Fergus.

Hey cats.

New flatmates. This is a shared room apparently.

Cleansed by the blood of the lamb.

Fujifilm Superia 400. OM-2n. 50mm and 28mm lenses.

I had no idea what would be on these rolls, the colours have come out lovely.

Dangerous shoes.

Fujifilm Superia 400. Olympus OM-2n. 50mm and 28mm lenses.

Finally got these rolls developed. I am so happy I have not really been taking photos in the past few months because I have had no money for film processing so all of the photos are from a while ago. These pictures make me happy

(There were some nice photos of someone who I was in love with)

Markings on the flesh.

Hailey and I had a secret symbol etched onto our skin. It felt like being stabbed and tickled at the same time.

Remembered that this existed.

Alan and I found this when we were location scouting for WATERCOOLER just over a month ago.

Storyboards.

Storyboarding for a project Peter and I are embarking on.

What is it??!

The Cumbersome Hat Story.

One day, my hat began to grow bigger,

And bigger,

And bigger, it wouldn’t stop.

It was so cumbersome that it pushed away other people. I couldn’t fit through doorways, it knocked people over. My wife couldn’t kiss me.

But, I still kept wearing it.

It’s Cool.

These are some stills from my short film WATERCOOLER. DPed by my good friend Alan Waddingham, shot on an Arri SR3 on gorgeous Kodak Vision 3 16mm Motion Picture film. We used a vintage Angenieux zoom lens for the whole thing. Crash Zooms galore.

The two shoot days went very smoothly thanks to a very cool and hard working crew. Having a proper crew just made everything 10000x easier, so much better having people who can do a better job in their particular department than trying to direct, shoot, cater and art dept all at once (never doing that again).

I flew down to Wellington last Sunday, the day after shooting. Processed and telecined the rushes on Monday at Park Road Post, Jesus Christ can I just live there? It was awesome getting to work through the telecine process, working with the telecine operator to tweak the look and pull out all the right colours.

Unfortunately Park Road is closing down their film Lab, which is a true bummer, I love the discipline of film cameras (you can’t let it roll over lunch) and loved the involvement you are forced into as a director with the image capture, having to look through the lens and collaborating very hands on with the DP, (yes this is something that I can and will apply to digital shoots, but with film you are actually forced to work this way).

I am so thankful that we were able to shoot on 16mm for WATERCOOLER, it really suits the look and feel I wanted for the story. Film just looks good in the first place.