What in the heck am I doing? The first day. For me this was the most nerve racking. Why? I had no idea what I was doing! When Rick started setting up and Dana pulled out his Jib system I knew this was serious. The largest cast and crew I had ever been in charge of. I had to be the answer man, make decisions, move forward. I took one big gulp, said a prayer, and dove right in.
	Overhead lighting was a bear. Rick had this elaborate light diffuser called a twelve by silk. I didn't understand all of the technical terms right off, so I didn't know quite what he was talking about, but being one of the only paid crew members, I trusted his judgment. We moved the jib in to get the "Sean" looking for paper scene. The guy in the shot is Christian Rodas. His dad contacted me three days before shooting and said that his son was very interested in movie making and would I like some extra help? Rick needed another hand so the day before shooting I confirmed and we had him on set the next day. He worked hard along side Danny Toman.
	These guys love their work. Early on we knew it was going to be a scorcher. Most of cast and crew were able to stay under the breezeway, but for those out in the sun, they made do. Dana, our camera operator, developed this habit of soaking a wet cloth in water and then putting it on his head, with his hat on top of that. He was quite content. In the background are Danny Toman, Tommy Odum, and Stan.
	If you've ever been on a movie set there is a lot of sitting around. Michael was such a low key guy, which is kind of funny since he plays this real high strung pessimist. The band van. Oh, the band van! This was temporarily donated for our use by David "P.C." Weitzel. It was great. It had the character I wanted for the group. We talked about painting the band logo on the side of the van, but it never happened because of time.
	Michael and I talk over the scene. Tyson is in the background inside the van. Here you see the large 12x12 silk diffuser that Rick uses to give a softer lighting effect rather than direct sunlight.
	Another angle as Michael opens to door to scrounge for a piece of paper. Stan was right there out of camera view with the boom pole and microphone.
	Dana on the jib for the same shot. To his left is the storyboard book we used for the movie.
	Stan adjusts his levels on the mixer pack. The line from that went directly into the digital soundtrack on the camera. We had a heck of a time trying to get those levels to be the same.
	An off to the side angle as we shoot Chris looking off for Jason. The rest of the actors and crew sit around.
	More hurry up and wait time. From left to right; Christian Rodas, Jacob, Chris, and Danny. You'll notice in a few shots I have coffee in my hand. Call it comfort food, I don't know. There developed this running joke about my coffee. I made it, two pots, faithfully every morning. Starbucks Expresso Blend, European style (strong). Some said you could eat the stuff with a fork, some watered it down. When someone new came on the set and they pulled up to get a cup everyone watched to see their reaction. Some days after I set up the coffee and snacks people would come up and ask, "Is this Shawn's coffee?"
	The digital still camera got switched to the low resolution setting sometimes, which is disappointing, because I would have loved shots like this one of Shelbi and Stephanie in a higher resolution.
	Allright, who gave the girls the camera?!?
	Lunchtime on the breezeway. The extras that move in the breezeway during the scene sit around and chat with the other actors. Danny Toman give us a smile.
	Sometimes when you write a screenplay and then go shoot it there is a big difference. Some scenes just look great on paper, but fall flat when shot, or at least don't live up to their potential. We planned this scene to be a bit more magical when "Phil" looks at "Nicole" for the first time. The first pass seemed a little too corny. I moved some things around and it played a little more normal than magical. I was disappointed but it worked better.
	Stephanie and Rick discuss the scene. Chris and Jacob take a break. In movie making you don't realize how much goes into a shot. In this scene we used Rick's 12x12 silk overhead, reflectors, and sound proofing (to cut down on distant construction noise). In the background is Dana's camera truck and all of our other stuff to the right. For such a small crew we came prepared.
	Stan and Rick. Stand had never worked on a feature project before, but Rick highly recommended him. As the audio guy and boom man Stan had to not only monitor sound, but hold that pole for long periods of time. I didn't envy him.
	Another shot of Stan with a larger view. Rick is leaning on one of his HMI lights. I don't remember what this stands for, but it is a super white light, and candle for candle much brighter than a PAR light (a typical motion picture light).
	The under the trunk scene. Chris gives us a look as we prepare to move the camera in.
	That blasted trunk. Okay the girls are holding items, how do you naturally close the trunk with things in your hands. And what if the trunk latch sticks? It took a few times, but Stephanie managed to make it look very natural. This is the reverse shot showing the guys reacting to the girls. We kept the girls in the shot since the guys had to look somewhere.
	I check out the camera image on the control end of the jib. The scan rate differed from this 35mm still that Christian took. Therefore you can't see the image on the monitor.
	Stan stands by as I explain the scene to Chris and Jacob. In the scene the girls are walking into the building. The guys have to move around the car, sit on the edge and watch. I felt bad for them this day as clothing went. The crew was all decked out in shorts and T-shirts. As you can see by the scene Jacob and Chris had to wear jeans. We had to pat them down often.