Lighting Plans – Prime Studios & 44 Cliff Mount

07/04/16


Prime Studios: Lighting Plan (44 Cliff Mount: Back-up Location)

This is the lighting plan I’ve put together for prime studios and also my student house in the basement, this is because there is a possibility that I can shoot here on 11/04/16. I would like to use this lighting plan as I have more space in prime studios to put together the interrogation scene.

The lighting plan has one key light which is the spotlight, this will light Aaron (the character that’s been captured) it will also light the table enough for the camera to see the distinguished hand gestures by Butch.

I also plan to have a dedolight set to LED daylight as a practical at the side of the room standing as a security light, this is so that I can get a distinctive 2:1 contrast ration on Aaron’s face. The reason I would like to do this is for my own personal look to the scene, by lighting Aaron from both sides it shows a 50% contrast for tungsten and daylight, this is how I would like him to be seen.

A back light will be put in place so that Butch is silhouetted.

Lighting plan (Prime)

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Sound/Foley List

06/04/16


Below is my foley list which is highlighted on my script, this is pre-productive plan I’ve taken forward so then I know whether or not I will need sound when I’m filming the following shots, or whether this can be done at a later time or even during post-production in the sound booths.

Key:

  • Yellow: This is what I can record at a later time on the day of filming or sounds that I can leave for post-production.
  • Blue: This is what’s essential to get on the day of filming.

Bad MannersBad Manners foley 1Bad Manners foley 2Bad Manners foley 3

44 Cliff Mount – Recce

31/03/16

This is the address for my house and I plan to film here if it isn’t possible to film at prime studios. I have booked kit from FTU for 11/04/16 – 12/04/16 and this is primarily for my experimental film, however, we are going to try and get that project filmed in 1 day. Once this is done and if we have time, I’m going to shoot the interrogation scene at prime studios. If this isn’t possible I have a back up location which is at my house in the basement, there isn’t a lot of room in my basement but it will still be feasible.

This is the recce for the location:

 

Granary Wharf & Becketts Bank – Recce

30/03/16


Granary Wharf, Leeds City Centre

This is the first location that I wish to film at, the motivation behind wanting to film here is because it’s dark, hidden, underground and underneath a railway bridge, this is the perfect location for setting the scene in the beginning of my film.

I’d say that the lighting is at an average level to what I would hope to have at this location. The alley is lit by 12 security lights down either side and they are a little too bright for my liking. If I was to use this location with a budget and further permission to close it off and alter the lights, I would take 6 down off either side and attach some diffusion to the remaining 6 that I leave up to light the set.

These are the images from the recce:

Becketts Bank Wetherspoons Pub, Park Row, Leeds City Centre

I plan to shoot at Becketts Bank on the same night as I’m working on a tight schedule. Myself and Juri will line the kegs up side by side like they are in the photograph below, I’m going to do this to help set the scene and also to make the environment seem tight, congested and claustrophobic so that I engage the audience making them feel as though they’re also there.

As Butch walks through down the narrow corridor of kegs he then slams a cellar door open with his foot. I plan to film this so that the door slams back in front of the camera and then I can possibly use this in the edit as a transition or a distinctive cut.

I’m not going to use any lighting in Becketts Bank, because the lighting is already efficiently lit to my wants and needs with their security lights and it seems to shine enough light on the kegs. If the lights seems to bright in contrast to the shadows, I will bring the contrasts down to a more equal level in post-production.

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Final Draft Script

24/03/16


Bad Manners:

The reason I have named my script ‘Bad Manners’ is because the criminal gang who have captured Aaron don’t appreciate bad manners at the table, if you respect them and give them what they want they will in return appreciate you and give you respect.

I decided whilst I was developing ideas for my script that I didn’t want to include dialogue, however, to help the story flow I would need a few lines at the least. I would like to solely focus my script on sound effects to help build tension with also hand gestures and attitudes that are performed.

