CHRONICLE

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 CHRONICLE
A CINEMATIC PORTRAIT OF HUMAN EXISTENCE
DURING THE GLOBAL COVID-19 PANDEMIC

In just a few months, the entire world has been turned upside down, profoundly
affecting our personal and professional lives. In most places on earth, everyday

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life and work has been put on pause. Many of us have been quarantined to our
homes, where we stare at our screens to what is appearing on the news to all of our
countries and to our peoples. The streets are largely empty except for the workers
who must go out, and for the sounds and lights of sirens, like in the films we’ve
seen and made. What is happening now is unfolding all over the world - a global
phenomenon shared by the entire world.

No one is untouched by this pandemic.

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My name is ELLEN KURAS. I hope that you all are safe during this continuing global
human crisis and turmoil.

I live in New York, one of the epicenters of the crisis in America. We, and the rest
of the world are right in step along side of Italy, Spain and China in the massive

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unfolding human tragedy and world experience that separates us... and unites us.

In country after country, even as most of us find safety in distance, I’m sure that
we all share a strong feeling that this is an incredibly important time in our global
human experience, our existence. After hearing New York Governor Cuomo speak,
and seeing some of the still images published by the New York Times, I realized
that this is an experience that needs to be envisioned beyond the news footage
and photographs -by visual artists, by cinematographers like ourselves.

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If there ever was a time to capture the trauma and turmoil, the pathos, the grace,
optimism and the simple gestures of humanity, it is now. This is what we can do as
visual artists, directors, cinematographers. We can visually and poetically capture
the pulse of the psyche of the people and community during this pandemic -
filming of course with safety as a first priority - from where we are, through our
own experiences, both on the streets and in our homes through our unique points
of view.

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This can be a testament to and a portrait of humanity - a collective experience told
through a personal lens.

We will not forget this time when the heroes of the world are the doctors, healthcare
workers, shopworkers, delivery people, drivers and people who have no choice
but to work. This global portrait and its chapters will be dedicated to them. Any
proceeds from future sales will be donated to DOCTORS WITHOUT BORDERS.

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 WHAT CAN WE DO?

We can film what we see and feel- from inside our homes with our families, to
outside on the streets and around the places where people are dealing with the
crisis - wherever we are, in countries all over the world. OF COURSE, this is with
the caveat that everyone must be SAFE in all respects - for themselves and for their
families or anyone that you are in contact with. This may mean going solo with a
smaller camera package that can be managed alone or with an assistant with whom
you can keep appropriate social distancing, or it may take using your IPhone if that’s

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the only means possible for safety or being discreet. Because this will become a
lasting document, we would want to strive for the best origination quality that is
feasible, given your personal situation. If a camera is not readily at hand, we are
working out ways to get a camera package out to the DPs.

Our primary concern will always be the safety and health of each of us, as well
as those whom we come in contact with. As such, we must all adhere to the rules
and mandates of whatever region you are in. We must avoid situations that risk
spreading this virus and putting ourselves in a position where safety can be
compromised.

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 THE LOOK

Visually, stylistically, the films that first came to mind were film portraits of
people and places that use cinematography poetically and dramatically - films like
Koyaanisquatsi, the 1927 Berlin Symphony of a City, Man With a Movie Camera, and
of course the brilliant - I am Cuba. Eternal Sunshine came to mind, as well as In the
Mood for Love, and Joker, where color shows the emotional backdrop not only of
the characters, but of the places where they inhabit. In photography, the work of
William Eggleston, Gordon Parks, James Nachtway, Sebastiao Selgado, Leiko Shiga,
Greg Giard and others inspire us through their use of light, composition and visual
metaphor. Over the past10 years, especially during these past two months, The
New York Times has also stood out in their efforts to present news photographs

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that have resonance and meaning.

