Professional Toolkit: Shooting Day

Monday 24th November - Tuesday 25th November

Monday we all came in at the normal timing at 10am as this day was mainly about the getting the camera equiments set up and also practicing with the two dollys that come with the studio the Allamac dolly and the Moviola dolly that were previoulsy owned by Stanley Kubrick as these two dollies were the main equipment we will be using, and throughout the day just done pick up shots and getting the set ready for the following day.

Tuesday- we all came in  at 9am to get eveything set up, as instructed on the shoot schedule created by Julia (Producer) and Lauren (1st AD). Since the actor Aaron showed up early we all greeted him and Tom showed him to his room and briefly informed Aaron how the day was going to run. we began with day with the establishing shot using the Moviola dolly to shoot this in one take.

 

 after having shot the establishing shot in a few takes because i was camera operator i was adjusting to the comfortability of the Moviola dolly getting used to it as i was too light we needed more then two people to push the dolly so that i could operate  the camera to my comfortabilty. we then broke for lunch at 1pm during this lunch Tom and Rob had changed over the lenses with this lens change we shot all the close up shots. operating the camera for most of the shots after lunch Tom took over as he wanted to do the remaning pick up shots because we finished ahead of schedule. we had to switch the set around so that we could film the behind shots from Aarons head.



this bit was tricky as we had spent a few mintues or so trying to get the lighting amd tv spotlight right as we didnt want any continuity errors, Tom also put traking markers as this will help with tight close ups to get a better track in the edit process. As this was last final shot to take of the day afterwards Uylsses did some sound takes.

shooting went extremely well and was one of the smoothest sets i have worked on, i am happy to have worked with such skillful and hard working individuals. It was sad seeing the set we had spent  weeks building taken apart, and all the equipment packed away and studio lights turned off , but was definitley worth it and will be an experience to remember. 

Avid: Effects Essentials

Things learned on this course:

• Adding and Modifying a Quick Disolve (/)
• What handles are and why they are important
• Types of Effects, and how to add/modify them (Motion, Segment, Transition)
• Stabilization / Tracking
• Resizing Shots
• Keyframes
• Fluid Morph
• How to pan and zoom an image without losing resolution (Avid Pan & Zoom)
• Keyframe Types
• Source Settings (especially on raw files)
• Motion Effects
• Timewarp Effects
• Color Correction
• Nesting Effects
• Multilayered Effects (Such as Picture in Picture)
• Advanced Keyframing
• Layering and Nesting
• Applying Effects to Filler
• Performance
• ExpertRender
• Keying and Alpha Mattes
• Avid Marquee Tool

Professional Toolkit: New storyboard

Email from Rob the DOP outlining the reasons why the storyboard had to be redrawn.

First draft storyboard

 new detailed storyboard

when told by Rob the DOP to draw up another storyboard I did research and used reference from David Lynch's film Blue Velvet: the image itself expalins why i used Blue Velvet as reference.

so in all the storyboard had to be redrawn only concentrating on some shots getting the camera movements right and making sure the environmental aspects are incorporated as well. when speaking to the DOP he wanted the first and last shot specifically redrawn making sure the shot was right so when redrawing the shot i simply adjusted the arrow movements in both sketches for the first shot i asked Tom for the test footage he had done with Anne and used this as reference and as you can see on the storyboard redrew the arrows from the top left corner going down to show an horizontall pan across the screen

using this video as example.
the last shot as you can see from looking at the storyboard where it says revised i simply adjusted the arrows to show an 180 pan that the DOP wanted.