LET SLEEPING DOGS LIE
LET SLEEPING DOGS LIE
Short Film
Summary
The film’s concept, rooted in the noir genre and loosely set in the 1970s with influences from classic noir films of the 1940s, unfolds a story centered around miscommunication within a criminal plot. Enigmatic characters, often alluded to but unseen, pull the strings behind the scenes. The focus, however, remains on the characters at the lower rungs of the operation, immersed in gritty tasks – an aspect the director found intriguing.
As a prominent video production company and film company, our approach involved creating a stage-like setting for the actors, granting them the freedom to inhabit their individual spaces. This led us to opt for a mostly still camera, with movement strategically used in pivotal story moments. The deliberate mirroring of shots between the two main characters accentuated the constant showcasing of their different perspectives.
Our production house executed the project over five nights, aligning with the narrative unfolding over a single evening. Shooting everything overnight demanded careful planning and execution. To transcend classical noir film conventions and seamlessly blend modernity with classic elements, we employed anamorphic lenses, utilizing both cinema camera and digital film camera technologies. Guided by our director of photography, we strategically incorporated hard tungsten lighting, staying true to the era’s lighting techniques. This decision yielded an authentic black and white hard contrast, capturing the essence of the time.
Throughout the process, our team of film producers, video editors, and recording studio experts collaborated seamlessly, ensuring the film’s visual aesthetics aligned with its noir roots while introducing unique modern elements.
Technical Specifications
Camera: RED Ranger Helium – Digital Cinema Camera
Lenses: Angenieux Optimo Anamorphics
Support: Teradek RT motion wireless lens control, misfit kick matte box, Dana Dolly
Lights:Arri T2 Fresnel, Arri T1 Fresnel, ARRI 650W Plus Tungsten Fresnel, Arri Orbiter
Post-Production:Davinci Resolve, Adobe After Effects, Adobe Premiere, AVID Pro Tools
Director: Jose Trujillo | Producer: Carolina Caruso | Co-Producer: Biagio Musacchia | Production Company: Innercat Films | Executive Producer: Paris Cabezas | Written & Directed by: Jose Trujillo | Producer: Carolina Caruso | Co-Producer: Biagio Musacchia | Director of Photography: Ariel Ramon | Production Designer: Daniela Reiley | Associate Producer: Fernando Arguello | Line Producer – Carolina Caruso | 1st AD – Biagio Musacchia | 1st AC – Alejandro Villegas | 2nd AC – Lewis Reif | DIT – Daniel Mendoza | BTS Photographer – Arnaud Pages | Gaffer – Alejandro Borjas | Key Grip – Jonathan Menendez | Grip – Daniel Rodriguez | Swing – Johanser Martinez | Electric – Adrian Ramon | G&E Company – Elevate Films | Production Sound Mixer – Fernando Arguello | Property Master – Adriana Reiley | Art Department – Patricia Monclus | Stunt Coordinator – Eduardo Lagares | Dog Handler – Remy Connor | Key Hair & Make Up Artist – Jessica Cotes | Costume Designer – Candela Luna | Production Assistant – Julie Beltran | Editor – Daniel Mendoza & Jose Trujillo | Colorist – Carlos Creazzola | Visual Effects Artist – Francisco Pinero | ADR Editor – Mariano Aponte | Sound Designer – Mariano Aponte | Foley Artist- Felix Maldonado | Music by – Paris Cabezas
