Digital Filmmaking - Week 11
21/09/2019
I heard from the actor yesterday that I had also contacted yesterday by email, but he is unable to act in my short film or my VFX short film. So as a result, I will have take desperate measure and email Kathryn to send a message in the global distribution server. I won't send the email until Monday because she is more likely going to receive it in a weekday.
I did some testing yesterday with handling the equipment in advance of the screen arts shoot
Osmo
It was tricky thing since it's been months since I used this thing. The strange thing was that the focal lenses looked more intimate than last time I used. I reckon the focal lens has been changed since, there were other focal lens for this gimbal in the Osmo's case, but I hadn't change lenses on this type of camera before and I didn't want to take any chances.
The 45 mm lens on the Osmo will make it difficult to do shots for this shoot that I had in mind with using the Osmo.
X200
I tried to attach the shotgun mic to the attachment on the camera, but it couldn't keep itself stationary or stay in a position I wanted it too. So it looks like the shotgun mic will be put on a boompole for this shoot. I panicked for a brief moment because I couldn't find the camera batteries, but then I remember Chris had put in the sound kit.
When I turned on the camera, it was very dark even with the lens cap off. I eventually found out it was dark because of the ND filter, which I ended up changing to see.
I informed a first year animation student who is usually in the Cell classroom that I will be filming stuff for this paper this afternoon. I have also put together a simple sign to have outside the classroom to tell them that filming is in progress.
https://www.youtube.com/watch?v=Kv5hro0CS_c
Preparing Osmo Pro
I tried to find tutorials on the Osmo Pro to find out to properly change lenses, but could only find how to place a lens onto that type of camera, bot how to remove a lens from an Osmo. But I did find out and remind myself in a tutorial how to rig up your phone onto the camera. Going through the settings made me find settings I didn't know existed on the Osmo Pro like resolution (it can go up to 4K!), the framerate, and you can even adjust the colour balance!
I feel proud of myself using the Osmo Pro because asides from the lenses, I now feel that I know my way around this type of camera just as much as the Blackmagic cameras.
23/09/2019
I talked with people in my course and they said the Osmo footage could imported from its Micro SD card. I had considered, but there was no card reader for it so I assummed it wasn't an option. Oisin lended me a card reader for Micro SD and the footage didn't come out corrupted and came out fine.
I had a discussion with Luqman he has asked to for me to film the entire weekend of October 4-6 because he wants to delay the filming of his own short film. I agreed to that, but I will to inform the actor that I have already cast for my short film, Sophie Worner. I could send an email to Chloe Tapp, but she still hasn't directly responded to my previous email.
Actors needed
I had a chat with Patrick about finding an actor for my short film since I have run out people to contact. He told me contact Ben Wilmot and Steve Woller, whom would be interested in acting, but we'll just see if they end up being available.
Response from Steve Woller
He replied back, but thought it was too short notice and he is busy during that weekend. He cannot be involved as a result.
Equipment
I was concerned I had overdone it with booking a editing suite for nearly a month because of the one week issue rule. But he will allow me to have the editing suite booked under my name until then, unless it's urgently needed.
Result-based direction
Patrick explained to us result-based direction, which means when you direct people on-set, you use simple and vague words that could mean anything to direct your actor's emotions like 'be happy', 'be sad', or 'be sexy'. One potential real life example would George Lucas when he was directing Star Wars: A New Hope, which he always told his actors 'be faster and more intense'. Result-based direction you should avoid like the plague and a better way would be to use more descriptive words. We were provided with a list of verbs that would be more applicable in directing emotions in your cast
Josh Clive
Ash reminded me to contact Josh Clive to include in the film crew for my short film. Ash had talked with Josh over the weekend and he was very keen to help on my projects.
I'm thinking about having him on as gaffer. Patrick had informed me that Josh is also good at acting, so I might have him on as my actor for my VFX shoot.
Suggestion about actors and costumes
Patrick suggested to see if it's possible for my actors to have clothes that the script demands and to have a rehearsal with them, even if it's individually.
Drafting a shooting schedule
I drafted a shooting schedule, but got myself into a pickle because it looks like I would only have time to film 12 scenes, which is barely half of the number of scenes that are needed to be filmed. I needed to draft a shooting schedule because I needed to send emails to locations providers (e.g. Invercargill City Council, SIT Facilities, Number 10 etc) and they're going to need times and dates.
I told Patrick and he suggested for me to brainstorm a different drama scene that would lead the protagonist to the 'Dark Night' scene, rather than a street scene that involves somewhat risky stunts and health and safety concerns.
I can't imagine that it will help the shooting schedule or can I imagine myself coming up with a different scene since I tried last semester and had a creative block over it.
Scenes 1, 2, 3, 4, 8, 10, 11, 19, 21, 23, 25 (1/2), 26,
Patrick had informed me that I cannot use the Blackmagic cameras as much as I would had liked to for my short film since it's essentially required more for the first years than second years. It was included in the course descriptor, but this year is different because there are more first year film students than usual.
