happen on our island this is her story cell phone and i'm like i was a royce and i'll do one of her friends maybe pick her up from school you know cans was supposed to be graphic and take her home after school for sleep over what time did she leave the house having  tomorrow morning everyone roughly forty one minutes ago in the small town of harbor island a young girl by the name of vastly hines twelve years old went missing from her house as she left for the bus stop at approximately seven fifteen am her mother abby thirty three years old works at the island's diner she received a phone call from the school's automated attendants machine notifying her that astley didn't make it the first period the call was made at eight o four am the school bus driver who drives that route is a woman by the name of janet dell mid forty's mother of three she's married her husband is a commercial fisherman no criminal record in either of them they both check out the husband is accounted for in alaska the hinds live on a five acre parcel with a half mile gravel road leading to and from a main highway  according to county assessor the property is heavily wooded and concealed from the highway but a close neighbor adjacent to the property belongs to a one jake ruff horse ranch was lived there for thirty five years from the looks of it the b a passes right front of the property each morning this is brand hinds the estranged father of the girl he's the only question mark at this point according to the wife he moved out three months ago and hasn't been seen since what do they know about that relationship the local detective on the scene max tandy is working that angle right now his boss has asked us for some help i'd like you to head out to the island give me a hand with this one marcy has your itinerary your ferry leaves in fifty two minutes ok that's it people let's get to work generates a each day across america for the two thousand children are reported missing the national center for missing and exploited children has become the leading nonprofit organization in the united states working with law enforcement to address the problems with missing and exploited children the organization cooperates with the u s department of justice his office and juvenile justice delinquency prevention the center operates a toll free twenty four hour national missing children's hotline that is help law enforcement agencies recover over one hundred eighty thousand children by bringing them home safe to their families you can get involved today by visiting their website where you can learn about new programs get updated information and implement safety tips and procedures that will keep your children safe thank you for doing your part in helping the missing children of america eleven but here we are at our first book a sion day one shooting for our pilot of harbor island t v web series here i am coordinating all of my storyboard shots from a prior scouting day that we had at this beautiful twenty acre ranch here i am working with the owner patricia she has just an incredible property and we definitely utilized all of the elements including horses in the picket fences and just a lot of wonderful cinematic opportunities for us here i am framing and setting up for the first shot of our day where a police car will be driving over the hill in the distance arriving at this ranch to question a potential suspect in the disappearance of our our first child in our series and according this logistically h couple of flaggers block the road down for us and i'm armed with the walkie talkie here i am talking with them getting it all coordinated before we roll camera so the conditions were just right it had it wasn't raining it was early morning the fog the winter everything that the script required were very lucky to get all the shots for our opening sequence of harbor island i think one of the great benefits of working as an independent filmmaker is the opportunity to spend time with the owners of businesses and locations to open up their property and their resources to us and getting to know them so our second shot of the day was much more complex and there were kind of on a time constraint there's going to be horses involved in our opening shot with our actor kevin lee so we wanted to get to the second shot as soon as we could because the horses hadn't been turned out for the day so what we're trying to do here is coordinating it where we can actually let the horses as you see in the distance out as we call turning them out where they're fed and we would like to actually capture that in the natural elements involved in that without having to create too many a logistical  obstacles with horse wrangling because there's a lot involved with that so here i am telling kevin a little bit about how we're going to want to do that along with patricia the owner and so actually the horses that were turned out that will appear in this opening shot are actually coming out to eat for real in the morning so even though it was it was planned it nessa's not necessarily was stage so a lot of help with the owner here and the rest of our crew getting this mazing shot set up as a director i usually use my trusty thirty five millimeter camera to frame my shots and pick my camera lenses many directors use what is called a viewfinder i just use my trusty thirty five millimeter camera digital camera to get my shot selected one of the most unique elements of the production of harbor island is that i not only will be working behind the camera but also in front of the camera as one of the actors and here i am getting ready running my lines with kevin lee for our opening shot together it's great working in these smaller productions you get to know each other we help each other out here's kevin to china make sure that i got my tie on right now and that's what's so great about working with smaller crews everybody gets a sense of respect for one another and helping everybody for the collective good so here i am working with my camera operator on that shot he's going to run a dolly shot as i drive into the driveway so china share with him some of the elements i'm looking for as the gate opens slowly and converging as the car comes and says a lot of different things that are all happening at one time is kind of prepping him and getting him ready for that shot before i get in front of the camera so world real excited about that guys were sitting here at the house getting ready to head down to the library for f b i scene and as you can see right here i am labeling all of my slate makes a kind of relief here we've got a role scene and take and what this is for today's purposes is a one is going to be a camera set up so that these are cameras set up stitches see right here the eighty five eighty two and then the scene is going to be the same scene twenty six and then over here on the left there my storyboard photos these are all the shots that we're going to be making so a number of these shots are going to be taken from the same camera set up but so we don't leave any of them out of order we have to label every single shot every single image and we have to determine whether or not it's going to be a close up a medium or a full and also got to determine if it's going to be on a tripod like this one here is or the shot of tom and julia that says dolly that's what we're doing and then i on my drive drive board right here i'm referencing all my camera set up this is my diagram it's kind of a snapshot from above that gives me a perspective of how i want to light the scenes where i want to put the camera where the green screens going to be and where all of our actors are so you can see all of the actors are in blue and then all of our camera set