Written by Trevor Roach
The journey a film takes to completion varies from project to project, yet they all require a large amount of time. There’s, of course, the time it takes to develop and produce a film, but also what’s needed for shooting new scenes, pickups, and VFX-heavy post-production. No matter the film, we grow throughout its process, both as artists and as individuals throughout life. There are certain projects that encourage that growth more than others, and City of Dreams, directed by Mohit Ramchandani (Mo), is a perfect example of that.
– YouTube
www.youtube.com
This film took six years from principal photography to theatrical release, where in that time, I was promoted from 2nd Unit DP to Co-Director of Photography. It is a perfect example of not only the persistence and dedication required to often complete a film but also the importance of believing in your story so passionately, as Mo has done here.
My involvement in the film began in late 2018, when the cinematographer for the project, Alejandro Chávez, A.M.C., asked me to come on board to be his 2nd Unit DP and ‘B’ camera on the main unit. This was a huge honor and opportunity for me, as I was only a year removed from graduating with my MFA from Chapman University, and this would be the largest production I have been involved in to date.
From the very first day of shooting, I quickly had to adapt my operating style to that of what was required for the visual narrative Mo and Alejandro were creating. Mo had practically pre-shot the entire film on his iPhone, which became a pivotal blueprint for how the film was shot. We were predominately handheld, but rather than have the camera from our shoulder to operate, we often were cradling the camera at chest level. This lower-angle perspective helped us see the world from the eyes of our main character, Jesus ( played by Ari Lopez), as we followed his struggle through being trafficked in the city of Los Angeles.
Shooting on the Arri Alexa Mini with Zeiss Master Primes – mostly using the 18mm- we needed the camera package to be built as tight as possible in order not to restrict our movements. The nature of the handheld and the freedom to move the camera is juxtaposed with the lack thereof by the individuals in this story, who are being used as slave labor to produce the clothing we purchase regularly. It was used to provide intimacy while also displaying the brutality of the conditions these children were subjected to. A chase sequence through the fashion district of LA required Alejandro and me to often sprint at full speed with the talent, sometimes switching from leading to following mid-take, all the while landing in the appropriate spot for the wipe or transition point in this stitched-together oner.
While operating the ‘B’ camera on the main unit, I was also tasked with 2nd Unit work. One of the most exciting sequences I had to tackle in this role was working with a stunt team for the conclusion of the above-mentioned chase sequence, where Jesus leaps from a 4th story building into a large pile of trash in an alley. For a stunt like this, safety is always paramount, so you need to work closely with the stunt team to make sure not only are your numerous cameras capturing the moment but also don’t get in the way of the performer completing the stunt safely. Additionally, you must work closely with the Art Department, communicating your angles so they know where to dress the landing area to sell the illusion as just a pile of trash rather than a 10-foot-tall crash pad.
Upon completion of principal photography, the film entered the post-production process and, like many others, was impacted by the COVID-19 pandemic, delaying re-shoots and pickups. When the industry eventually was able to open up again, Mo asked me to come back to help him finish the film with some needed new scenes. I was promoted to Co-DP on the film, and it was an incredible honor to continue for Alejandro. I did my best to carry forward the visuals into the re-shoots, using lessons I had learned while working with him. One of the biggest challenges in a position like this is continuing the visual consistency of the film for additional scenes shot many years after principal. This comprised of not only using the same camera package but also attempting to light and frame the scenes in a similar manner to the rest of the film, and to make it feel as seamless as possible.
I remained on the production into post, working with Mo and the colorist Øyvind Stiauren down in Mexico City on the color of the film. This required extensive oversight because there were a lot of VFX shots coming in that needed to fit seamlessly into the picture. An example of this is during the raid sequence in the film, which was a combination of exterior shots done in Los Angeles, the interior portions done in Mexico, and pickups shot on a large green screen. It was important that all these elements were colored and matched correctly to feel connected all the way through such an important moment in the film.
I feel incredibly honored to have been a part of this film and so proud of its success in getting the word out about the film’s message. I also want to thank both Mo and Alejandro for the opportunity to be a part of this film and the experience I gained on it. Mo’s dedication to finishing the film in the way he envisioned it is an educational moment for many filmmakers. It’s a reminder that this craft takes years of commitment, growth, and time to often see the fruits of your labor—yet when you finally achieve it, it is so, so rewarding.
Author: Guest Author
This article comes from No Film School and can be read on the original site.