Patrick will be taking away one of my Blackmagic booking for this weekend (BSA227 VFX shoot) and both Blackmagic bookings for the following weekend (BSA231 short film). He has also advised me that I do need someone else to be my DOP and that person will have to book out an F3 and the lenses required.
Patrick inquired to me on why I needed the Osmo because his first year film student needed it. I couldn't give him a reason.
Myself and many other film students received an email from Chris on a new rule of not issuing out multiple camera because of the demand of cameras from every year level studying film at SIT, as well as the logic that in the real world, it wouldn't be feasible if we rented the equipment out.
I have gone through my list of film crew to see if there is anyone committed to being my film crew who could be my DOP. I have decided on Luqman, but I just need to ask him if he is fine with being my DOP and hiring out the F3 and necessary lenses from Chris.
I had thinking in the back of my mind about an alternative scene for the street scene that requires stunts, but I cannot think of one. It seems fixed on that. With this in mind, I couldn't email Nathan Gills or any of the location providers concerning the shoot this week because of this setback and due to being stuck on how to get everything shot within three days in the form of a shooting schedule draft.
I have managed to get an audio production student to do sound on my BSA227 VFX shoot and so I may ask him if he is available the following weekend to do sound for my BSA231 short film
I took part in the Climate Strike protest held in Invercargill and it has inspired to consider for my solo project to be on a documentary about the climate change movement. It made me wish that I documented it on camera. However, there will be another climate action protest in the future, so I may do that then.
I was concerned I had overdone it with booking a editing suite for nearly a month because of the one week issue rule. But he will allow me to have the editing suite booked under my name until then, unless it's urgently needed.
Result-based direction
Patrick explained to us result-based direction, which means when you direct people on-set, you use simple and vague words that could mean anything to direct your actor's emotions like 'be happy', 'be sad', or 'be sexy'. One potential real life example would George Lucas when he was directing Star Wars: A New Hope, which he always told his actors 'be faster and more intense'. Result-based direction you should avoid like the plague and a better way would be to use more descriptive words. We were provided with a list of verbs that would be more applicable in directing emotions in your cast
Josh Clive
Ash reminded me to contact Josh Clive to include in the film crew for my short film. Ash had talked with Josh over the weekend and he was very keen to help on my projects.
I'm thinking about having him on as gaffer. Patrick had informed me that Josh is also good at acting, so I might have him on as my actor for my VFX shoot.
Suggestion about actors and costumes
Patrick suggested to see if it's possible for my actors to have clothes that the script demands and to have a rehearsal with them, even if it's individually.
Drafting a shooting schedule
I drafted a shooting schedule, but got myself into a pickle because it looks like I would only have time to film 12 scenes, which is barely half of the number of scenes that are needed to be filmed. I needed to draft a shooting schedule because I needed to send emails to locations providers (e.g. Invercargill City Council, SIT Facilities, Number 10 etc) and they're going to need times and dates.
I told Patrick and he suggested for me to brainstorm a different drama scene that would lead the protagonist to the 'Dark Night' scene, rather than a street scene that involves somewhat risky stunts and health and safety concerns.
I can't imagine that it will help the shooting schedule or can I imagine myself coming up with a different scene since I tried last semester and had a creative block over it.
Scenes 1, 2, 3, 4, 8, 10, 11, 19, 21, 23, 25 (1/2), 26,
25/09/2019
Patrick had informed me that I cannot use the Blackmagic cameras as much as I would had liked to for my short film since it's essentially required more for the first years than second years. It was included in the course descriptor, but this year is different because there are more first year film students than usual.
Patrick will be taking away one of my Blackmagic booking for this weekend (BSA227 VFX shoot) and both Blackmagic bookings for the following weekend (BSA231 short film). He has also advised me that I do need someone else to be my DOP and that person will have to book out an F3 and the lenses required.
26/09/2019
Patrick inquired to me on why I needed the Osmo because his first year film student needed it. I couldn't give him a reason.
Myself and many other film students received an email from Chris on a new rule of not issuing out multiple camera because of the demand of cameras from every year level studying film at SIT, as well as the logic that in the real world, it wouldn't be feasible if we rented the equipment out.
I have gone through my list of film crew to see if there is anyone committed to being my film crew who could be my DOP. I have decided on Luqman, but I just need to ask him if he is fine with being my DOP and hiring out the F3 and necessary lenses from Chris.
27/09/2019
I had thinking in the back of my mind about an alternative scene for the street scene that requires stunts, but I cannot think of one. It seems fixed on that. With this in mind, I couldn't email Nathan Gills or any of the location providers concerning the shoot this week because of this setback and due to being stuck on how to get everything shot within three days in the form of a shooting schedule draft.
I have managed to get an audio production student to do sound on my BSA227 VFX shoot and so I may ask him if he is available the following weekend to do sound for my BSA231 short film
I took part in the Climate Strike protest held in Invercargill and it has inspired to consider for my solo project to be on a documentary about the climate change movement. It made me wish that I documented it on camera. However, there will be another climate action protest in the future, so I may do that then.
I have emailed Kathryn to request a casting call for the main character of my short film to be put on the global distribution network like she proposed to me at the end of last term.
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