I am going to resort to using a voiceover to help narrate the story to the audience so they understand what’s happening and why it’s happening. I also previously spoke about a ‘MacGuffin’ in a later post, and this is a technique in film that Alfred Hitchcock famously made as his trademark for building tension in the narrative. I’m going to use the voiceover to establish a MacGuffin in my story by using the term ‘They’, by using this, I will make the audience aware of a dangerous presence and suspicious group, the audience will also see them but they won’t be able to identify them throughout the film, ‘They’ will remain completely anonymous.

 

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On the first page of this script, I have described someone who approaches the table to pull out a chair to seat Butch. I got this influence from a scene in ‘Sicario’:

Sicario (2015)

Dir. Denis Villeneuve

DOP: Roger Deakins

The lighting in this scene is lit strongly with tungsten, and this is a similar approach I would like to undertake for my scene. The character who is approaching the dinner table is lit dangerously low-key with with a high contrast. This is how I would like to view Butch, however, I don’t want him to be seen from above the chest line, I want him to be covered by shadow. When the character with the pistol takes a seat at the table in this Sicario scene, it displays dominance and calmness together by the way Deakins has lit the location, but more importantly the actors performances. The lighting can be perfect in my scene, but I also need the right actor to display a good performance, this scene influences me to write the script in a calm and dominant way and this then helps me to imagine how I want each shot lit.

 

Developing The Narrative

21/03/16


The weapon:

The main element I’m planning to use to drive the narrative in my short film is the interrogation/torture weapon, this will be an object that is shown to the audience from the beginning and then throughout until the end of the film. Whilst researching, I came across a ‘MacGuffin’, this is often an object or device that is placed in the film and used with little or even no narrative explanation. Alfred Hitchcock has been known to famously use a ‘MacGuffin’ in his suspense films in the past, he used these in ‘The 39 Steps’ as “secrets vital to your air defence, and in ‘The Lady Vanishes’ the MacGuffin is a coded message which is embedded in a piece of music.

I plan to use a ‘MacGuffin’ as an essential plot element that catches the audiences attention in my story, it’s going to have more significance to the story than what Alfred Hitchcock’s approach was, however, I’m still going to use this to build suspense but not as secretive as Hitchcock. The audience will be aware of my this type of MacGuffin through sound and set design.

I plan to use a beer keg as the torture weapon in my film, the reason why I have chosen this is because I’ve never seen a keg that has been used in films for torture or interrogation.. The sound of a keg is distinctive because there of it’s material and also from our local communities where there are pubs all around us, it’s a known loud sound that can be acknowledged and I would like to use this sound throughout my film to create tension.

I’m influenced to use a keg as a weapon in my film because I currently work in a pub as a bartender. This pub previously used to be a bank and the staff areas are all underground, the cellar was previously the banks vault and it’s surrounded by plenty of narrow corridors, this layout is how I imagine my film to look, I imagine it to be tight, enclosed and claustrophobic, to make the audience feel as though they’re being trapped in with the victim and the objects used to drive the narrative.

Voiceover:

I am choosing to use a voiceover to narrate my film because I personally enjoy it in films that I watch, I like them to set the scene and describe a character if the visuals don’t particular instigate a certain element. Working with a micro-budget means that this applies to me more as it is feasible, this is because I would like my characters to be convincing and having no budget and certainly no budget for actors means to me that I would get more from my characters if they didn’t have to undertake any dialogue.

By using a voiceover I am looking particularly at Martin Scorsese’s auteur approach. In ‘Wolf of Wall Street’ he uses the narration of Jordan Belfort to emphasise on the fact that he was superior, especially with his way with his words. This is the same in Goodfellas, because the use of the voiceover enhances the audiences personal engagement with the characters, it helps to guide the viewers attention towards the directors perspective of what’s currently happening and how the audience should receive this is by the voiceover itself. Voiceover is often criticised as a lazy use in scriptwriting, however, in Goodfellas I think this element is crucial to the films success with the story and narrative demonstrating power amongst the ganagsters, this is the same style that I would like to undertake when writing my narrative, so then I can engage the audience more.