Ben Ressa A2

Sunday, 1 January 2012

ORGANISING SHOTS FOR CAR SCENE

Before I filmed the car sequence I had to plan the shots. This sequence was particularly difficult, because the actor (George) cannot actually drive, and also I needed it to be raining. To solve this issue I had to split the sequence to 2 separate shots. We filmed the car driving along the roads, where I had to drive it along the different locations. I rang up George to let him known when I was coming, so he could get ready to film the car coming past. We had the issue of 'L' plates being on the car, so I had to place them at a different side of the car depending on what side the camera would be filming. After we filmed the footage of the car on the roads, I parked the car in my driveway, where I set up a sprinkler on top of the car, to give the illusion of rain hitting the windscreen. I also had my mum rotating a halogen light to the side of the car, to give the appearance of the car travelling past street lighting.

Above is a digram of the street and where we set up the camera.

In this shot I set up the camera right in front of the car, and then we reversed the car away from the camera. In Adobe Premier I was able to reverse the speed of the shot, so that instead of the car travelling away from the camera, it comes right up close to the camera, and makes a dramatic stop.

These are the shots taken in my drive where we had a sprinkler on top of the car. There is a light that was set up in front of the scene to create enough light to film the sequence, and then there is a light to the side which was able to rotate to look like street lights. The camera was set up in various places to look like George was driving.

In this shot the car window was open, and we had a shot where the camera moves from the outside of the car , to the inside. In Adobe After effects we then created a CGI window for the camera to travel through.

Saturday, 31 December 2011

ORGANISING SHOTS AND ANGLES FOR THE STAGE PERFORMANCE WITH CELTX

Before I filmed the stage performance I looked at the shots I had decided on in my story board and shot list, and then I decided to plan these shots on a programme called Celtx. This allowed me to have an overhead diagram of everything I needed in the shots, from actors to props and equipment.

Above is a shot where the dolly is set up behind Travis (the drummer) and the camera will move constantly along the dolly throughout the song creating energetic and exciting shots.

Here the dolly is set up in front of the stage, where it will pan across the stage focusing on Mark and Tom (the singers)

This is a hand held camera shot which will feel a lot more bumpy and therefore capture a rawness and energy in the shots. Also having a hand held camera allows the camera man to move around more freely.