Category Archives: Short Films

Say Hello to Jack Raven

What do you get when you cross a hard-nose detective, a sweet little girl, and demonic possession?

A Jack Raven Mystery
Casefile # 0327-17: Lucy Perkins

picture of Elliot HayotOn Sunday, March 26th, Elliott Hayot from Belgium contacted me about making short films. Elliott is a Public Relations student and he’ll be taking the selection tests to be an Air Traffic Controller; he also studied filmmaking in high school. He had a short story he wrote that he thought would make an interesting film. He asked if I would take a look at it and possibly consider shooting it some day.

I receive a few requests like that through email and on Facebook, and I’m always willing to help when I can, but his story, The Man with the Hat, really drew me in and I immediately saw its potential as a film.

We chatted for a bit to make sure we were both on the same page and then I went back to planning an upcoming film shoot, but Elliott’s story was stuck in my head and nagging at me to do something with it now… right now.

So I did.

Several hours later the first draft was finished, but the characters took me in a very different direction than what I had originally planned.  Great characters often take on a life of their own. The following day, with the help of my girlfriend to proofread and offer some insight, I worked and reworked it until I had what I thought was a solid draft.

Twenty-seven hours and one minute since Elliott first contacted me, A Jack Raven Mystery was sent back to him to make sure he liked and approved the screenplay.

He did.

It is now sitting in pre-production mode where the 1st AD and I will breakdown the script and figure out exactly what and who we will need to shoot it. Right now we are looking at late spring or early summer before we start rolling cameras. In the meantime, here’s a quick list of some of the speaking and non-speaking roles we will be auditioning for as well as needing some behind-the-scenes personnel such as hair & makeup, sound, lights, and production assistants.

  • Jack Raven – detective
  • Lucy Perkins – little girl
  • Gloria Shannon – detective
  • George Perkins – Lucy’s father
  • “Doc” – the coroner
  • Father Charles Raven – priest
  • Child Services worker
  • Mrs. Smith – the nanny
  • Background actors such as police, ambulance personnel, etc.

Please note that at this time these are non-paying roles. but depending on what type of funding we can get this may change, but until further notice it is on a volunteer only basis. We are not casting roles at this time – but when we do hold auditions, members of The Filmmaking Datatbase will be the first to be notified about auditions. If the roles are not filled through the database then we will hold an open casting call. If you’re not in the database please CLICK HERE and add your email address.

About the Author:photo of Author, and Filmmaker Kenn Crawford

Kenn Crawford is an author and filmmaker from Glace Bay, Nova Scotia, Canada.
Click HERE to watch his YouTube Videos


The Cinematography of… Unscheduled Visit

I love filmmaking – everything from writing the script and coming up with a shot list to decorating the set and shooting the scenes. Cinematography is just one of the many steps needed to get my ideas off the written page and onto the screen where it belongs. In this post I’ll breakdown the cinematography of my latest short film, UNSCHEDULED VISIT, and why I made the choices I did when it came to shooting this story.

Before I breakdown the film, I’ve included it here just in case you haven’t watched it yet. The breakdown will be written below the video.

The Cinematography and Subtext

You might have noticed two very distinct shooting styles, or shots, during the film. If you never really noticed then I did my job as a cinematographer and editor. For the average viewer who are not filmmakers looking for such things, the camera work and the editing should be completely transparent unless the filmmaker wants the viewer to notice.

Subtext is how I make you feel or think outside of what the characters are saying or doing. Think of subtext like this: If the text is what you see on the page, subtext is like reading between the lines – the invisible language, thoughts and feelings that exist in the context of the scene or story, but are never actually spoken. As a director I used blocking and camera position and/or movement to relay the subtext.

One of things I did was lock the camera down on a tripod for some of the shots to ensure there was no camera movement. This is apparently frowned upon by many modern filmmakers. It seems that constant camera movement, however subtle, is the new normal and beginning filmmakers are urged to take their camera off the tripod or else the footage will be dull and boring. I do not believe this to be true because I’m a firm believer in motivated camera movement.

