In their follow-up up email, Whippet’s director asked: “Can I confirm who you have worked with before from the crew? Sound, cam assist, light were all amazing. Thank you for them.” Our answer was of course YES. We only work with a very select group of super-qualified crew people.
“Thanks for all the help. The guys you provided were great. Till next time… Conor”
Their client was ALLERGAN - a global pharmaceutical company headquartered in Dublin, Ireland.
The project required creating a believable physical therapy setting in a rented model home. In addition to the standard stuff – gaffer, grip, AC, sound mixer, Hair/Makeup, PA, and a Sprinter G&E package, we had to come up with all the props necessary to turn the living room of this model home into an up-scale physical therapy clinic. This also involved wardrobe for both patients and medical staff.
Some of it was simple. We rented and/or purchased therapy tables, matts, exercise weights, and those big colorful balls (not sure what they’re called). Then there was a last-minute request for parallel bars. We quickly discovered that “real” parallel bars used in physical therapy facilities are
1.) Not available to rent. 2.) Crazy expensive to buy (and take weeks to deliver). And 3.) Must be bolted to the floor (not really an option in that rented model home). With only a couple days to find a solution, we got lucky on Craig’s List and found a set of parallel bars in Madison for a couple hundred bucks. With careful camera angles, it worked out fine and we donated it after the shoot.
Our thanks to Jhousy Leon and her resourceful team at Blush for helping us pull this one off.
This one very full day of filming included multiple locations in Glendale and downtown Milwaukee, culminating at the end of the day with a green screen studio shoot at Big Chair Studios in Waukesha. A big shout-out to all our great crew folks and equipment suppliers who made all this possible.
Gaffer - Chris Marks. Grip - Mike Schmit. Grip - Shaun Buehler. AC - Mike Krieger. Location Sound - Tom Beach. Hair & Makeup - Jhousy Leon. Prompter - Fred Graber. PA -Taran Molnar. Lighting & Grip - Electric Sun Corp.
An intensive 1-day shoot was planned to get footage for several TV spots. Jamestown sent their director, producer, and DP. We ended up providing an AD, gaffer, two grips, AC, sound, prompter, hair/makeup and wardrobe. We also put together a custom 3-Ton grip and lighting package that included a Fisher Dolly and small jib.
Jamestown was able to get all the footage they needed and left town happy.
"Ralph. Thank you so much for all your help with this! We’re so happy with how everything turned out and we couldn’t have done it without you and your team."
-- Rebecca Jacobs, Production Manager.
Here's the turnkey solution provided by Fresh Coast Production Resources for filming Sargento's “We’re Real Cheese People” TV spot.
For the most recent spot promoting Sargento’s new Snack Bites, producer Jon Messner and Sargento’s ad agency, Oglivy & Mather www.ogilvy.com reached out to Fresh Coast Production Resources for a turnkey solution.
At Fresh Coast, we pride ourselves on our ability to assemble just the right combination of crew, equipment, and production management to meet our client’s needs and expectations. This job was a perfect example.
We chose RDI Stages www.rdimage.com in Milwaukee for the shoot because it would be convenient for the Gentines who would be coming from Sargento’s corporate offices in Plymouth WI. RDI was also spacious enough to accommodate the large broad light sources necessary to match the overcast lighting of the barn.
We were able to source all the equipment, and most of the crew in Milwaukee. Lighting and grip came from Blue Moon Lights www.bluemoonlights.com and DP Mike Gillis www.mikegillisdp.com provided the client-specified Arri 4K camera and lens package. www.arri.com/camera/amira . Gaffer on the shoot was Ryan Brooks. Tim Moder served as swing grip and AC. Tom Beach handled the audio mix, and the makeup artist was Jhousy Leon www.blushmilwaukee.com.
Two non-Milwaukee exceptions were Director Ray Dillman who the agency brought in from New York http://rabbitcontent.com/directors/ray-dillman , and Chicago Stylist Martha Heppler because she had provided wardrobe for previous Sargento spots featuring the Gentines.
As we expected, everyone did a great job. The shoot was quick and painless, and by mid afternoon the footage was on its way to Optimus www.optimus.com in Chicago for post-production.
See the finished TV commercial here: https://www.youtube.com/watch?v=ginlh0ADG2E
Fresh Coast™ teams up with Polish film company PICARESQUE Maciej Pawlicki for Chicago filming of Smolensk.
In April, Fresh Coast Production Resources had the opportunity to provide U.S. production management, local crew, equipment, and location support for the Chicago filming of “Smolensk” - a Polish feature film being produced by PICARESQUE Maciej Pawlicki in Warsaw.
Directed by legendary Polish director, Antoni Krauze, the film deals with the conspiracy theories surrounding the April 2010 crash of a Polish government plane in the town of Smolensk in western Russia. All aboard died in the crash including President Lech Kaczynski and 95 other members of Poland’s political and military elite.
