So, here we are: The first shot. And, true to form, I didn't pick an easy one.
The very first shot of the film after the opening credits will be a slow zoom up the skyscraper. That shot will dissolve into another slow zoom up to the window of the Office. That's the shot we're working on today.
Originally, I thought we might be able to pull this off with stop motion. I even created a dolly platform to measure out each shot as the camera moved forward. This didn't turn out so well, however, and I decided to go with straight video.
This would involve mounting the camera and rig on wheels and slowly moving in to the Governor. At the same time, the elevator doors would open behind him. The gears I had previously shown didn't work too smoothly, so I had to redo this setup so that it worked at the push of a button (or rather, a LEGO axle).
After a number of tries and a rearranging of lights, I finally got my shot. I haven't the video to show you, but enjoy these behind-the-scenes shots of the set.
The title of this week's update has two meanings. First off, I am going to depart my rigid weekly schedule of postings. Things get bust and sometimes I don't have the time to make a Saturday update every week, so I'll instead be posting whenever I have something to post (whatever that might be). Rest assured, the next post really will be the First Shot.
The second is a discovery I made just last night. I had just done some test shots and processed them in Power Director with some unsatisfactory results. Whenever I converted the video to Black and White by lowering the color saturation, the video turned splotchy and wholly unacceptable. Then I started playing around with the camera and found, lo and behold, an option to shoot in Black and White. I'm pretty sure I had already checked before for this option and didn't find it. For whatever reason, it was easier to find this time around.
So, things are looking up. Stay tuned for info on the First Shot any day now... except Saturday.
This month, we once again return to the realm of David Mamet. What I have stated previously about Mamet remains true: Mamet dialogue is not natural dialogue. It may be catchy and it may be memorable, but it is not what I would call natural.
The degree of how his style makes an imprint on a script varies from film to film. Back in 2007, I highlighted the film Heist for February's DelroyLindo quote. Of that film, I only have good memories of an exciting and clever crime film. And as evidenced by the use of the film for Delroy, it had it's share of great dialogue too.
But then there are films like Redbelt, where the style goes to ridiculous levels and impedes any enjoyment of the film itself. Now normally, these monthly posts are to highlight a great line of dialogue by the actor chosen for the given year. In Ejiofor's case, who stars in the film, I'm sure he's given some great lines. I wouldn't know as I stopped watching 20 minutes in.
So instead of showcasing a great line, I'm going to show how Mamet's style can border on the ridiculous. First, let me present a skit from the MST3K episode "Prince of Space" that will put a smile on any science fiction fan's face.
Clever, huh? I can't imagine what a pain in the ass it was to write that scene. Now let's look at an early dialogue scene fromRedbelt between Mike (Ejiofor) and Gini (played by Cathy Cahlin Ryan):
Gini: "Joe still inside?"
Mike: "No, he just left." Gini: "Left?"
Mike: "Yeah, maybe he went to the club."
Gini: "What happened to the window?" Mike: "Isn't he on at the club?"
Gini: "Um, that's funny."
Mike: "Weren't you going to the mountains?"
Gini: "Why would he go to the club?"
Mike: "Isn't he working tonight?" Gini: "The club? No. No, no, no. He hasn't worked at the club in months. Listen, uh, I have to tell him something. Okay? Tell him."
Mike: "Why?"
Gini: "Why what?"
Mike: "Why hasn't he been working there?"
Gini: "Yeah, I know. Listen, I gotta get home."
Ack! Unfortunately for Mamet, he can't blame such conversations as this on Time/Space distortions. Too bad. It would have made for a more interesting film.
That is two bad Ejiofor films in a row. For July, I promise a good one. Until then.
Storyboarding is a lot of fun. While creating them, I think back to watching "Making of" specials when I was kid showing Spielberg and Lucas doing the same for their films.
Instead of the random-sheets-of-loose-paper method I've used in the past, I got a mini notebook earlier this year for the sole purpose of the storyboard.
And here, dear reader, is a sneak peak at the first several pages:
Some explanations are needed here. The first page of the book (not shown) is a key that shows the layout of the first scene location (The Office) and creates a notation system in regards to the camera. There are letters for the four walls that indicate which wall will need to be removed for this particular shot (thus the minus sign in front of the letter). The first shot has the office enclosed, but the remaining either involve the Front wall removed or the Back wall removed. I also have notations as to if the camera is still (Full stop) or moving (In motion), and the further notations if the shot will be Stop motion or Video. Finally, I have the beginnings of lines from the script to indicate where the shot is in terms of the dialogue.
Sorry, folks. That's all the movie magic I have time for tonight. It's time to turn in and get some sleep before we start toilet training little C.C. tomorrow morning (Ah, the joys of parenthood). G'night!
The camera I'm using for this project is the same one I used for the other three: A Canon Powershot A570. It has a video option, which will come in handy. Though, as I have already implied, I'm going to try and rely less on video this time out.
When I did the first short, I knew I was going to need a rig to keep the camera steady. It seemed natural to create one out of LEGO that could, if need be, actually attach to the LEGO floor for some shots. Though the rig went through several redesigns in the four years I created it, it's more or less the same basic design:
Nothing fancy here. The key part to the rig is the Technic Engine Cylinder, and the reason it is key is the hole in the middle where a Technic piston would normally go. In this case, it proved the perfect size for the screw I found that matched the threads in the tripod mount at the bottom of the camera. The Technic Engine Cylinder on the other side simply serves to balance the rig out. Matched with some pins and blocks, the rig worked perfectly.
It was a fine build, but it didn't solve problems I needed with higher angle shots. Fortunately, Mrs. Mosley purchased a new digital camera several years ago and it came with a mini tripod, which I will be borrowing for the project.
There is one more piece of equipment to show (and one of which I am quite proud of), but I am going to save that for the post on the first shot two weeks from now. Until then...
