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October 26th, 2005

Oct. 26th, 2005

Second night of shooting at Valentino's. Go-go-go all the way through, as was expected and pretty much needed. Exhausting, and my brain is pretty much unable to process whether it looks good or not-- I just have to trust my instincts.
Lots of color. Intertesting shadows and shapes.

Thinking about what it would be like to do this for a living. There is an exhaustion point at which I have lost all objectivity, and I think I've passed that point. Normally I would stop and rest, but we've limited accessibility to the location.

Sleep now.
Awake, for no good reason.

Not entirely true. Somebody that I care about is in pain. I don't know who, but I can feel it, and there's nothing I can do.

Sometimes empathy sucks.

Oct. 26th, 2005

Call for vampire extras



Yes, we need some "featured extras" to be gothy vampires at a dance club tonight and tomorrow from 7:00-11:00. These roles are fairly physical, as you will be called on to do some choreographed fight scenes (short and easy, but they do require movement).

Please contact me via e-mail at [magicmarmotstudios(at)yahoo(dot)com].
Wow-- busy morning.

I lost my nifty multitool. I think it fell out of my coat pocket at the club last night, which means there is a small chance it will still be there.

My brain feels like it's full, but when I think about what to write down, there's nothing really there.

Kind of a neat moment last night. Trees was giving me a back rub, and I was looking at the club, thinking "wow, this lighting looks pretty cool" when I suddenly realized that I did that-- it was my lighting that looked cool. Just a happy moment sucked from the turbo intake of exhaustion.

More production stills from last night. Some of these I hadn't even seen, since I was setting up lighting while Tony was shooting the exterior shots. Yes indeed, those exteriors were shot completely without additional lighting, just what was on the street.

If you listen closely, you can hear my sphincter tightening. Though you really should move your ear away from my ass.

Tony was okay with how it looked, and he's the important one. And there is certainly some amount of post-processing I can do to make it more visible in the end. And it's a lot about the time pressure here, so the things that we can do to overlap are good.

When we got inside, I was pretty much constantly moving lights to try and get enough light on Sasha & Kristi without lighting up the interior of the space too much. There were times that Tony had already started shooting while I was still setting lights, and my adrenaline was pretty much at peak all night.

Tonight I think we're wound even tighter. Eep.
I just decided to stop what I was doing and try to be still for 30 seconds.

I couldn't do it. I'm wound up tighter than Oprah's thong.

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