Smolensk DOP Michał Pakulski watches as Camera OP Marcin Gąsiorowski films a scene at the Polish Highlanders Alliance. Much of the film was shot hand-held.
The film has sparked considerable controversy inside Poland and around the world for its suggestion that the Russian government was somehow responsible for the crash. We’ve placed a number of interesting links about the film at the bottom of this posting.
Smolensk filming along the Chicago River.
While most of the film is set in Poland, the main character is a journalist who’s investigative reporting leads her to Chicago. And this is where Fresh Coast Production Resources comes in.
Pawel Mantorski, PICARESQUE’S Field Producer in Poland first contacted Fresh Coast in March seeking local production support for the Chicago filming. It was our first experience working with an Eastern European production company, and PICARESQUE’S first time filming in Chicago. It was a “learning experience” for everyone, but ultimately a rewarding one.
1st AD Bartosz Paduch (right) and camera crew wait out the rain on Columbus Dr.
Fresh Coast Production Manager Ralph Pabst went to work lining up the Chicago crew, obtaining the requested camera package and G&E support, and figuring out how to transport the 19 person Polish crew around the city.
Meanwhile, Fresh Coast’s Chicago Location Manager, Brittany Pawlowski went to work obtaining the necessary City of Chicago filming and special parking permits, arranged for catering, and worked out all the other logistical details of shooting a feature film in Chicago. Together Brittany and Ralph scouted for suitable filming locations, and periodically sent photos to the director and DOP in Poland.
Waiting out the rain again on the Norwest side.
G&E crew “making sunshine”
Filming a scene at “Nina’s father’s house”
An even a bigger challenge was obtaining production insurance. It was questionable whether PICARESQUE’s own insurance (through an underwriter in Belgium) would cover the Chicago filming. And finding a U.S. insurance company willing to write a policy to a Polish film company was not easy. With only days remaining before the scheduled filming, Ralph found Patrick Kuhnmuench at Robertson Ryan & Assoc. who came through with a policy from Philadelphia Insurance.
North American Camera in Milwaukee provided a RED Epic-Dragon 5K Ultra HD camera package with a full compliment of Cooke prime lenses and camera support. Tim Moder took responsibility for the gear, and acted as 2nd AC to the Polish camera crew.
Andrew E. Cook, Inc. of Harvard, IL supplied their 3 Ton Grip Truck (or as they like to say “almost a 5 Ton”) packed with an array of ARRI and Mole-Richardson HMI, Tungsten, and LED fixtures plus Kino-Flo’s.
All the audio gear - Sound Devices mixers & multi-track recorders, numerous Lectrosonics Radio Mics and a Denecke Smart Slate - came from Cream City Sound of Burlington, WI.
Problems in obtaining U.S. visas delayed the arrival of the Polish crew, and meant all filming had to be completed in three days! This, combined with Chicago’s unpredictable weather, made for a stressful shoot. But everyone pulled together, and we got it done. Much of the credit goes to the film’s First Assistant Director, Bartosz Paduch, who somehow managed to keep his cool throughout.
But none of it would have been possible without our great Chicago and Milwaukee crew. Many thanks to Tom Beach (audio), Tim Moder (2nd. AC), Andy Cook (Key Grip), Jeremy Christen (BB Electric), Andrew Yuncza (BB Grip), Bill Lindgren (Grip/Genny OP), Joel Labahn (Asst. Location Manager), and PA’s Jose Rivas and Dan DeSalva. And a special thanks to Location Manage Brittany Pawlowski who did an amazing job. (Now if she only spoke Polish).
Check out the following links to articles about the film. We think you’ll find them very interesting.
Director Antoni Krauze (center) with Actors Marek Probosz, Beata Fido, and Maciej Góraj (L-R)
Smolensk actors, crew, and the Fresh Coast team at wrap.
From Ireland to London to Aurora IL
Headquartered in Ireland, Glanbia Nutritionals manufactures nutritional ingredients for the food, beverage, supplement, and animal nutrition industries worldwide. http://www.glanbianutritionals.com/
When Glanbia needed video coverage of their U.S. Investors Meeting to be held in Aurora, IL, they reached out to London-based production company World Television. http://www.world-television.com/uk/
World Television called Fresh Coast.
Our task was to film the meeting multi-cam and then rough-cut the footage on-site for review by Glanbia’s head office representative at the meeting. The original Sony XDCAM ISO camera footage along with an Apple ProRes switched master would be overnighted to London. The low-res rough cuts would be uploaded to World Television as reference for their final edit. After our site survey, we learned that we would also need to provide all the stage lighting and audio support for both the video and audience PA.
Steve Pantaleo of SP Video provided the audio & lighting gear, and along with Fresh Coast Producer Ralph Pabst and Technical Director Jake Demoske, made the trip from Milwaukee to Aurora. They were joined by Camera Ops Todd Tue and Jeff Hadick from Fresh Coast’s Chicago office. http://www.film-video-production-crews-chicago-illinois.com
It was a long day (and a very cold load-in) but the Fresh Coast crew pulled it off without a hitch.
