I shoot it, light it, and cut it
Before the campaigns, and alongside them, this. Narrative shorts where I was on the camera — and on one of them, the colour and the score too. It is the same instinct the paid media runs on: know what the edit needs before you are on set.
The narrative reel
A minute across all four films. Everything below is in it.
Laughing Again
Helen and her wife Tabby have lost their baby. On the day of the funeral Helen cannot go, and paces the yard while the family watches through the glass. Twenty-seven days later she still hasn't gone home. It ends on the couple's first laugh — the same family, the same window, the two of them walking together.
Grief observed through barriers — doors, windows, reflections. I shot it and I cut it, so the staging and the pacing are the same decision.
- Sarah Knapp
- Stephen A. Sousa Jr.
- Alya Lei, Ayelette Robinson, Kate Huffman, Nancy Kern
Hella Bae
A night out, a car, and three friends talking. Shot mostly in and around a moving vehicle at night, which is the hardest lighting problem in a short — the whole piece lives or dies on whether faces read against the windows.
The one where I also wrote the score. Camera, colour and music on the same film is unusual, and it is the closest thing here to how I actually think about a cut.
- Tyson Gancayco-Adlao, Allen Negrete
- Steven Krimmel
- Alpha Faye, Kristine Gerolaga, Maria Lingbanan, Stacie Gancayco-Adlao
Festival work with Enkompus Films
Two shorts that played festivals in 2019. Both laurels below are on the films themselves.
Cherry Picking
Enkompus Films
My credit on this one — to confirm
Ghosted
Written & directed by Stacie Gancayco-Adlao
My credit on this one — to confirm
What I can actually run on a floor
- Camera
- I shoot Sony, and I've worked on Blackmagic, ARRI Alexa and Canon.
- Lighting & grip
- I light my own work and I know the grip side of it — flags, diffusion, negative fill, and how to talk to a key grip in their own language.
- Sound
- I run sound too, production and post.
- Post
- Edit and colour. On Hella Bae, the score as well.
Alongside all of it: over a hundred direct-to-camera pieces for SimplePractice Learning, produced start to finish. Not glamorous, but it is where the repetition lives — and repetition is what makes the rest of this fast.