Importantly, we would look for images that have a particular point of view yet
have elements of the universal. And look for images that are visual metaphors of
the story they want to tell. Some can use techniques like macro and long lens
compression, time lapse and slow motion, which can help to shape the story in
ways beyond still photography. The light, and time of day -like dawn or magic hour-
will give a certain poignancy or starkness to the scene. Documentary images can
also be part of this vision, and may counterpoint well to give urgency with more
the stylized images. Ultimately, we cinematographers have the power in our hands
and through our eyes to create unique and meaningful images that will inspire and
will define the human condition. This is what we do, it is what we CAN do.
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 WHAT THIS CAN BE

We have the possibility to make a series of films - each 5 to 10 minutes long - that will
be chapters of each country’s world experience, to be edited into a larger piece
called CHRONICLE. To help shape the vision of each locale, a director from that
country will be invited to lead each city to craft a chapter that truly represents
their city/country. These sections would be filmed and edited in their respective
countries, each with the personality and identity of that place. Together with the

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images, text, spoken words, music and sound can also become part of the cinematic
fabric. A film could have a poet reciting a poem over images, or snippets of live
sound interspersed with music. Listening to the music of Nick Cave, Warren Ellis
and Max Richter was what inspired the idea for this project. A director could invite
a local composer to contribute his or her own composition.

Tonally, each film should feel bold and resonant. And authentic.

Together, they can be combined to create a feature length film, which would be a
chronicle of this time in our world.

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On the outside, streets are empty around the world, shops and businesses closed,
a cacophony of people are banging pots and pans and clapping in apartment
buildings, workers brave public transpo on their way to work waiting at bus stops,
some walking on foot, medical staff are seen openly wheeling body bags and coffins
out of the hospitals in Italy and Spain and the UK, and in NY, 18 wheeler trucks are
temporary morgues parked behind the hospitals. In Ecuador, bodies are placed
on the streets outside the houses with no one to collect them. In India, masses of
people are striving to leave to their villages by foot. Mourners in Wuhan stand in
long lines holding pictures of their dead, waiting for the bodies to bury them.

And then, on the inside, there is also much happening in the interior world - where

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most are sequestered. A child stands poised at a window, watching and pondering
his/her future, the family is gathered around the television for the news or a film,
or is sharing rare moments of intimacy and togetherness in one’s home. Suddenly,
where technology had isolated people, it’s bringing them back together through
shared media. And whereas this experience is bringing some people closer, the
confinement also shows the darker sides of humanity.

Thematically thinking, these would be images that portray isolation, separation,

togetherness, compassion, frustration, optimism, joy as well as nonchalance and
indifference, and of course anxiety and fear. The world is ready to be seen.

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 HOW WILL THIS BE REALIZED?

While still in the process of beginning developed, this idea began for me in
New York, so I called Kees Von Oostrum, president of the ASC to share the idea
with him and the ASC, and then brought together a consortium of NY and LA
based colleagues to begin to quickly explore the idea. With the endorsement

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of the ASC, and together with ABELCINE, HARBOR PICTURE COMPANY and the
production company THE CORNER SHOP, the project is being realized and
produced under THE CHRONICLE PROJECT LLC. With the help of the ASC and
its affiliate societies IMAGO, we are opening the project to cinematographers
around the world to participate. The Chronicle Project LLC has already been
in contact with production companies around the world who will be able to
coordinate equipment, the gathering of data, the processing of the data, and
coordinate a team of editors, composers, directors able to work remotely at
this time.

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 THE TECH SPECS

Of course, as DPs and creatives, tech specs are very important - as well as questions
about LUT, final grades, sound etc. We are in the process of putting together a
technical specification sheet to guide everyone. One main guideline will be a
consistent aspect ratio - we will finish in 16 x 9 - no matter how one gets there.

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Shooting on Anamorphic lenses, as an example, will necessitate cropping in to 16x9
for the edit. If not, then we run into the danger of the frame jumping from shot to
shot.
Because every situation is different and because many are not able to access their
own gear or gear in their usual equipment houses, the tech specs are guidelines -
not required. Some may need to use what camera he or she can access and operate
safely without the usual crew support. There will an addendum added for tech
specs and instructions for data handling.

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 THE FINAL FILM
Every DP who contributes will be credited for his/her efforts. The donated footage
will be sent to and safely stored in the vault at HARBOR PICTURE COMPANY for the
final conform/grade/mix. Upon completion of the final film /series, the materials
will then be put into an archive to be preserved for future generations.

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All of the local directors/creatives will be credited for their respective chapters
and Ellen Kuras ASC will curate the final film.

Our end goal is to produce a chronicle film, that if sold we aim to reimburse out
of pocket expenses, but the main aim of this project is to raise money to donate
to DOCTORS WITHOUT BORDERS - the health-workers who work for the health of
humanity and of the planet. This we can do for them.

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