Gary Truex Walker II is the Cinematographer on Cottage Grove. He has been working freelance in Chicago as a DP for several years. Gary is blessed to be able to help tell this intimate story alongside many talented artists. They are Karson Kane (gaffer), Erik Heyer-Fogelberg (key grip), Nico Atler (dolly hrip), Jean Ho (1st assistant cinematographers), and Mireillee Lamourt (2nd assistant cinematographers).
Here’s where you can find all the beautiful people on Instagram! Jean Ho (1st AC), M. Lamourt (2nd AC), Allison (Cam PA) Bree Serenity, Nikki (Utility), Karson kane (Gaffer), Erik Heyer-Fogelberg (Key Grip), Nico Atler (Dolly Grip), Joshua Sullivan Taylor Joe (Grip), Jon Glienke, Eli
indieactivity: What’s your experience working on story, screenplay, production, premiere, and marketing? I ask because Cinematographers jump in on a project days to shoot and out after principal photography?
Gary Truex Walker II (GRW): My experience with this film was very special. George and I, spent our time planning the visuals which took about 4-5 months before principal photography.
Our initial conversations focused primarily on us as artist in a little coffee shop. From there our conversations developed into the story of Cottage Grove. And, how we wanted to shoot that story because the script offered a challenge with 90% of the movie taking place in a car.
So, we thought deeply about how we wanted to shoot things to make the story feel like it was progressing. And, how we were going to convey the relationship between a son and a father. But, once that was all sorted out, and the film was done, I love taking a back seat in the edit, and watching the film come to life, and then come back in for the final coloring to finish the film.
How did you get in on the film project? Did you pitch in or was the job a referral?
Gary Truex Walker II (GRW): I got on the film through a mutual friend who told George about me and from that George and I met, and the rest is history.
What and how long did it take to complete your plan, and gear-up for the film?
Gary Truex Walker II (GRW): Preproduction took about 6 months. We started off our conversations with ideologies. On film, life and personal parent/child relationships that led into the story of cottage grove and once we knew what we wanted to achieve, we worked with our first AC, Gaffer, and production team to assemble the gear we would need for production.
How did you work with your crew on this project? Describe your work process and/or ethic?
Gary Truex Walker II (GRW): The crew dynamic was clean and modular, with this being a student production that had 5 days of overnights and no ability to pay people, our crew cycled a number of times. But I do think that it is my job as the DP to orchestrate the crew no matter what, so no matter what the changes, the visual always passes through me and to the Director.
Is there science behind what you do?
Gary Truex Walker II (GRW): Absolutely, the role of a DP to me is a few things but I’ll just name a couple. I strongly believe in the rules of image design which is the intentional and purposeful placement of objects or people within a frame to crest meaning. That alongside with the belief that the job of the DP is to demystify the science and turn that into art to collaborate effectively with the director.
There are so many technical terms when it comes to lighting and camera and it’s my job to understand those well enough to use them as tools in storytelling.
During the film production, what scene (that made the cut) was the hardest to shoot? And why?
Gary Truex Walker II (GRW): The hardest scene to shoot would probably be the first day with the overlook of the city. We wanted to catch the sun right as it arises behind the city and in order to do that and make the day where we were at another (hospital) location where we needed day and night scenes.
We had to shoot the night scene at the hospital then company move to the overlook for sunrise, then make it back to the hospital for the day scenes. Overall, a very tough day and scene but we pulled it off gracefully.
What worked better in this latest production that mightn’t have worked so well in the last one you did?
Gary Truex Walker II (GRW): I’m definitely one to look at each production to see what lessons I can learn because there are always plenty, and those lessons are invaluable. For this one a big lesson I learned was lighting continuity. We shot mainly at night so we were allowed the grace of not having to deal with clouds.
But that also meant we had at least 5-10 heads playing at all times and keeping the consistency of; a big soft Street light, ambient moon light, car head lights, store lights, and other pockets of lights around the main scene was a beautiful lesson in keeping things consistent but also learning that you can fluctuate quite a bit without taking the audience out of it.
You must have donned several hats on this film, the measure of your input required intellect, effort, tenacity, skill you know better). What did it take you to put out all these qualities to get the film done?
Gary Truex Walker II (GRW): It took a lot of concentration and just mindfulness. There’s a lot that’s going to be thrown at you as a DP and especially on an indie. It’s crucial to take things one step at a time to avoid getting overwhelmed.
What about independent filmmaking do you still struggle with?
Gary Truex Walker II (GRW): One thing that I struggle with is keeping track of the shots if I’m honest hahaha. There’s a lot I feel comfortable with, communication, budgeting, working with VFX and Production Design. When it comes to keeping track of shots, it can get a little disorienting because I tend to spend most of my time very present and addressing problems in the “now” with lighting and camera. So I tend to lean on the director and AD when it comes to what we need to capture during production.
What was your gear on this production?
Gary Truex Walker II (GRW): Oh boy! We had a lot of toys on this one. But, I’ll make a list because I like lists. Lol.
CAMERA
1. ARRI Amira.
2. Cooke S4i
LIGHTING
1. M40.
2. 2x M18.
3. 2x Skypannel S60.
4. Kinoflo Freestyle.
5. Various Tungsten Lights.
6. Astera Titan Tubes (used pool noodles as diffusion).
GRIP
1. 12, 8 and 6x frames with (Grid, solids, nets) my workhorses.
2. Fisher 11.
Tell us what you think of the interview with Gary Truex Walker II. What do you think of it? What ideas did you get? Do you have any suggestions? Or did it help you? Let’s have your comments below and/or on Facebook, Instagram, or Twitter.
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