00:00Filming from Indy's perspective, it's a lot of low shots.
00:04Can you talk about how difficult that was and the challenges that presented?
00:08Yes, I'm thank you for catching on to that as also the cinematographer and camera operator for the film.
00:15My back definitely feels it. Indy is quite small.
00:18I'm not sure it comes across on camera, but when he's standing, his eye lines only 19 inches off the
00:22ground.
00:24And you're right. Point of view is a huge part of the filmmaking and the storytelling.
00:27So having a camera that was at that level was really important.
00:31Most tripods even and camera equipment are built for human subjects.
00:36So we actually had to find kind of custom tripod legs to get down at his eye line and be
00:44able to make the movie from that level.
00:47So, yeah, every every part of the filmmaking was a little bit, you know, tweaked or customized to the consideration
00:54of.
00:54But we're doing this for a dog.
00:56So, yeah, just on a on a brass tacks, you know, first, you know, consideration, we had to find equipment
01:02that was Indy's height.
01:03You know, it's funny.
01:05I would not have guessed this on the outset, but the things that seemed like they should have been really
01:09hard were much easier than expected.
01:11And the easy things were harder, which is not to say that when you're working with a dog, everything is
01:16opposite to humans actors.
01:18But I'll give you an example.
01:20There's a scene where Indy wanders.
01:22He's following the supernatural forces, which at this point are invisible.
01:26And he's kind of going through the house into a garage and he makes several stops.
01:32And, you know, we've been working with Indy for a while.
01:34So we figured out how to do that, where how do we have this camera follow him kind of continuously?
01:39And we made a path for him to follow.
01:42It was not a literal breadcrumb trail to follow, but we would take his food and kind of rub it
01:46on the ground.
01:46So there was like sense that he would follow and getting him to repeatedly follow that scent trail and do
01:52this big kind of it's not a wonder by any means.
01:54But like, you know, almost a minute long shot was pretty straightforward.
01:59On the other hand, getting him to hold a very specific tight close up, a thing you could just tell
02:06an actor, hey, I need you to look like just like an inch to the left.
02:09That stuff took a long time because there's no way a dog will ever understand.
02:14I need to stay exactly where I am, where my eyes are, how they catch the light.
02:18That's going to take like those are things a dog, at least my dog, cannot comprehend.
02:23So those tight, simple feeling close ups took a lot of trial and error.
02:28Sometimes we would film them, put them into the edit because we were editing as we were making the film,
02:33realize we don't quite have it.
02:35Everything needs to be adjusted like, you know, a few degrees or like up, down, left, right.
02:39And we'd actually have to try again the second day.
02:41So there was a lot of, you know, precision we had to get, which was difficult to, you know, get
02:48with a dog who I cannot stress this enough, doesn't know he was in a movie.
02:53So there was a lot of attention.
