Tuesday, April 04, 2006

April 3rd - Studio Shoot - "Solid"

The shoot was wonderful! I left work at 11am, stopped into that unmentionable corporate retail disease from Bentonville, Arkansas and there I bought paper for a scene that would be captured later in the day. Onward, I drove into Tulsa, stopping at Tally's Cafe for a bite to eat.

At 1pm, I am driving into the TPS parking lot where I call my good friend and colleague, Derick Snow. I arrive before Bret, and Derick and I begin shooting scenes for his first character, "Being". We play with light and some slight variations of the theme, and when we are done, we have finally finished the black background scenes for "Being". We had tried, twice now, to shoot these scenes, only to be interrupted by lack of film or by other considerations such as time. When we were on location at Red Rock Canyon State Park, we went ahead and shot the same scenes at the location. This gave us extra footage and more options than we would normally have.

Once we completed Derick's scenes, we moved on to another scene - the end of the "Identity" chapter. This was an interesting and challenging shoot. The idea was for me to rush into a scene, stop and turn suddenly where hundreds of sheets of paper would hit me all at once. Easy in theory, however, we were rather amused at our first two efforts: a small bundle of paper that dispersed before it even reached me, and the second try resulted in me being pelted by a sizeable brick of paper that did not disperse at all! The final solution was the brainchild of Mr. Derick Snow; he divided the mass into smaller groupings and placed them in between all of his fingers. With both hands full, he delivered them with an underhanded technique, and the paper was released in much the same manner as a shotgun blast. Two takes were taken and the scene is now complete!

Bret arrived and we were able to shoot a minute amount of footage as Derick made his leave and we awaited Conan's arrival. After hearing from Conan and Bret's growling stomach, he [Bret] left to acquire food and to pick up Conan. We engaged the black background scenes for "Awakening". The scenes went well, although Conan' admitted lack of emotion proved challenging. The composite shot where I am startled by the appearance of Awakening's giant, approaching head was achieved with us drawing the blue studio curtain into place, shooting my footage, and then replacing the blue curtain for black once more and shooting Conan, with a torso masked by a black t-shirt, and using a pan/zoom technique.

We opted against shooting the scene requiring me crouched on the floor; the studio floor was carpet and I would rather shoot on the Nightingale's floor. And the scene with the projector would be better suited for the Nightingale, with fog added for effect.


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