Goodbye, NOLA’s green day.
Day Three of our shoot took us to Work Light Pictures where we spent the day shooting the opening scene of our film. In it, the family drives from the airport to New Orleans and we begin to learn about each of the characters–their flaws, fears, wants and needs.
It was a productive day and much like the family’s own stories, we had our own hurdles to overcome, which brings us to the deal of the day.
With just five days left in our Indiegogo campaign, here’s today’s exclusive offer. Everyone who contributes at the Beignet Level or above will receive a “behind” the scenes video along with the accompanying story of why the “behind” is in quotes. If you’ve been thinking about supporting us but haven’t done so yet, it’s a great time to take the plunge (another clue). Be our number one supporter (there’s another). OK. We’re done. Hit the link below and join the rising tide of everyone else bringing Goodbye, NOLA to the big screen. Oops–another clue! https://goo.gl/jFNK1E
On the set, director Scotty Cornfield chats with sound recordist Stan Ng during an intense day of filming in front of a green screen. Above Scotty’s head, the fluffy clouds of a rare thought form. An idea is about to unfold…
We’ve packed it up. After a thrilling ride through the great city of New Orleans, we wrapped the shoot Thursday evening. To celebrate all of the great work, we had a fantastic wrap party at one of New Orleans’ favorite spots in Treme. The place is called the Ooh Poo Pah Doo bar and it has special significance to our film since it was the home of Travis “Trumpet Black” Hill, a talented young trumpeteer who played a key role in the actual story our film is based on. Travis died tragically at the age of 28 last year. Over the past month or so, we’ve come to know and love his family, so it was fitting that we ended our journey at that location. More than a few tears were shed as we presented a trumpet to Travis’ family in the hopes that they will pay it forward, inspiring the next Trumpet Black.
We’ll post more pics later but here’s a shot of cast, crew and new friends made during the big bash celebrating the successful completion of principal photography of Goodbye, NOLA.
Thanks for all of the love and support so far. We’re still far from reaching our goal so we’d love it if you can spread the word about our campaign which runs until June 5th. Lots of bills to pay as making a movie like this isn’t cheap but we know it will all be worth it. A labor of love always is. #goodbyeNOLAmovie https://goo.gl/jFNK1E
Production designer Joe Sikoryak is always willing to sacrifice himself for his art. During yesterday’s shoot at Downtown Tattoo on the edge of the French Quarter, Joe “willingly” had his head tattooed just to add some realism to the scene we were shooting. Thanks, Joe. Movie fans everywhere will one day appreciate your sacrifice.
To the casual observer not educated in the world of filmmaking, it may appear as though director of photography Chris Rasmussen is celebrating the fact that he’s just scored a plate of beignets made famous here in New Orleans. Turns out, nothing could be further from the truth. In reality, Chris is holding a set of props that figure prominently in a scene we shot yesterday in a beautiful courtyard. We can’t give the scene away but we will tell you that it involved someone inhaling a lot of powdered sugar while trying to eat the tasty treat.
Let’s welcome Melissa Rankin as our newest big-time backer. She hit the contribute button at the Crawfish Etoufeé level and earned the right to proudly call herself an associate producer. Why’d she do it?
As she put it, “When I read your log-line and concept today, I loved the idea and knew that your film was the project I wanted to be attached to.”
Here’s a post from Goodbye, NOLA’s Edmondo Tinetti. Among other tasks, he’ll be our colorist and this is how he works his magic.
I was working on a film called “Sonnet 36 “ directed by Rowan Brooks. Before the dawn of the day began, the crew was setting up the shot to capture the sun rising from the east.The cast was placed in a 50’s style public bus, the crew was ready to shoot and the light of day seemed promising for a spectacular shot.Of course reality set in and the bus wouldn’t start.Countless gawkers and oglers were all trying to be the one to solve the day.3 hours later …. the sunrise came up and went.Beautiful colors. Then a grip asked: “is there gas in the bus?”Sure enough no gas.We got the gas in an hour later and now it was mid-morning full of sunlight.
We shot the scene and the footage looked too bright—it looked more like mid-day instead of early morning.I got the footage and did my magic, adding contrast and pinks and golds to the shot to assimilate early dawn.
The proof is in the clip.We didn’t have to reshoot another dawn.I was able to give the look that the director wanted and it was a good day.
As part of our pre-visualization process (where dialogue will be matched up with animated story boards) we brought in a team of actors to read the script this week. Pictured (from left to right) are Duncan Heath, Jeff Brown, Stacy Wood and Cheryl Kann. T-minus 11 days before we start filming in New Orleans.
Before we managed to secure the fabulous Downtown Tattoos location, we scoured the area looking for just the right location. Apparently our optimism paid off (as demonstrated here). Director Scotty Cornfield reports from the trenches.
There are tattoo shops and then there are tattoo shops. Downtown Tattoos on the corner of Frenchman and Decatur screams New Orleans and it’s a place our characters will visit along the journey. This is just another reason why we chose the picturesque city in which to place our story. That and the fact that this is where the actual story took place. It’s all coming together.