REVELATIONS

Monday, February 23, 2009

Shoot Day 1

First Location: Holmbury St. Mary Church


Work Done -

1.1 Met at edit suite to load equipment and discuss schedule.

1.2 Arrived at church and began to set up track and lighting.

1.3 Rehearsed tracking and panning with actors.

1.4 Started filming.

1.5 After getting a good take, we proceeded to get various stills of different parts of the church for our title sequence.

1.6 Packed up equipment and went back to school in time for lunch.


Problems -

2.1 Track took longer than expected to straighten out.

2.2 It was difficult to conceal the lighting for the panning shot.

2.3 Not enough lights.

2.4 Organ was inconveniently placed so we couldn't use it.


Evaluation -

3.1 We had to be flexible with our shooting schedule due to the track taking a long time to set up. But, luckily, other jobs took much less time than expected so we were able to stay ahead of schedule.

3.2 We had to spend a long time moving lights and rehearsing the shot to make sure none came into view. Although this was a fairly arduous process we eventually got them in the appropriate position and were able to get a good take, free of visible equipment.

3.3 We had to return to school at one point to pick up more lights because we didn’t have enough. Fortunately, at this point we were ahead of schedule so it didn’t affect us in terms of time.

3.4 We had to adapt to the space we were working in by moving a piano into the center of the room. We then put tall candles on either side of it to make into blend into the surroundings more.

Second Location: Hurtwood House Theatre


Work Done -

1.1 Set fire to a wooden figure to test how well it burnt.

1.2 Set up a safe environment with buckets of water and a fire extinguisher.

1.3 Set up lights, camera and nativity set.

1.4 Doused nativity in lighter fluid.

1.5 Started filming whole set burning.

1.6 Cleaned up then set up again with individual figured.

1.7 Filmed individual figures burning.

1.8 Cleaned up and safely and responsibly disposed of the burnt nativity set.

Problems -

2.1 Nativity set wasn't as detailed as we had expected/requested and didn't look as effective in a wide shot. It lacked any detail, had no use of colour and was almost two dimensional.

2.2 Some of the nativity figures contained unintentional phallic symbols.

2.3 Some figures had been painted with fire-retardant paint. Even without the fire-retardant paint, the figures were extremely hard to light.


Evaluation -

3.1 When the figures we alight they looked a lot more effective than first anticipated. We also used various effects in 'Final Cut Pro' to make them look better.

3.2 Initially we saw this as a big problem but after some thought we felt that this maybe added to the satanic style of the piece. Although it wasn't extremely evident, we felt that the audience would probably pick up on it, even subconsciously, and it would make them feel uneasy which is exactly what we're aiming to do.

3.3 To counter the fire-retardant painted we soaked the figures in lighter fluid and surrounded them with wood chippings which burned extremely well.



Third Location: Hurtwood House Basement


Work Done -

1.1 Evaluated space and decided how many people/how much equipment we could take down.

1.2 Carried down equipment i.e props, camera, tripod, 1 red head with gel.

1.3 Set up table with satanic images, blood and candle.

1.4 Took several, ten second, static shots of different images.

1.5 Switched satanic images with damaged photos of protagonist

1.6 Took several, ten second, static shots of different images.


Problems -

2.1 There was barely enough room for the equipment/people we needed down there

2.2 There was a large pool of oil giving off strong fumes down there.

2.3 Only one access point.
Evaluation -
3.1 We could only have a maximum of 3 people down there at one time and only had enough room for the cammera, tripod and one light. This, however, proved to be sufficient and we left with some really good shots.
3.2 We had to take frequent breaks because the fumes were giving us headaches. This wasn't too much of an issue because by this time we were hours ahead of schedule and could afford to be quite liberal with time.
3.4 This was quite a high risk because if we had needed to get someone out of the room in an emergency there was only one exit and that was a steep, narrow, spiral staircase.

Monday, February 9, 2009

My Role In Our Production Company

My role on the shoot day was as the assistant director and creative artist. My contribution to the production pack included writing up the contracts, shooting schedule and risk assessment and designing the company logo:



I also secured one of the locations:



and wrote the script for our production:


REVELATION


INT. ORNATE CHURCH – WINTERS EVENING, EARLY DECEMBER

An organ fills the church with the well known Christmas hymn: ‘Silent Night.’
VO:

Silent night, holy night
All is calm, all is bright
Round yon Virgin Mother and Child
Holy Infant so tender and mild
Sleep in heavenly peace
Sleep in heavenly peace

Silent night, holy night
Son of Tyrus, fear's pure light
Radiant beams from Thy holy face
With the dawn of condemning grace
Abbadon Lord, at Thy birth
Abbadon Lord, at Thy birth

Silent night, holy night!
Shepherds quake at the sight
Glories stream from hell afar
Hosts of Hades sing Alleluia!
The Anti-Christ is born
The Anti-Christ is born

The church is beautiful with numerous stained glass windows and sculptures. It is essentially Christian. The interior is covered with crucifixes and nativity style objects such as shepherds staves and a manger. There is an old woman at the back of the church playing the organ and singing.

We follow a priest who calmly paces down the church swaying incense from side to side. He is wearing robes and his face remains hidden. He crosses in front of a stained glass window drawing our attention to a wooden nativity set resting on a table which spontaneously bursts into flame.

CUT TO:

INT. DARK BASEMENT – WINTER’S EVENING, EARLY DECEMBER

Extreme close up of lots of photographs of Mary, the main protagonist, with her family and on her own. She looks very happy in all of them. Blood drips onto the table next to the pictures.


CUT TO:

INT. ORNATE CHURCH – WINTERS EVENING, EARLY DECEMBER

The flaming nativity set continues to burn as the figures in it become horribly disfigured beyond recognition.

CUT TO:

INT. DARK BASEMENT – WINTER’S EVENING, EARLY DECEMBER

Extreme close up of satanic images (both photograph and parchment) on a desk. Blood drips onto the table next to the pictures.

CUT TO:

INT. ORNATE CHURCH – WINTERS EVENING, EARLY DECEMBER


Extreme close up of Baby Jesus from the nativity set, who has almost completely turned to ash.

CUT TO:

Fade in text

Revelation


During the day of filming I helped with lighting and operated the camera for part of the day. I felt that through doing these jobs I contributed to the group’s effort well. Both Oli and Millie, the two other members of my production group both worked very hard as Producer and Director and we all performed excellently as a team. As a result of this we managed to acquire all the shots we needed and more far earlier than initially expected.
The tracking shot could have been made better by a few more takes. This became apparent when we watched back our footage and realised that in each take we had either the track jolted slightly or a light became visible. Despite this using various methods in 'Final Cut Pro' we managed to salvage the shot and it ended up looking very effective. The shot which ended up looking the best was probably the Nativity set spontaneously bursting into flame. This was a lot easier to do than expected and looked very effective on camera.
In relation to what I learnt about practical film making, I found out how important lighting is in a shot, it can completely change the mood of a particular setting; we used three-point lighting in our scene. As part of this we discovered the challenges of lighting a scene with relation to space for lights ect. I also learnt that you need to have a lot of patience when filming as some shots take a considerably long time to get. I learnt about how tough casting can be, especially when cost is a constraint; when we were casting we found it very hard to obtain an elderly actor willing to act in our film. When filming in the basement we found space to be a big constraint, especially when we had to take the equipment town a very narrow spiral staircase. As a result of this we learnt to adapt as a team based on the various constraints. For example after we light the church, when doing the tracking/panning shot, alot of the lights were still in view so we had to change the speed and time of the pan to conceal them