Even

Production Book

Mood Board

Further Reference

Snorricam I liked how this turned out last year,

maybe a variation would look nice

Limitations

• No funds for equipment – all gear, props etc. must be sourced from UBC

• Public locations must be shot late at night when not in use

• All crew and actors volunteering – must not keep them up all night or make them come out repeatedly – short time to shoot in

• My schedule prevents me shooting before March 7 and actors are not available after March 13, giving me a narrow window

• Flimsy snorricam rig prevents me from using a heavier camera such as the HVX

Assets

• Oliver’s homemade snorricam

• Free gear from Stuart – HVX200, lights, grip equipment

• Free props from Theatre department

• Free locations on campus

• Oliver and Kevin’s basement – can easy be made pitch black, has overhead beams to possibly hang lights

• 12x12 black to block out large light sources

• Lydia’s car – for transportation of gear and people

Location Notes

I originally wanted a very white, plain room that had walls that could easily be blown out. Several classrooms inBuchanan has large white walls but there were none with 3 plain walls with nothing on them that I would need to create a good effect. Some had one grey brick wall and one white wall which looked interesting but they all had something on them.

Then I noticed how white the bathroom was and liked how one end had a frosted window. The bathroom was also a more 'sketchy' place for this transaction to take place. The absence of a light next to the windowallowed me to place the assassin in a darker space than the main character.

Creative Approach

• Basement stairs - The shot coming down the stairs should perfectly silhouette thecharacter. Light should spill down the stairs, just catching the edgeof each one.

Creative Approach

• Basement Table - The shots at the table should be super spotted. There should not be any detail of the basement visible. Dolly ins can be used to establish the shot then move in to the character's head. Framing the face in the angle the open briefcase makes can be used to hide what is inside. An over the shoulder shot can be used to reveal its contents.

Creative Approach

• Snorricam - The snorricam sequence should be shot in locations with interestinglighted backdrops, geometrical architecture and alternating light onthe face. An led bank will be used to make the face stand out more to give a more ethereal feel.

Creative Approach

• Bathroom - The bathroom contains two components: the walk in and the conversation.

The walk in should be largely dolly shots. The cubicles across from the door can frame the entrance nicely, especially with dollying in or out. The mirrors can be used for a variety of reflection shots and interact in interesting ways when dollying.

Creative Approach

• Bathroom - The conversation can be used to highlight the nature of each character. The assassin is a dark and violent character and so stands under a flickering light, with the black window behind him. The flickering light does not fall on the main character with a pristine blown out white backdrop (here brightness implies hope that he will finally get what he wants).

Map of locations to take snorricam

Floorplans

j

j

m

a

J

a

b

c

d

Bathroom Basement

Shotlist and Schedule Day 1 (11 Mar)

12:05-

12:30

Walking inJonathanLS3a

11:45Walking inJonathan, dollyMS –

mirror

3b

11:25Walking up to MalcomJonathan, dollyMS –

mirror

3c

11:05Whole sceneJonathan to Malcom, dolly

whip around?

MS -

mirror

3e

10:55Whole sceneBriefcasesCU3h

10:45Opening guts case to endGuts caseCU3i

10:15-Whole sceneMalcomMCU3g

10:00-Showing guts to endJonathan+guts caseCU3j

9:30-Whole sceneJonathanMCU3f

8:00pm-Whole sceneMalcom and Jonathan, dollyLS -LA3d

TimeActionSubjectTypeNo.

Inside

Shotlist and Schedule Day 1 (11 Mar)

2:30-

3:00

LocationsJonathanS/C2i

1:50-LocationsMalcomS/C2g

1:45-In front of BuchD (light in

bathroom)MalcomLS2f

1:35-Entering BuchDJonathanMS2h

1:25-Entering BuchDMalcomMS2e

1:15-Getting out of carMalcomS/C2d

1:05-Getting out of car MalcomLS2c

12:50-Through windshield sitting in

car w briefcase and getting outMalcomMCU2b

12:40-Clicking shutBriefcaseXCU2a

TimeActionSubjectTypeNo.