Don’t move the camera simply because you’re supposed to move the camera. That to me is boring, and sometimes confusing if the movement doesn’t fit the scene. If you’re going to move the camera, do it with purpose. If your scene has to have camera movement to keep it from being dull, put the camera down and write a stronger scene. For UNSCHEDULED VISIT I had a specific reason when I did, and when I did not, move the camera, and it breaks down like this:

Lateral Movement

The brief establishing shot that leads us into the scene is a right-to-left pan to introduce us to Doctor Tyler and his patient, Kendra. On the surface it’s just a simple pan, no big deal, but beneath the surface, the direction of the lateral movement is adding subtext that is outside what we see and hear.

The opening music is upbeat, the character’s actions and dialog tells us that the doctor is a caring and friendly man, but the right-to-left lateral movement hits a subliminal chord that tells us something is going to change… and not for the better. What that change is we do not know, we’re only a few seconds into the film, but deep down we just know something is going to happen. Why is that?

Screenshot of Dr Tyler and Kendra

This is because in North America and  in many other countries we read from the left of the page to right, that is “normal” for us, so anything that moves right-to-left seems slightly off. Something in the back of our subconscious mind is telling us that something is not quite right when the lateral movement is right-to-left.

The scene itself is casual and friendly, and when the doctor finishes up and escorts Kendra out of the office the camera performs a brief right-to-left pan again as it follows them to the door, further reinforcing the feeling that something is not quite right. Then, while the doctor is standing in the doorway, Scott appears. Before he even has a chance to look at the doctor we just know something is wrong. There was nothing in the previous scene to suggest anything was amiss, but… we just know something is wrong.

The camera pans left-to-right to bring us back to where we started at the desk (there’s no way around that) but the look Scott gives the doctor tells us that something is about to happen, and that quick but intense look negates the slight left-to-right pan needed to bring us back to the doctor’s desk.

Now we are waiting to see what happens, and that feeling of expectancy was the subtext that was delivered through the use of deliberate camera movements.

Screenshot of Scott and Dr Tyler

The Subtext of Tripod vs. Handheld Shots

From there I interchanged between tripod and handheld shots, but there was a specific reason for when I used one or the other.

The doctor and Scott are rarely seen on the screen together, and I’m probably breaking a cardinal rule by not doing over-the-shoulder shots to show both actors at the same time. I did however use one wide shot of them together, but I picked a very specific angle and piece of dialog for that lone two-shot.

Screenshot of Dr. Tyler and Scott

Here’s how the tripod vs. handheld shots tickles our subconscious with subtext:

All the shots of the doctor are locked down on a tripod. His shots are steady because his character is rock solid – a pillar of the community and a well-liked doctor as witnessed by his interaction with Kendra. Scott’s large and intimidating stature was evident when he walked by the doctor. Shooting the two-shot on a tripod with Scott closer to the camera drives home the point that he’s a big man, but the subtext delivered tells a different story – the steady tripod shot tells us that despite their difference in size, the doctor is still rock solid and not intimidated by the bigger man.

The shots of Scott however are all handheld. The subtle movements of the camera suggest that unlike the doctor, he is in turmoil. He’s on shaky ground with his wife, with the good doctor, and with what has happened to him.

As the story progresses the shots I used for them are reversed.

When Scott finally comes to terms with what has happened to him I used a tripod instead of handheld. The subtext of the tripod shot suggests that only when his mind is calm can he deliver his final message and cross over. And because of his new state of mind he can leave behind the pregnancy test. On the surface it looks like the pregnancy test is left behind just to set up the next scene, but it goes much deeper than that. The subtext of that action is Scott telling the doctor that he knows just how much he has lost. This coming-to-terms scene is reinforced through the use of a steady tripod shot.

But as Scott starts to disappear in front of the doctor’s eyes, the doctor’s reality is suddenly thrown into turmoil – and this is reinforced by switching to handheld shots of the doctor for the remainder his scenes.

More Subtext through Composition

Another “rule” I purposefully broke was not having the doctor and Scott framed exactly the same size. Scott is always just slightly bigger to emphasize his turmoil. But, when the doctor’s reality is thrust into turmoil he is much larger on the screen, larger than even Scott was to place a little extra emphasis on his earth-shaking new reality.

Screenshot of Doctor Tyler

Meaghan’s scenes are steady tripod shots despite the fact that she too is in turmoil. This seems counter-productive but the steady shots add a subtext to her scenes – she has had some time to absorb the bad news, and her friend Jess is there to comfort her. That comfort equates to being calmer, so the camera is locked down and steady.

