Film-TV 1 – the shoots

‘Super-grouping’ over the weekend, I DP’d both Confessions and and The Other Half. Sharing people and equipment across two productions works really well.

Confessions:

We weren’t able to record when we checked equipment the night before. Then we saw the CF card with ‘FAULTY’ written in large yellow writing on the front. So we panicked for a moment, before contacting everyone we knew looking for a replacement card. Our lighting guy happened to have one he could bring, so we felt much better – until we tested it the next day and found the recording module still refused to record. After taking the camera to Paul (when we were supposed to have started shooting), which he fixed in a matter of minutes, we raced back and I began cutting shots on the fly with Aimee while also shooting and rearranging the rest of the shotlist. This included cutting a whole hour of extra coverage which we scheduled assuming delays would happen.

Despite the issues, the shoot went well, and we had all the necessary coverage by the end of the day. We all managed to stay focused on our roles, and even after losing so much time and having to replace an actor playing a minor role on the day, everything went smoothly, and we finished on time.

 

The Other Half:

This film was more stylised in its lighting, and was a lot more fun to shoot. Making hard lights subtle is hard, and even using Dedos the effect wasn’t quite right. However, my improvised set-up on the last shots near the wall looked much nicer, the softer light from the reflector creating the same contrast while looking more naturalistic, and it was great to learn how to do that. Not white balancing upstairs and adding blue gels created a cool look Robert was very happy with. With the Z7s, it seems pushing the colour into the direction you want with the white balance is a much better method than remaining neutral and relying on the grade.

The dolly shots were plentiful, but with the extra hands, we were able to pull them off within a reasonable time frame. Having Simon Toppin focus pull using the basic tape marking Robin demonstrated during the lecture worked flawlessly. The dolly was moved up and down stairs by the extra hands we had while we shot static shots, freeing up a lot more time. I’ve learnt efficient scheduling is key, especially in a one day shoot such as this.

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21 thoughts on “Film-TV 1 – the shoots

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