Synopsis

A college-aged student must suffer the consequences after he decides to steal an invaluable coin from a homeless man on the street.  He is a seemingly innocent individual who experiences an internal battle of morality. Fixation is the story of his moral journey.

Behind the Film

I have a killer conscience, and I knew that the first major film that I produced had to address an issue of morality that can touch nearly anyone.  It had to be a film that I felt could make viewers stop, think, and evaluate their own lives, questioning their choices past, present and future.  Integrity.

I couldn’t tell you specifically when and where the idea came to me, but I can tell you that this idea suddenly became pages of notes in a journal, constantly evolving into the film that it is today.

It’s a compelling story told in the country’s most populated city, using equipment that I’d dreamt of using for years. This film was possible thanks to the immeasurable support of numerous friends and family members. This story could be told thanks to so many.

Equipment

All of the equipment was rented from Adorama Rentals in NYC. We shot on a RED Epic at 5K, 24fps. Some of the shots were shot at Varispeed at 96fps. We used Zeiss CP.2 35mm, 50mm, and 85mm Superspeed Lenses. We also had the CP.2 25mm and 135mm lenses. Sound was recorded using a Sound Devices 702T recorder in conjunction with two body mics and a Sennheiser MKH416 shotgun microphone. We used a Denecke TS-C slate for timecode sync. We used a Sachtler tripod and a Cinevate 60″ slider.

The film was edited on a combination of MacBook Pros, Mac Pros, and PCs. The primary video editing software was Premiere Pro CC, but some of the exporting was done in Final Cut Pro X. Speedgrade CC was used for color correction and Pro Tools 11|HD was used for the surround sound mix.

I chose to use Premiere Pro because of its flexibility with handling the RAW R3D files from the camera and its compatability and integration with Speedgrade for color grading. Pro Tools was a natural choice for the audio mix, as it provided me with an incredible set of plugins and extrordinary power for handling the 90-track export.

In total, the film consumed 8TB of disk space. To give you a sense of the exported film’s size, the final DPX 5K image sequence (no sound) was 800GB alone.