ups are in the red letters and then down below is our lighting sequence set up so depending on what camera set up will determine what like for instance camera set up a shot one hello everybody my name is scott kappa stanny writer director producer and creator of the t v web series harbor island thought we would walk you through some of the behind the scenes journey of our little mini series here and just to share with you how much time and effort and energy we spend putting this thing together these are some clips here our journey began in december that's us at the library prepping for our first auditions all of our actors cast and cr volunteered for this amazing project here i am working with our final selected missing girl janae crick just an incredibly talented actress and we started in december with all of the additions  the prior rolling had the opportunity to spend a number of weekends going out to the locations that we actually shot some of our our trailers and our our teasers on location and here i am working with janay we found some great locations out of port gamble washington at this beautiful cemetery here i am working with cindy lemus one of our actresses in our story that plays f b i seattle agent pippa range and this is a treadmill scene kind of going over camera set ups with was that particular day that took us to harbor point of all places up north so we can have filmed all over the puget sound with that with this production and and just so many things came together a journey through the process over about seventy days just we had a lot of luck with a lot of different things so we're going to show you here some behind the scenes look at the filmmaking process our opening sequence of images  shot in the small historical town of port gamble here that old retired ferry dock and we moved out to port towns and i spent about four hours on the beach trying to capture some seagulls the wind blowing in the right direction there's a shot of a seagull coming through the frame and then a crisp clear shot of a ferry boat arriving and then we move on to downtown pauls bell here at liberty de books along front street with our lovely eight year old actress lauren crick in boise she spent quite a long day out in the cold the beautiful shot of a seagull coming through the image again there on that entire day she was a trooper didn't complain once and really enjoyed participating in this project is very cold morning one of the tricks to do continuity wise that's a beautiful shot of the heron that we i spent hours trying to to capture look in the right direction this is actress jennifer crick the sister of lawrence we had an incredible blessing to have two sisters participate in this project here she is getting ready for school and coming into the kitchen here in fact at her own house so we had two sisters filming in their own house for this series and this is our introduction  it was just pleasure working with her it's what we really got lucky with this cast in and i had this and a number of people to fill just a handful of roles and it it really makes the job so much more pleasant when we can find people to in these characters that was a great shot of the dog it took us about ten takes to get that right out in hans ville here's jay on our way this was shot at one of my good friends homes out in the hands ville area very mystique mystery with the fog it was just one of those days that that i had written in the script and being in the pacific northwest the weather time there isn't a shortage of these type of days in the wintertime so we really lucked out and the trick was to capture a number of the scenes and sequences that were shot outside exteriors with great continuity in hopes that our audience could see the progression of that as we move along here we shot this at a great little local diner the junction ball and where our character abby hines who works there with her best friend and she received a call here from the automated school system that her daughter didn't make it and this is actress jennifer angelou chee made dina we had rehearsed a much longer sequence in the original script but we had to cut that out in try to progress the story along a little bit more but we were able to make that up a strong believer rather in shooting on location and really great natural environments and not recreating anything and we lucked out with a great opportunity here this this image is actually shot at a ranch again right outside of paul's belive there's beautiful white picket fence in it and what's interesting is when i wrote this script and little i know that that ranch is only a few miles from my house it was one of those things i'd passed for so many years and i'm like you know that would make a great location someday for a t v show or a movie and here we are in this introduction of actor kevin lee what a blessing to have this gentleman join us kevin this is his first appearance t v and made a commitment  recently to pursue acting full time and when he walked into the audition he just walked right off of the pages for me for this character jake just sitting down in the first couple of minutes i knew what character i wanted this individual to to play i had him down for four or five different roles but he did a heck of a job as you can see the horses were something that was very special to to pull off the horses came into the shot and then left the shot moving along here to cindy  lemus worked with cindy for a number of years she hosts island get away t v another cable t v web series that we've been producing here for the last year what an amazing actress and then we move along here to michael james another local actor in the area that i also worked with a couple of of years they both work with me on emerald nights and i hear sandy pulling in to our fictitious f b i headquarters in seattle and this scene was one of the complicated scenes of the pilot if it and the reason why is we it was multiple camera set ups a lot of dolly as you can see as we're moving through here but the real trick was the lighting and that we had a very small room in downtown that we utilized for this and we we did it where the environment was just right from an external standpoint the lighting was right it wasn't too dark it was into to light but it was just right and our actors just all in this scene we just nailed it as we say in this business tom shroder juliette daying there that's tim forehand julio richburg a friend of my have known for twenty five or so years is tom shroder right here with the glasses tom work with us on emerald nights and the night i gave there although he didn't have a speaking part here in the pilot we're returning him in episode three and we really lucked out with this i think the sequence turned out really good the lighting i really like to use the architect architectural background with that with the design of the windows at this particular building that we filmed this and that we were just really fortunate so as complex as it was it turned out just right and everybody was really excited with the with the outcome it was my main objective when i set out to produce this series in the beginning was to provide an environment for the working actor here in seattle to work their craft in and provide them with some professional work that they could add to their demo reels and resumes as they continue their journey in the creative process as an actor or a crew member again it was a total one hundred percent non profit production where none of the actors none of the crew were paid everybody volunteered their time donated the resources in or gene effort and support on all faucets of this production so it was a full success we look forward to episode two that we're