In our production we have been allocated roles. These roles are; Director, Camera, Lighting and Sound and Production Designer.
Location Reccee
The location reccee is a group of photos that are taken in the location that we will be filming - designed to show exactly what the location is like and what we are going to be dealing with. The benefit of taking photos in this manner is that the Director can get a complete view of each location without the use of a super wide angle lens. This part of the pre production was done by Tim White and myself. Tim was responsible for shooting all the photos and I was responsible for putting them together into what you can see below. The picture reflect what would be seen from a person's view. I added notes next to the pictures which illustrates: Power, permission and lighting. Lighting gives us a quick guide as to all the lights in the specific room/location and what kind of light it is. Power gives us a quick guide as to where the power sources are and how many sockets there are in total and permission means that we need written permission from the owners of the house (my home) and that we will leave everything how it was found.
Note: Looking at the location recce photos, the house has a large amount of halogen spot lights within each of the rooms, creating a rather yellow light giving a warm feeling to the atmosphere. To counteract this affect we will be using blue gels placed in front of the lights to give a more natural lighting effect. We will also have to use the 85 lens which will then warm things back up to the desired level.
This is part of pre Production Designer’s work and was created by Nicola Carlisle.
The link to the information she has written about these designs and boards can be found here: http://nicolacarlisle-a2-ms.blogspot.com/2010/12/post-14-pre-production-documentation.html
The story board was one of our group's most strenuous tasks so far. It required us to spend many hours drawing the scenes and making sure that the picture describes what is happening and what the camera shot would look like. We all found the drawing element very difficult, especially as none of us are art students or keen drawers. I was very pleased that everyone tried their hardest, and collectively we produced a very informative storyboard.
For the scenes to be drawn as accurately and efficiently as possible, we decided to each draw two scenes of the script, piecing it all together afterwards. I ended up drawing the first three scenes, as I was the director and script writer and thus knew how I had imagined them. Ryan who is the lighting director drew the next three, then Tim our camera director drew the three after that and finally Nicola drew the last remaining scenes. When we were putting them all together we noticed that there were two or three drawings that had not been drawn correctly or not even at all. Nicola stepped up and said she would finish the remaining pictures and below is our finished storyboard.
The final Script
This is the final script. After many hours of redrafting and in depth discussion as to what the message of the film should actually be, I came up with this. My teacher, Mrs Shipp, was very happy with this final piece and I then presented it to the group. I got the group to read through the entire script as if we were the characters and we even walked out the movements just to see what it looked like, which would then create a clear image in our heads as to how everything would look.
Note: One difficulty I had when writing the script was getting the information and detail from my head and into the script so that others could understand and see it exactly how I was imagining it. To overcome this problem, I sat down with my teacher, Miss Shipp and she went through and explained to me, exactly how to write the script and in what order to log my thoughts and feelings. This really helped me and I hope this can be seen in my script.
Lighting Plans
The lighting plans turned out very well. Ryan, Tim and myself sat down for many hours drawing out the lighting plans and adding in the camera positions, where the additional lights will be added and where the artificial light sources are, as well as the natural light sources such as windows. We then set about adding in what kind of light we wanted in what scene. For example, I know that at the start of the film, the mood throughout the room will be warmer and therefore there will be no use of any blue gels - the yellow halogen bulbs create a warming, yellow light. Towards scenes 7 and 9 we will be using 1/4 blue gels and by scene 11 we will be using 1/2-3/4 blue gels, which really create a different kind of light and mood. Below is a simple colour chart showing the different light temperatures and colours.
An alternative to the blue gels or to accompany them, a orange filter called the 85 can be placed directly in front of the camera as opposed to covering the lights which will give a warming feeling to the shots. The 85 lens can be used as well as the blue gels which could give the desired effect. Below is a picture of the 85 lens in use.
Below are the lighting plans for the living room:
Lighting in the living room is as described and pictured in post 18 -
It comes in the form of three rows of four halogen spotlights, 12 lights in total. Up until scene 7 these lights will not have any gels added to them or any use of the 58 lens over the camera.
Below are the Lighting Plans for the Office
The Shot List
Tim and myself created this shot list which is used to lay out the location, each scene, each shot and finally a description of the shot, similar to that of the logging sheets which will be done in the near future. It clearly lays out what and how many shots are in each scene and gives the description at the side to match each shot. This will be a crucial document when filming on the day, as constant reference will be made to it. This shot list needs to be as clear and informative as possible.
Costume and Prop List
The costume and prop list was created by Nicola Carlisle as she is the Production designer.
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