Music Video Short
Yokai Films Chicago, IL
Crew | Cast
JASON KRAYNEK – Director of Photography, Camera, Gaffer, Colorist, Story
LINDSEY MARKS/LADY JACK – Concept, Actor/the Fool, Choreographer, Story, Producer
ANDY RAMSEY – Director, Editor, Story, Producer
STEPHANIE MARIE SCHULTZ – Actor, Singer, Story
CHRISTOPHER SATO – Producer, Camera
ROBERT FELKER – AC, Grip
DAN WASIK – PA
EVA LA FEVA – Actor/Showgirl
JOSEPH CR VOURTEQUE – Actor/Ringmaster
BRAD FRENCH – Actor/Masked Juggler
ANGHELL + RAY GUNN – Actor/Pole Duo
GAEA LADY – Actor/Veil Dancer
STEPHANIE SMITH – Actor/Ladies Auxiliary Circus Club
MEGAN GLORI PARKER – Actor/Ladies Auxiliary Circus Club
BRENDA CABEE – Actor/Ladies Auxiliary Circus Club
JOSEPHINE SHAKER – Actor/Ladies Auxiliary Circus Club
KARA ROMANOVA – Actor/Ladies Auxiliary Circus Club
SAMANTHA SIREN – Actor/Ladies Auxiliary Circus Club
LISA MARIE RAY – Actor/Ladies Auxiliary Circus Club
LAURA SCHOFIELD – Actor/Ladies Auxiliary Circus Club
RONNIE KULLER – Accordion, Piano
JAMIE WAGNER – Upright Bass
LARRY BEERS – Drums & Percussion
BRIAN WILKIE – Acoustic Lead and Rhythm Guitars
CHRISTINA AGUILERA, SIA FURLER, SAMUEL DIXON – Original song written by
Gear | Production
CAMERAS – RED Epic Dragon, Canon C100, Sony A7s
LENSES – Canon Cine Primes, Canon L Series, Rokinon
RIG – Cinevate, Atomos Ninja, Wooden Camera, DJI Ronin, Movi, EasyRig, EasyRig Vario 5, RED
MONITORS – SmallHD DP7/DP6
LIGHTS – Blind Spot Gear, F&V, Arri, Aputure Light Storm 120t, Photo Bulbs
A music video based off the stage concept dance piece “the Fool” by Lindsey Marks aka Lady Jack.
Shooting in the large performance space of the Chopin Theater in Chicago, we got the dance performance numbers complete. My RED Dragon is being looked at in LA so we shot on the C100 w Atomos Ninja PRORES HQ on the DJI Ronin along with the Sony A7s on the Movi for slow motion.
We went down to Magnanimous Media and rented Studio One to shoot the circus performer segments. Had to recreate the look and style from Day 1 at the Chopin Theater (surprisingly successful in that aspect) and make sure that we could match shots. By the time we shot Day 2 I had my RED Dragon back and we could start to use it for this project, amazed as always with how much different it looks next to cameras and shots that “looked really good” before- yet when placed in comparision you really see what the RED has to offer (and its in the details, color, and just overall clarity to start).
Got to test out the older version of the Easyrig as well (thinking about buying the new Easyrig Vario 5 soon) and it had its uses for sure. I feel there were a few things i got wrong with the rental though as the arm was meant for shoulder use and i was trying to use it for “low out front shots” use- so it was a fight the whole day against the system. Slow motion stuff (which was a good portion of this day) looks fine, but 24p stuff that was meant to sync along with the song looks really shaky and will have to be used in a way of “lets find a few secs of none shake” editing.
Overall day 2 turned out really well and my biggest take aways were once again= “smoke! everything is better with smoke! lights, camera, everything.” and “maybe i can do this whole Director of Photography thing….” (which is a constant uphill learning for me, but when i can look back at the footage i feel its something i’m somehow good at).
Back at the Chopin Theater, only this time in the basement, we set up a entire tent within a small area then i lit the hell out of it. Prior though, we needed a shadow scene with 2 of the characters in slow motion (done by using a simple white bedsheet, 2 manfrotto stands, some clips, and a 1K Arri backlight).
Tent setup was done with fabrics and blackout curtains for background. Lights included arri, blind spot gear scorpions, white bedsheet w 1k for front light, 2 F&V 1×1 lightpanels, 1 Arri 650, and a bounce card. Gear and movement was done with the Cinevate Atlas jib.
This day consisted of shooting in the upstairs attic of Yokai Films. We spent a day doing a general fabric/lighting/set design and then the following night shooting. Since we wanted movement we used the “Dear lord help me, why is this so heavy” Ronin and a 50mm Nikon photo prime (not the best lens i found out after reviewing the dailies on this- it was for a “dream scene” ish so hopefully that works to its favor, but that lens will not be used again with the RED.) (side note: it was Philip Blooms lens that i bought from him online, no bad feelings towards him though as maybe its a good lens for photo- but its not a 6k HD lens).
Shooting went into the wee hours of the morning but we managed to get everything done with a crew of 3 and cast of 2. So, thats impressive overall everytime. Footage came out pretty amazing considering we made a attic actually look like a tent from every shot, kudos us.
The last day was the full tent theater day. We spent most of the morning setting up the space, building the tent, rigging the lights, and generally trying to make a few people seem like a TON of people for the crowd shots. Full day, multiple passes, and taking what we learned from days prior to shape a open space into a circle environment in a short amount of time was a challenge but we managed to get everything done within the allotted time. The final shots consisted of the water slow motion effects after everyone had left but core crew.