Immediately prior to the Janesville shoot, MBM’s producer/director team Steven and Lisa Sulkin, along with DP Chip Nusbaum had been filming in Italy and the UK. Since they would arrive in Janesville only one day before filming began, Fresh Coast’s field producer handled all the on-location pre-pro coordination and location scouting.
With the shoot only a few days out, we learned that DP Nusbaum had some very specific gear requests. Bob Donnelley at North American Camera came through for us and was able to assemble an extensive camera package that included two Canon C-300’s, both Canon and Angenieux cinema zoom lenses, and a long list of camera support gear.
Jed Henry at Recon Productions in Madison was able to locate a steadicam rig with the requested wireless audio and video feeds and had it shipped in from Kentucky. Jed also worked the shoot as 2nd camera and steadicam operator.
Blue Moon Lights provided a very robust lighting & grip package that included a full complement of HMI, KinoFlo, and LED fixtures.
But even the best gear means little without the right people behind it, so a big shout out to our 10-person crew whose talents and resourcefulness made this shoot a success.
Audio Recordist Tom Beach, Gaffer Chris Marks, Grip Kenny Somerville, Grip/AC Tim Moder, 2nd Camera Jed Henry, PA/Utility Grip Jake Demoske, Makeup Artist Susin Greenberg, PA Ben Ramsdele, Data Manager Jeff Taylor, and Field Producer Ralph Pabst.
Our thanks to all the Fresh Coast crew and equipment suppliers whose talents and resourcefulness made this shoot a success.
Fresh Coast has shot a lot of assignments for Discovery Channel programs over the years, but for whatever reason, recently the assignments have been coming from producers in the UK. In March we shot an interview in Milwaukee for RAW TV. Ltd of London (http://www.raw.co.uk), and in April we provided production support for another Discover Channel program being produced by BriteSpark Films (http://www.britesparkfilms.com), also based in London.
We can’t discuss the details of either of these jobs because both program are still in development. But I can tell you a little about the BriteSpark job. BriteSpark would be sending their own camera crew from London and needed our help in facilitating what was to be a 7-day shoot at multiple locations in Wisconsin. What they required, to use their term, was a “Fixer”- typically a “local” in a third world country that facilitates the movements of a foreign film crew. I suppose to a London producer, Wisconsin may very well qualify as a third world country.
The first person that came to mind to fill this role of “fixer” was Edward Johns. Technically Ed works for us as a PA, but he’s a lot more than that. He did an amazing job making sure the London crew got the footage they needed, and even delivered them to O’Hare for their flight home. Thanks Ed for the great job.
Another successful project from “across the pond”.
In June, Fresh Coast had the opportunity to help PraeMedica Digital (http://praemedica.com/index.html), a medical marketing company based in Northern Ireland, negotiate the baffling rules of unionized Chicago hotels. Our task was to film physician interviews in a small meeting room at the Chicago Hyatt. Each was to be an on-camera interviewer and two interview subjects – all shot with 3-cameras against green screen.
Early in the conversation, PraeMedica inquired why the hotel was charging them $138.00 per circuit for electrical power. “Is there something special about the electricity in the US? About all we could say was “Welcome to Chicago”. We didn’t even want to bring up the potential of having to pay Teamsters to load-in and load-out our gear. The shoot was on a Saturday so at overtime rates, we could have been looking at as much as $1500.
The only answer was to “keep it simple”. We bought 30ft of Chroma -Green fabric to hang from seamless background stands. We used small cameras (Sony EX-1’s) and low-power KinoFlo Divas and LED fixtures. Still it was a lot of stuff (they also requested a teleprompter.)
We managed to fit all the gear and our 4-person crew into two SUV’s, pulled up to the hotel’s main entrance and generously rewarded two bellmen to haul all the stuff to the room. At the end of the day we generously rewarded two more bellman to get us out of there. Estimated savings to our client - $1400.
On August 2nd. Fresh Coast™ Production Resources’ Chicago office supplied production support to Time Inc.’s new video unit, Time Inc. Studios. http://www.adweek.com/news/technology/time-inc-ready-launch-its-ambitious-new-video-strategy-152446 .
The project was a Chase Business Ink “Inspirationists” small business profile featuring entrepreneur Shawn Smith, founder of “Shawnimals” http://www.shawnimals.com/ .
Time Studios sent their director and DP, and we provided the two Canon C-300 packages, 2nd camera OP, lighting, audio, and makeup. The video profile originally aired on CNN Money http://money.cnn.com/, but you can watch it now at http://vimeo.com/82052120
Our client was the NYC office of Vital Worldwide http://www.vitalww.com
In addition to three Canon C-300 camera packages and lighting, we provided a DP, two camera ops, audio tech, gaffer, makeup, and data management. You can watch one of the interviews at http://www.youtube.com/watch?v=cJ1JgxCH4Vs