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This production grew out of a collaboration between screenwriter Thora Magnusson and producer/director Simon Veredon. Thora's background in acting informed her writing with very strong characters, stories and situations, which were 'edited' into an evolving timeline by Simon Veredon as a storyboard reel. Simon drew storyboards early on to help visualize and further develop the story.

After a year of development Trisha Lasar was brought on to complete one of the first re-writes and to co-produce the picture. 1st AD Brandon Amelotte, Director of Photography Russel Griffith and Gaffer Ralph Flores all elevated this small production, first conceived of as a video shoot, to the professional 16mm film production it has become.

At many stages of the game the subject of video vs super 16mm came up and we are happy that we stuck to film. Our pipeline was modeled after 'The OC', which Simon Veredon worked on as an online editor for the two seasons '04 and '05. The OC shoots super16mm and telecines to HDCam for online in HD.

For IADK adopted the same work flow. Kodak, which sponsored some of the raw film stock, has done an amazing job in developing its new virtually grainless Vision2 Stock. We were amazed at the results of the Vision2 500 Tungsten. There were scenes we intentionally lit to drop off to black in a stylized sequence and in telecine we found that the V2 stock had picked up most of the detail in the areas we hadn't really lit. In the summer of '05 we found that most of the super16 Cameras we booked on film and television jobs that had changed their plans from shooting on HD to shooting Super16mm, for various reasons, but partly because of the great new film stock for Super 16mm and rental houses being able to ask top dollar for HD cameras.

We tried processing at different facilities, but found Fotokem gave us the best price as filmmakers and returned the cleanest prints.

Big thanks to Cathy Pierce at Panavision for the generous support of this film. We shot on the Panavision Elaine. Lights were provided and partly sponsored by Westside Rentals in Santa Monica. Randy Starnes, previously the colorist on Desperate Housewives, and Peter Swartz at Westwind telecined to HDCam.

Big thanks to 2G Digital Post in Culver City and Keep Me Posted in Burbank, CA for their generous support in the online process of 'In A Different Key' on Avid DS Nitris HD.

This movie was made under a SAG experimental agreement.