Project Character Traits We Appreciate:

Heart

Soul

Relatability

Ambition

Educational

Entertaining

Unbiased (Not certain)

Memorable

Compelling

Epic

Evans Writing Style:

I create stories for myself. I want create an experience that I can deeply appreciate and feel moved with. I want make films that ask questions rather than force perspectives to myself and the audience. I usually tell underdog, coming of age, stories and prefer work with non-famous actors because I think that audiences can sometimes be distracted from the stories, pre-occupied thinking about real world happenings. I like story where the antagonist is a former collage of the protagonist, who the protagonist hasn’t given up on. I also like a blocking style where characters or event emerge into frame in extended takes. I believe that I need to see my own version of beauty in the world to be able to capture it. I also like to experimental with concepts like people being frozen in time. I create stories based on my own life experience. Once I have a rough concept/longline I think I like to spend an extensive time creating “blue sky notes” before I write the first draft. I prefer to write the first draft by hand as it can be a slower, good pace to me for story development. I try to make well-timed, hype hero entrances mid-fight to turn the tides. I also try to include some kinds of signature dish in my films to invite foodies to recreate it. 

Coming of age stories where make-shift parental figures deeply move the protagonist. The parental or friendly figure is to me extremely powerful like all-might or gojo from Jujustu Kaisen. The most powerful figure acknologies the protagonist when no one else would. The protagonist feels deep loss when they lose them. Mysteries criminal organizations with unknown background and motive later revealed to be lead more moral ambiguous, un-open minded, and pessimistic efforts. The protagonist is angry at the world and blames the people who enabled the death of his loved ones. They don’t enjoy the things they usually like. It takes a series of encouragement from team members to overcome the sadness which deepens their bond.  The protagonist’s previous rival, sacrifice their life for them. The protagonists’ make-shift family believes they can change the world. I like characters who are meticulous about their approach to life. Antagonists come as highly sophisticated prophets trying to force their unoptimistic, closed minded perspective on others. I like to include smart and dimensional minority characters. I also like to include inspirational flashback or moments given by people the protagonist admires. The protagonist earns the respect of the world though is forgotten about in their old age. They doesn’t not mind this though others disagree.

Directing Style:

Cinematography Style:

I try photograph stories in an epic, atmospheric, and expansive way. I want to create an experience in which people know that they are watching a movie most of the time sprinkled in with moments of deep, realistic, human intimacy. I prefer to shoot in Medium Format because cameras can be positioned closer to subjects, this is helpful for me to follow actor performances and work in smaller spaces.  Signature shots: tripod dolly/tilt in or out, lens zooms, meticulously-arranged overhead shots, macro shots, extreme wide shots, 90 degree whip pans, static drone shots, door or object push ins or outs, lateral/horizontal dolly shots (sometimes slower, faster, longer, or shorter dependent on how I want to emphasize a moment) with Single or Dual Plano-metric composition 75%, 25% traditional. Establishing Shots from the back of buildings. I like to shoot time pieces in a very modern way and modern pieces in a more vintage way. I also like to experiment with lighting and 2D/3D animation to create fantasical worlds. Spherical Focal Length Preference: 25mm, 35mm, 50mm, I prefer to use wider lenses for close-ups. Anamorphic Focal Length Preference: 40mm, 75m, 100mm. I also quite like adding film emulations on digital media.

Lighting Style: I like to enhance natural light when possible and use minimal light fixtures on set for more freedom during blocking/framing. I also tend to soften light / create atmosphere with haze and naturally-motivated dynamic lights. I quite frequently like to include beautiful (to me) sunsets, sunrises, and moon light. I use colored light/effects to depict experiences in a more abstract way. I also tend to use mirrors and gobos to add texture to surfaces. I prefer to use hardlight anywhere except on the talent’s face. Heavy texture / volumetric lighting. Mist, Haze, Smoke, Debris, bubbles, heart waves, dust, dirt, sand, grass, 

Production Design: I try to include locations that I think are grand & beautiful with a late 20th century look. I tend to build elemental atmomosphere with rain towers, heat waves, dust, dirt, sand, cold breath fog, snow, wind, creatures, and pratical effects. I also like wardrobe that connects story concepts/character background. I also like to implement weather to reflect current emotional tone in the story. 

Music Style: Soulful, fantasy-like Instrumentation with indigenous instruments, ethereal vocals, inspiring chants. I like to spend as much time on the sound/music design of a story as we do the shot list. The style of music I like to use is currently mostly reserved for animated or video game pieces. I hope the music tells as much of the story as the writing, photography, lighting, and production design do. I love to build worlds and ambience through 3D sound design. I like modern-like instrumentals with exciting electronic guitar riffs, synths, and drums. paired with acoustic traditional instruments such as Guzheng, koto, and vocals.  I also enjoy a lot of dead air with no dialogue, I think this can add a depth and heightened naturalism to performances

VFX Style: I like to use VFX to extend practical effects, I also try make the lighting/camera movement of VFX as realistic as possible to try keep the effects “grounded”. I rarely throw focus on the VFX, I mostly use them in the background. 

Film Workflow Style: I like to be careful, slow, and deliberate on set. I prefer to shoot with at least 2 camera operators for safe coverage. One of the cameras follows a co-created shot list extensively created in pre-production. The other camera(s) are free to exercise their own creative vision so long as there is motivation/visual meaning in relation to the story behind their photography. 

Thoughts on Equipment: I think that modern cameras are so good and affordable these days that the challenge can be less focused on acquiring gear to fulfill a vision, instead I try to focus on trying to find (or build) a touching story to tell. There is no best or worst camera or audio equipment to me. It all has to do with the experience I want to create for other people. In terms of format and camera preference, I prefer to shoot digital with less digital looking sensors. I rarely like to use polarizer because I do not that the picture produced is close enough to how the human eye perceives reflections. I understand that I may be easy for me to say as we are privileged enough to have access to the most cutting edge equipment, however I abide by my belief. 

Editing Style: I like to roll the film title sequence at the end to help focus attention to the story.

Recurrent Themes: Bairn productions are characterized by recurrent themes of stories based on personal life experiences/identity, underdogs, bridging cultural understanding, building tolerance of harmless behavior, an affection of trust, biological/make-shift family, solutions for inequitable realities, quirky dry-humor, non-linear storylines, forgiveness, innocence, common humanity, slices of life, lack of plot armor, nature/pollution, longing for companionship, the wholesomeness of natural/traditional lifestyles, the collective benefits of newer living, child-like adults, adult-like children, self-love, self-actualization, and difficulties to maintain pacifist ethics in violent worlds, main character being first introduced as side or background actors, love being found in unsuspecting places, Loving the “unlovable”, Familial issues / Redemption, Surpassing your past self, Overcoming Inner Struggle, Remembering People’s Names, Social/Economic Disparities. 

Dry-Humor Elements: Lack of Context in situations, Double Meanings, A spin on classic media, Impossible Feats, Punchlines: Surprised + foreshadowing questions, 

Characters: Protagonists are usually intrinsically and extrinsically troubled “losers”. Antagonists are usually morally ambiguous with redeemable qualities. Side role antagonists are usually narcissistic, egotistical, less morally ambiguous than main antagonist to show the competence difference of main antagonists. Supporting Characters do not always agree with protagonist out of value of protagonist’s life / moral ambiguity. Cadence: Characters are gentle / more soft spoken when at their hearts. Characters are rougher / louder when away from their hearts.