Monkey Deux Goes Remote to Safely Shoot Our Star Wars Stories

Monkey Deux Goes Remote to Safely Shoot Our Star Wars Stories

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Brie Clayton February 8, 2021

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New Workflow for Professional At-Home Interviews with BB&S lights

Whether Star Wars has changed the course of your life or merely your viewing habits, if you have a soul chances are it will be touched by Our Star Wars Stories. Jordan Hembrough hosts this original digital series from Lucasfilm and StarWars.com. He chats with fans as they unravel their true-life inspiring tales that are a result of their Star Wars bond.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/02/08214629/Test-setup-scaled1200-1024x768.jpg alt= class=lazyload wp-image-2403194 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/02/08214629/Test-setup-scaled1200-1024x768.jpg 1024w, https://gcs.creativecow.net/wp-content/uploads/2021/02/08214629/Test-setup-scaled1200-300x225.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/02/08214629/Test-setup-scaled1200-768x576.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/02/08214629/Test-setup-scaled1200-624x468.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/02/08214629/Test-setup-scaled1200.jpg 1200w data-sizes=(max-width: 1024px) 100vw, 1024px />After completing 8 episodes in the normal pre-COVID world, this up close and personal interview-style show opted to continue production despite the new reality of safe filming restrictions. The production team, Monkey Deux, (www.monkeyincorporated.com/) headed by Alan Griswold, was tasked with working out a new workflow, sans their usual full production crew.

Griswold had some rethinking to do. Unlike the first successful season shot on location, there would be no Pacer van stuffed with gear along with him and DP John Lizzio traveling to the various subject's locations. This time everyone would be safely at home. But it had to still look Star Wars-good.

Priorities for a new workflow

His goal shifted to developing a new remote workflow and putting together 5 production kits, each in a single case weighing 32 pounds. One would go to Jordan Hembrough in New Jersey, who is also a producer and lines up many of the subjects for the stories. The other 4 would go out to the various interviewees who would each have to set up their own gear, soup to nuts: position the camera, lighting, and telecommunicate with Griswold and the rest of the team. Fortunately, Griswold had plenty of remote shooting resourcefulness to make up for the lack of in-person crew.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/02/08214705/packed-kit-scaled1200-768x1024.jpg alt= class=lazyload wp-image-2403195 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/02/08214705/packed-kit-scaled1200-768x1025.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/02/08214705/packed-kit-scaled1200-225x300.jpg 225w, https://gcs.creativecow.net/wp-content/uploads/2021/02/08214705/packed-kit-scaled1200-1151x1536.jpg 1151w, https://gcs.creativecow.net/wp-content/uploads/2021/02/08214705/packed-kit-scaled1200-624x833.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/02/08214705/packed-kit-scaled1200.jpg 1200w data-sizes=(max-width: 768px) 100vw, 768px />Lighting was a good place to start. A self-professed gearhead, Griswold has been using BB&S' Area 48 LED softlight for years and experienced the color accuracy of the Remote Phosphor design. I had worked with the lights before and knew that since there would be lots of other variables knowing that I could trust the color of their output was a good start for me, Griswold explains, The key is the most important thing. If you know that the key is an exact color you can build the rest around that. You don't want your person to go green or pink.

This time size mattered. Toby Sali at BB&S (www.bbslighting.com) encouraged him to try out their remote phosphor Pipeline Reporters and Griswold's problem was solved. He chose 2 each of the 1' Reporters per kit, on desktop stands. With an inline dimmer, they would keep it neat and simple to adjust while looking cooler than most practicals that find their way into frame. Best of all, Griswold knew there would be no spikes, or green glow-he could count on the 97 TLC for color rendering. He also added Pipeline Free versions without stands to go to the host's home studio.

His criterion was that someone who didn't know much about cameras or lighting could set it up. It was a juggle between what's best, compared to what's simple, he adds. He came up with a simple yet dynamic 2-camera position setup, one wide and one close. He would get on a Zoom and explain how to set it up complete with cables and lighting, test it, and eventually how to pack up into the case and ship back to him.

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