God Made Man is featured in the Spring 2016 issue of MovieMaker Magazine. GMM was selected among 4 other films for a section titled, “Numerous Projects in Various Stages of Development” and in the article, “Five Easy Pitches.” This section is dedicated to showcasing indie films in development, production or post production that are still seeking funds, equipment, crew and/or other types of completion materials. God Made Man is in post production and currently seeking $18,750 for post services, DCI print costs, film festival submission fees and travel, color grading fees, sound mixing and more! We’re looking for potential investors, donations, trade (as in, give us a discount or free service and we list you in credits) etc. We plan to have another fund raiser, we’re applying for grants and we’ll possibly run another crowd funding campaign.
MovieMaker Magazine can be picked up on shelves or can be ordered online either by individual issues or yearly subscriptions. visit: MovieMaker.com
God Made Man creators, Kayla Olson and Nate Locklear created a Pinterest board that served as their “look book” for the film. Olson had been adding to it for years while she crafted the original draft of the screenplay. Later, Locklear was added to the board and began pinning as well. Look books are often created for films to help the filmmakers get on the same page as to how the film should look and feel. Pictures, paintings and artwork created by other artists are usually what is used. It can also help illustrate the intended film to potential producers, studios and financiers and serves as inspiration.
Locklear took it a step further and created a set of rules that he and his lighting team would follow while shooting the film.
GMM Cinematography Rules by Nate Locklear
1. Use available light when possible (street lights, indoor dramatic light, lamps, practicals, Xmas lights, neon etc)
2. Make light seem natural if not natural (i.e. pump light thru windows w/ blue gels, or colored gels for neon signs)
3. Light should bloom. And flares are good!
4. Use in camera filters as much as possible but also leave room for heavy post color grading
5. Use unidirectional lighting (with a distant backlit source) as much as possible (see Bill Henson photography)
6. Use negative fill
7. Use as much saturated colors as possible
8. Think of interesting ways to add colors to scenes (even if it breaks rules 1-2)
9. Use shallow depth of field but also use wide angle lenses for texture and curvature
9b. If wide angle on Close-up of a face- try to shoot 45° angle (above actor)
10. All camera work must be handheld, shoulder rig mounted or steadicam (unless for special optical effects). Dolly/wheelchair is permitted but no tripod
11. Use prime lenses as much as possible (no quick zoom in for effect unless absolutely necessary)
12. “Drifting” is encouraged but also find that “handheld stillness”
13. Try to plan out shots more (in accordance with drama/story) rather than just getting coverage. Try longer takes.
14. Try to block actors in interesting ways to change shot sizes (see Who’s Afraid of Virginia Wolfe)
15. Don’t be afraid of the dark. Slivers of light are good. If unsure on light amount err towards trusting your gut rather than pumping in more light.
16. No matter what, get eye light in every shot, especially darkly lit shots (unless there is a reason for no eye light)
17. Refer to look book often but don’t be afraid to get creative
18. Shoot consistent f-stop f2.8-f4 split unless too extreme shallow depth of field- then stop down. Critical focus is a must. But don’t be afraid to have subjects move in/out of focus
19. What’s interesting is what’s important. Shoot what is stimulating rather than just what’s happening
20. Try china-balls on boom pole (with battery power) for traveling face light
21. Don’t ever let the cinematography style detract from the story or emotions. It should help enhance them
22. The point of this movie is to capture intensity and movement- character movement and camera. Majority of shots will be Close-up (see Blue Is Warmest Colour and/or John Cassavetes films, 21 Grams)
23. Any of these rules can be broken but only with an inspired reason
Janet studied cinematography at the University of Texas at Austin. She’s had an impressive career in the camera and electrical department on many feature films. She’s worked as Best Boy Electric on films such as Boyhood, The Tree of Life, Machete and Predators. She was a gaffer on Sonic Highways, It’s in the Blood and Puncture, among others. In 2010 Janet began working in animation and visual effects for Troublemaker Studios and was the Visual Effects Supervisor on Sin City: A Dame to Kill For, Machete Kills and From Dusk Till Dawn: The Series.
Adam was born and raised in Texas and has spent the last several years in Austin studying television and film on his own, as well as a student and Teaching Assistant at Austin Community College. In his time at ACC, he worked on many short films, web content, as well as live band performances/music videos. Adam initially discovered his love for film from watching Hitchcock films as well as early Scorsese films, as a late teen. He enjoys the teamwork and dedication it takes to get films made. He has aspirations of writing and directing as well. Adam is currently a floor director at KXAN News in Austin, Texas.
Mark (pictured with GMM actor, Sebastian Cummings) is an actor, filmmaker, editor, and award winning magician, musician, and music composer with many years experience creating and producing audio and video content for multimedia, radio, television, and film. Past production credits include award winning software titles and films, videos, radio spots, parody videos, and television shows, including the Emmy® award-winning series on PBS, The Daytripper, the web series, Once You Leave, and the award winning feature film, Land of Leopold. Mark has taught video/audio production, and video editing in the department of Radio, Television, and Film, and advanced music composition and desktop music production in the department of Music Business and Performance at Austin Community College. In addition to his musical accomplishments, Mark has been performing magic since his childhood. He was the 2010 – 2012 president of the local Austin chapter of the International Brotherhood of Magicians, and since 2009 when he won the role of “Merlin The Wise” at Sherwood Forest Faire, he continues to entertain the thousands of attendees to the festival with his own unique style of magic, music, and comedy.
Jaclyn is an accomplished actor and screenwriter in Austin, Texas. She and GMM Producer, Kayla Olson met in a screenwriting class while in film school.
Ashley (pictured with GMM Makeup artist, Christie Rivers) is a kind and nurturing soul who works at the Austin Humane Society. She’s a lover of all animals. She’s helped out on several of Kayla Olson and Nate Locklear’s films including, The Date, Once You Leave, and God Made Man.