michael morlan, austin texas, cinematographer, director of photography, D.P., gaffer, camera operator

Michael Morlan . Production
cinematography . edit . sound design . vfx


To See Mama Dear – 1998
 

genre:

length:

format:

logline:

fantasy drama

8 min independent short

Kodak 7222 to Beta SP to D1

"A young man visits his ailing grandma and, while fighting Death for possession of her soul, learns that all things change."
 

cine:

I lit and lensed this production for writer/director Uri Campbell.

Essentially a guerilla shoot, we shot all footage in a weekend.

The biggest lighting challenge was shooting black actors against white walls.  We didn't have the time or budget for proper production design so getting proper exposure was critical.
 

post:

The film was telecined to BetaSP and digitized with a DPS Perception VR.

Almost every line of dialogue was replaced from wild tracks recorded during shooting.  Some of the actors' performances were so consistent that little phoneme nudging was required.

All sound was replaced from ambient tone, Foley, and libraries.  I laid in around 210 sound cues for the entire eight–minute edit.

The swish-dolly into the keyhole was created by shooting 35mm stills of the door and keyhole, placing them in front of footage of Death within Lightwave, and rendering a camera move with motion blur.

The "death head" shot was a multi – layer composite of the original plate, a 3D model skull, and lighting control elements so his eyes would be the last to disappear.
 

tools:

camera – cp16
Lowel omni's and tota's
edit – Premiere/Perception VR
foley/ADR/sound design – Premiere
vfx – 3DStudio Max/Premiere

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