Screenshot of Meaghan and Jess

Last but not least is Nurse Delores. At first it makes sense that her shots should be handheld because Scott is in the frame with her, and she just witnessed the doctor talking to himself – we later learn that she can’t see Scott because he is a ghost who is only visible to the doctor – but the more I dissected that scene, the more I realized that she is confused but not necessarily in turmoil. So other than a slight tilt to ensure she is composed correctly when she enters the frame, the shots of her are fairly steady.

Screenshot of Nurse Delores

Wrapping it up

Motivated camera movement adds a whole new dimension to the story because it creates subtext. Most of what I wrote about you’ve probably never even noticed when you first watched the film – you weren’t supposed to – but now that you know what subtext and motivated camera movement is, watch the video again and you just might see the film in a whole new light.

Do you agree with my shooting style for this film?
Is there something you would have done differently?
Post your comments below and let me know.

What ever happened to…?

Picture of filmmaker Kenn CrawfordThe road to filmmaking is paved with ups and downs. Sometimes it’s not even a road and it’s just a hint of a trail. Other times I have to blaze new trails and learn new skills as I go along.

Sometimes my compass is broken and I get lost while other times I find my way, but through it all the burning desire to turn my story ideas into a visual form to share with people like you has never faltered.

I love film making, and I like to think I’m getting pretty good at it. I don’t expect to win any awards anytime soon – that’s not why I do it – I just love writing new scripts and working with a cast and crew to bring that screenplay to life.

Ironically, Dead Hunt, the project that got me started on my filmmaking journey, has never come to fruition – and it could be years before it ever sees the light of day. In this blog post I wrote about how I had to postpone it until 2017 because we simply were not going to be ready unless we cut a lot of corners.
Cuts that would have ruined the story.
Corners I was not willing to cut.
The more experience I get making my short films, the more I realized that I’m not ready to tackle a project as big as Dead Hunt.

Not yet.
Blind ambition has its place, but it can also lead you down a dark path. One of the times my compass was broken and I got lost was when I wrote and began filming The Amygdala Project. It was an ambitious undertaking to say the least and would have taken the entire summer to film because we could only shoot it on the weekends. Bad weather, scheduling conflicts and other problems reared their ugly head and my 13 episode mini-series was cut to 9 episodes. Then to 7. Then trying to piece together a single story rather than a mini-series.

But we still ran out of time.

My inexperience as a director, coupled with trying to learn how to direct from behind the camera while keeping an eye on all the technical aspects of filmmaking led to a few missteps, false starts and ruined footage. It was a learning experience to say the least.

Sadly, by the time we were forced to wrap up shooting we simply didn’t have enough coverage. I wanted to shoot all the heavy dialog and character building scenes at the end because they were the most important parts of the story . I felt the on-camera chemistry would have been so much better because everyone was no longer strangers working on a new project, they would have been a tight-knit family. The best laid plans of mice and men… We simply ran out of time.

Without those key scenes there was no story – just a random collection of scenes that could not be strung together in any logical order because there were so many plot holes and missing pieces.

Editing a film is like putting a jig saw puzzle together – by themselves each little piece of the puzzle doesn’t really seem like much, but lose one piece and you’ll never have a complete picture. Now imagine a third of the pieces are missing – you don’t even have a picture,  just a collection of little pieces that could be something great if only you had the rest of the pieces.

It pains me to say that the Amygdala Project is dead. I wrote new scenes to be filmed at a later date to try and fill in those glaring plot- holes. I tried changing it into more of a dramatic story rather than an action flick. I tried editing what I did have – none of it worked. Too many pieces of the puzzle were missing.

Amygdala was a great learning experience and I got to meet and become friends with some wonderful people, I just wish I had something to show them for all their hard work. Someday I will cut together a reel of the best footage to showcase what they have accomplished, but spending too much time working on a failed project can be dangerous and depressing. Someday I will cut that footage… just not today.

Today I am fine-tuning the new story I wrote while editing the latest film I shot called UNSCHEDULED VISIT.
WINTER’S HUNT, is waiting for one final piece of footage to be shot and then I can release it.
THE BATTLE WITHIN and THE FINAL GOODBYE have both been released and we will be shooting THE INTERROGATION within the next couple of weeks.

It’s been a roller-coaster ride and I’m starting to pick up steam.
The pitfalls and disappointments of independent filmmaking will never dissuade me because I am passionate about filmmaking and my best screenplays, my best films, are still inside me… and I’m just getting warmed up.