Outside

Shotlist and Schedule Day 2 (12 Mar)

Basement

3:00-3:30Coming down stairsJonathanLS1a

2:20-Whole sceneBriefcase, JonathanOTS4c

1:30-Whole sceneBriefcase, JonathanOTS1c

12:50-Whole sceneJonathan, briefcaseMCU4d

12:30-Whole sceneJonathan, briefcaseMCU1d

12:00-Whole sceneJonathan – dolly inMS4b

11:00am-Whole sceneJonathan – dolly inMS1b

TimeActionSubjectTypeNo.

Equipment List

• DV track

• 8x sandbag

• 5x AC

• 2x auto poles

• grip package of clamps etc

• HVX200

• rain cover

• baby legs

• Manfrotto tripod

• 1K mickey mole

• 1K solarspot

• 2x 200 Midget fresnel

• 2x kindo flo 400 diva

• LED bank

• 4x c-stand

• single net

• solid flag

• 2x silk

• 12x12 solid

• boom

• shotgun mic

• recorder

Crew List

• Chris Gilling – Director/DP

• Lydia Strojan – AD

• Nate Wendel – Sound Operator

• Kevin Doherty – Gaffer

• Tim Fernandez – Grip

Conclusions

• Scene 1 - During the first scene I felt I made a few directing mistakes. The pacing of the scene is too fast and difficult to slow down in editing. Some dolly shots do not cut too well with the more still shots; some stationary camera angles would have helped. Coverage is sparse but Idon't feel as though it needed more.

Conclusions

• Scene 1 - During the first scene I felt I made a few directing mistakes. The pacing of the scene is too fast and difficult to slow down in editing. Some dolly shots do not cut too well with the more still shots; some stationary camera angles would have helped. Coverage is sparse but Idon't feel as though it needed more.

Conclusions

• Scene 2 - Much of the snorricam footage is in very dark places and the HV30 doesnot seem to handle very well in poor light. On the other hand it looks really great in good light so I should have looked for areas with more contrast as opposed to being just dark. The interresting backdrops did not look as good as I hoped but transitions from bright to dark places did. The HV30 was quite confusing to set up with features such as iris buried in strangely laid out menus.

Conclusions

• Scene 3 - The bathroom shot might have been perfected given more time. The flickering light did not totally match the house lights (salad 4 bank kino) and so was not as convincing as I hoped. Trying different gels might have helped since there is too much warm or unmatched light. Also the conversation shots were somewhat uninteresting. There is a large visual jump when the black behind the assassin cuts into the white behind the main character, which I like but I wish had been bolder. I think color correction will work wonders on the bathroom shot, as with many others. There were no outlets in the bathroom and so much AC was needed to bring it in from adjacent rooms - as you can tell in one of the shots.

Conclusions

• Scene 4 – Very similar to scene one as they were shot at the same time. The guts were not as distinctive as I had hoped - please refer to Pat's project for some serious guts. Please note that guts are not "my thing“, that was just a coincidence. The puke was also way to green which the camera seemed to highlight. A dolly was really useful in feeling out the scene and making moves based on the acting. The spotlight and 12x12 behind worked well in creating an ultra low key effect.

Conclusions

• Transportation - Transport arrangements were much more complicated that I anticipated. My original plans fell through since Lydia's car could only hold 2passengers when the equipment was in so more trips were needed.

Conclusions

• Summary - I think overall, more experience or more time is the key to figuring out how to do more 'normal' scenes such as the bathroom one. My simplest setups were the best (eg. one fresnel in the basement) but cannot be used all the time. I also did not heed what I learned from the first class and did not bring a larger monitor (which may have been why I overlooked cables in shot). Kevin also had some good ideas for setting up of equipment and consolidation of shots when I was running behind and suggested some interesting mirror angles. Everyone working on it was really helpful in coming up with practical and creative ideas.