Tuesday, March 3, 2015


It’s funny how things work out sometimes.  When we finished Leap: Rise of the Beast in spring of 2011, the plan was to spend a year prepping Leap: Revelation and to shoot it the summer of 2012.  Instead, I was whisked away to Montana and then found myself homeless that summer.  I managed to write the first draft of the script, planning to shoot the following summer, but I knew I needed some funding, so I held out.  I didn’t do much with the script the following few years, but about a year ago, I got serious and said that now is the time to do it.


In the past four years, my understanding of God, His character, His plan, and last day events has changed pretty dramatically.  Because of this, the message and focus of the film has shifted a bit too.  I love that God knows what He’s doing.  If we had shot this right away, I don’t think the film would be nearly as powerful as it can be now.


The other great thing about it taking so long is that I’ve been able to slowly accrue gear over the past few years and now have some pretty nice things to play with this time.  When we did Leap 2, I was all about Low Budget Pride.  We did the movie for $2000 and I was proud of it!  We were all about the workarounds, the hacks and trying to avoid spending any money.  While it’s good to be frugal, I’ve since learned that having some toys actually makes life easier on set.  Shooting a movie, while a lot of fun, can also be pretty stressful at times, especially with hacked and DIY toys.  I’ve learned that sometimes, it’s good to have the real things.  Before I had the camera, a multi-function tripod, some work lights, a green sheet and a shower curtain.  Now I have two cameras, plus a GoPro, shoulder rig, nice tripod, slider, real movie lights, Glidecam, reflectors, diffusers, real greenscreens, a few lenses and decent mics. We’ve come a long way.


Speaking of coming a long way, so has my effects abilities.  When I think back to Leap 2, I was just learning After Effects and was so excited about point tracking and corner pinning.  Almost all the effects shots consisted of some form of tracking and corner pinning.  Lots of screen replacements, the gunshot wounds, etc… I had one scene that was all greenscreen, once shot with roto, and one set extension as well.  As I go through the script for Leap 3, the effects we’re looking at are much more ambitious.  3D tracks with CGI security cameras and hailstones, quite a few set extensions, probably a fair amount of roto, rig removals and of course loads of screen replacements.  We’re also bringing makeup effects into the pipeline with the plague of sores and we’re taking parkour out of the city and into the mountains.  What’s funny, is that when I wrote the script for Leap 2, I had no idea how I was going to pull some of that off, and then I discovered After Effects, and it was like I heard the angels sing.  This time around, there’s nothing in the film that I haven’t done before, either on my own or for work, the challenge this time is just the sheer volume of effects we’re dealing with.


We have a big mountain to climb as we prepare to shoot this August, so please continue to keep the film in your prayers.  The breakdowns are done and I’m working on the new schedule now.  Hopefully start casting in about a month or two.  Hang on, it’s gonna be a wild ride.