Issue link: https://digital.copcomm.com/i/830466
31 Bright had a two-man team every day with a third filling several times during production. There was also a second unit with two additional video assist operators. "For the main unit, it was me and mostly, Willie Tipp, Carlos Patzi and Byron Echeverria swapping out week by week but we also had Michael Bachman, Chris Kessler and Anthony Per - kins on days where we needed three," says Jenkins. "I'm so thankful Damiana Kamishin, the Production Supervisor, allowed us to do this project properly. Major credit goes to her and Producer Adam Merims for being wise and approv - ing my requests as much as they did." Carrying out the sec- ond unit stunt test days was Dave Schmalz and the second unit shooting was handled by Anthony Perkins and Chris Kessler until Jenkins helped out during the last week of intense stunt work. The schedule called for three months of night shoots with - out breaking for lunch, moving through practical locations in the rain and cold. Gear needed to be hidden and far away behind buildings while still offering viewing feeds for the director and Cinematographer Roman Vasyanov, who pre - ferred to be right in the action. To prepare, Jenkins reads the script but it doesn't tell him how the crew will operate. It's important for him to adjust to the shooting methods of the director and cinematogra- pher on each project. "During pre-production, I will talk to the ADs or anyone who's worked with the director before to get as much information as I can," notes Jenkins. "I'll then try to find out how many cameras there will be, and on Bright it was two but a lot of times three. I'll try to find out how the ACs work if there is somehow a focus monitor that sits off somewhere. I will also find out who the key grip is and see how they work. Then I'll add up all the variables and find out what's the best way we can approach the project." Since audiences will be watching on Netflix and it allowed Ayer and Vasyanov to be close to the action, they wanted to see the footage through an iPad. "Roman lived on the iPad Pro. He was actually lighting by it in many ways so he would know how it would translate to dailies later." Wireless systems that transmit video like Teredek's Bolt 3000 series were crucial to the work. On-set cameras would send a wireless feed to the DIT cart run by Arthur To. Then To would send a Rec. 709 or an image with a LUT to Jen - kins' cart where he could feed set monitors and video vil- lage. Four rotating iPad Pros had QTAKE installed on them for Ayer and Vasyanov to select one camera or split screen up to four to watch a live feed or playback footage. "Arthur and I had to figure out a system to get the iPads up and run - ning as quickly as possible because a lot of the times Roman would want it even before camera was off the truck." The crew found that out on the second day while shooting a scene that closed off a busy Los Angeles intersection—Al - varado and 7th near Langer's Deli. "We shut down the whole street in all directions and this was our first big setup with three hundred extras all outfitted in other-worldly makeup and dress. We quickly deduced where we needed to be and where video village had to go and it was pretty far from the action. And just as we got settled, Roman was already ask - ing for his iPad. He really didn't know who we were so we needed to make a good first impression. The first challenge was power. Then as soon as we connected to Arthur, the DIT, Roman instructed him to move about 175' down the street toward the action and away from us. With every sec - ond counting, we were thankfully able to get our feed from the DIT by asking Arthur to move back six feet just in time. Once we got our system going, set decoration stepped in to hide our transmitter while Willie [Tipp] got electric to help us with power. When we handed off the iPads, we found out they were getting into a police cruiser and decided to back up further down the road to start the run—something we didn't factor in. Luckily, the wireless system worked and we managed to pull it off," Jenkins admits. "It was one of those moments where you say to yourself, so this is how it's going to be? Wow, OK. But then you develop a system, find your groove and it makes things easier." The team became very efficient with the iPad system and particularly good adapting to challenging interference is - sues Jenkins looks forward to employing the system on fu- ture projects. "Our job is a lot about anticipation. We would try and read their minds and be handing them the iPad the moment they turned to ask us." Another demanding task came during the last week of shooting where an action unit directed by the stunt coor - dinator was on the stage next to the main unit. Echever- ria handled the video assist on the second unit since Ayer needed to be involved in both sets at the same time. "The challenge for us was making sure he could see everything everywhere at any given time," says Jenkins. Top, from left: Will Smith in Bright, set in a world where mystical creatures live side by side with humans. A human cop is forced to work with an Orc to find a weapon everyone is prepared to kill for. (Photo: Scott Garfield) Willow Jenkins readies his system for a multiple stage shoot while Carlos Patzi sits in the background preparing a second system. Transferring foot- age and getting ready to handle two stages the following week. (Photo: Scott Garfield) The process trailer getting set to pull out. Bottom, from left: Director working on set with the "iPad." Willow rigging a wireless feed for Jake Scott.