Streetdance 2: 3D - interview with Jonny Garwes
Jonny Garwes is a Focus Puller based in London and a member of thecallsheet.co.uk. His credits include StreetDance 3D, The Devils Double and Submarine.
What can we expect from Streetdance 2: 3D
Streetdance 2 is a slicker and more polished version than the first, with a bigger cinemascope and backdrop to the story and film. They have gone for a larger worldwide appeal bringing together some of the world champions in their own styles, breakdance, bodypopping etc.. There are some bigger stronger dance pieces and the added Latin flavour.
What 3D system did you shoot on for it and how does setting up compare with a traditional film camera.
The film was shot with Paradise FX's Atlas Rigs, with Red One Mx cameras on board, and with a 2k Si rig also, for hand held, steadicam and any other size restricted locations.
Setting up each day differs slightly just in order to make sure that the Stereographer is happy with the 3D convergence and the lenses are matching before we start. Once the guys are happy the daily routine of pulling out magliners and setting up monitors and the kit to shoot is fairly standard.
How does my role change when working on 3D? What are the considerations?
My role changes slightly when working on 3D. In prep there is a bit more to make sure that not only am I happy with lenses we are using and that they are calibrated exactly, but then that the lens for the second body matches the first as closely as possible. Some lenses have different travel after infinity and therefore when calibrating may not match exactly, so you have to be aware and constantly tweak. Plus an awful lot more cables and two of everything!!
When filming, my actual role only changes if the Stereographer would like me to put the plane of focus in a different place to highlight the 3D more.
You also worked on The Devil’s Double, featuring an incredible dual-performance from Dominic Cooper. What was your key challenge when keeping focus for split screen?
The Devils double was a hugely enjoyable filming experience. Malta is a lovely place to shoot, great locations, fab weather, amazing architecture and history and lovely local crew.
The main difficulties we had to overcome was shooting the split screen and motion control for Dominic’s different characters. It was tricky and time consuming, and we did have a few discussions about where to place the focus. Sometimes on a plane where the actors were not, which is a strange thing to let go of and do, but then of course that may be where Dominic would be standing on the second pass. We had the odd discussion but in the end I would usually put in where i wanted too!
Also with motion control quite often it is with inanimate objects, so you can program in the focus also, but with actors this doesn’t always work because they might not be in the same place on the second pass, with Dominic’s double, so i would tend to always focus myself.
What are working on at the moment?
I am currently working on Shameless for a few weeks in Manchester which is a hive of industry. Its a great crew and fantastic friendly collection of actors.
I also focused and did some 2nd camera operating on The Sweeney which is due for release in September this year. It was a nice return to 2D which we shot on the Alexa. Simon Dennis DoP and Mr Nick Love Directing. It was a lot of fun, throwing cars around and having shoot outs across Trafalgar Square and along the Mall.
Do you have any tips for Camera Trainees on stepping up?
Tips for trainees.....mmmhhh.....its tough being a trainee. Initiative for me is the best thing a trainee can have. Ask as many times as you like, it’s better to get it right. Some trainees i know have little black books to remember certain things.
Its just hard work, and get on with it really. Very important to learn your next position as much as you can before moving on, because once your there, loading or sharping, you have to be able to do it, sounds obvious i know, but you can’t turn round and say, “er can we not start on a 25mm till i get my eye in”, you know.
I did a commercial at the start of the year, and straight away we were on the anamorphic 100mm with a 0.5 dioptre so all your marks make no sense, tracking in on a girl swinging her hands, T2...
Also with loading you will suddenly have to deal with much more political issues and paperwork and the office etc, so know the role, don’t feel you have to rush.
If you could change one thing about the film industry, what would it be?
I would change the pay structure so that it is standard across the board.
Low , Mid and High, each decided by a budget, for example. Below 2million, 2-5million, 5 and above. Then peoples pay dictated by that level, all pay, overtime etc.. So on every film we aren’t fighting for a decent rate, or being told everyone is on the same then finding out a week later that they quite clearly aren’t.
What do you do when you are not working?
When I’m not working I just like relaxing with family and mates. Recovering from the last grueling schedule or not. Writing short films and stories, and watching films. Also traveling around, home and abroad. There are a lot of untapped gems in this country to see and do.
If you could work on any film or with any film maker (alive or dead), who or what would it be?
Directors i would love to work with would include : The Coen Brothers. Kim-Jee Woon, and probably Steven Spielberg for sheer fun.
DoP’s i would love to work with include, obviously Roger Deakins, Christopher Doyle, and in the past Conrad Hall among many many others.
What has been your very best day at work?
This is very tricky because i have had a lot of good days and times and memories in such a short time.
Setting up 13 35mm cameras in cape town to shoot a car exploding through a bus on doomsday.
Sitting in a pool of blood on the Descent waiting for crawlers to jump out at us.(on the set of The Descent, above)
Having a line up of guns blasting at us from a few feet away with Nick Love.
My second day on my first focus pulling film, an anamorphic feature, when the rushes report came in “ok”
I am very lucky to work with a very talented funny crew, Sam McCurdy, Phil Humphries, Bernie Bernuzzi to name but a few, so most days are good.
Jonny Garwes is a member of thecallsheet.co.uk, you can see his full profile right here. With thanks to Phil Humphries for the two photographs.
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