One of the most challenging shooting days by far, according to Director Marc Leif, was the day we shot Tony in the large Chapel, seeking guidance about how to handle his situation with Joe’s annulment.
We see Tony seated in the cavernous space, obviously alone and unsure of himself and what his next steps should be. The camera pulls back, up and away from Tony to reveal the vast space and his place in it.
In order to get a shot revealing the magnitude of the place and the situation, we hired a crane, also called a “jib,” and crane operator. The camera is mounted on the jib, and the jib operator works and moves the camera with a type of counter-weighted mechanism, using a detached video monitoring system in front of him via a “second feed.”
This second feed allows the operator to see what his camera is capturing and what the Director of Photography and Director are seeing on their monitors. The jib operator must be conscious of not only the space around the equipment, but also the space through which the camera is moving and any potential obstacles, including furniture, overhead lights, people, grip lighting, electrical equipment, and cabling. In order to use the jib in the Holy Rosary Chapel, we had to have the jib brought into the chapel piece by piece and assemble it in place. This was no easy feat, considering that not only were we in the Center’s most sacred space, but there were worshippers in the Adoration Chapel, which sits off to one side of the main chapel and is in use 24 hours a day, 7 days a week.