The Father’s Love, a romantic drama I shot last fall is premiering this weekend at the Harlem International Film Festival in New York City. The film, which we shot primarily in Harlem and Brooklyn, New York, is directed by Sharon Kon and stars Angela Lin (Grey’s Anatomy, Chinglish). The Father’s Love was my first full feature as cinematographer, and I am happy to have worked with such a great cast and crew.
Teamwork makes dreams work!
Colton Davie, Cinematographer
This post was originally written in April 2011.
I always thought that this pool looked pretty at night time, with the small landscape lights, pool lights, and little waterfalls, but the lighting around the pool is very dim. One night I decided, just for fun, to try and shoot a theoretical scene in a way that played off the location’s natural beauty. Mainly this exercise was a way for me to explore a couple of ideas that I had been kicking around in my head, and to further develop an approach to lighting of letting the location do as much work for you as possible, in terms of both inspiration and actual illumination.
Over the weekend, Pas De Restes, a short film directed and produced by Johnny Ray Gill, and which I shot, won the award for Best Narrative Short at the Portland Film Festival. I am proud of the entire team and am excited that the film is doing well. This was the film’s second “Best of” award and ninth festival screening.
This past weekend I returned to the South for the Sidewalk Film Festival, where Jesus Fish was screening. The festival was fun—our screening went well and we got to see some great films like Hide Your Smiling Faces and Short Term 12—but what really stuck with me was how beautiful that part of the country is.
A couple of months ago, I shot the music video for “Peace Hands” by The Happiness Machine, an indie garage rock band from St. Petersburg, FL. Director Bryce McGuire had memories of the cathartic, slightly rebellious act of cutting open glow sticks and splashing them around a dark room, creating colorful galaxies only to disappear as soon as the lights turned on, and built a simple narrative around that experience.
Prior to shooting Pas De Restes, my first project with the Sony PMW-F3, I decided to do some tests to figure out how the camera responded to light and color, how flexible the footage was in grading, and what picture profile settings would best suit the look I was trying to achieve.