering his own image and likeness in a walk-by during the family table wide.  Just the amount of action the shot needed.

These are the types of things that great teammates bring to a production to make it shine.

Hot Table Frame 14.jpg

Extras:
Tate Bourcier
Charlotte Bourcier
Rachel Bourcier
Marion Shaughnessy
Janet Derderian
Denis Zenchenko
Tim Gavrilov
Dave Wurtzel

Client: Hot Table Panini
Director: Matthew Derderian

Cast (In Order of Appearance):
Zachary Urbanowski
Eddie Gagnon
Jasmine Derderian
Jackson Ward
Clara Derderian
Keith Mumblo
Shannon Mumblo
Evan Mumblo
Abigail Mumblo
Madison Boudreaux

Shot on Arri Amira and Tokina Vista Prime lenses

Special thanks to John Devoie and the whole Hot Table staff.

Filmed on location at Hot Table, Marlborough, MA

Crew:
AD: Denis Zenchenko
DP: Evan Bourcier
AC: Dave Wurtzel
Gaffer: Dan Peck
Grip: Wesley Kabakjian
BTS: Dave Wurtzel & Tim Gavrilov