Tom Ramcigam (magicmarmot) wrote,
Tom Ramcigam

Tonight is back on the filmmaking bandwagon, on location at the House of Nigh-Unto-Pornographic Hedonism out in the boonies.

Tonight we shoot:

1)  Pick-ups from scene 36 that were missed. (indoors)

2)  LUCRETIA's first entry into SAVEAU's office.  (outdoors to indoors)

3)  The fight with Cassie and Syeira.  (outdoors)

4)  The bedroom assault. (indoors)

5)  Establishing shots of SAVEAU's house.  (also outdoors)

It's going to be a long night. That's five scenes, probably 30 setups. And a couple of these I have no clue how I'm going to light.

The pick-ups are relatively easy. I know how I'm going to light those, as I'll just duplicate the lighting that we used before. It's the outdoor stuff that I'm having some difficulty with.

The entry of Lucretia into Saveau's office is a steadycam shot that moves from outdoors to indoors. I only have one light that's big enough to light up all of the outdoors, and I'd really like to use it with the big-ass butterfly so I get a nice soft "outside" light. Unfortunately, both that light and the Butterfly are at Tony's (we were supposed to use the light to shoot last night but it was canceled due to the storm), and I don't know if they can fit the 10-foot diffuser frame pipes in their vehicle. I could drive there, then drive to the House of Nigh-Unto-Pornographic Hedonism, but that's about an hour on the road.

I suppose I could stop at 'Nards or Home Despot and pick up conduit and pull corners. That way I can just have Tony bring the diffuser cloth.

There's also the saturated-blue problem. The camera doesn't handle the saturated blue well, so there needs to be some additional light thrown in. Part of the problem is that the way the shot is framed, I don't have a clear lighting path. The camera is mobile and does a 180-degree turn going from outside to inside. I might be able to hide a china ball slightly overhead of the camera, but it's dicey.

The fight scene will probably end up a lot like the last one we shot, floating a china ball on a boom pole and chasing the camera. I'd really rather do something different, but I don't know if there will be time.

The bedroom assault is tricky. It needs to capture a specific mood (or more precisely, a combination of moods), and it's a key scene. It's also a rather highly emotionally charged scene for the actors involved. I need to both light it in a way that captures the mood(s), and keep it out of the way enough to let the actors have their freedom to perform.

It's going to be a long night.
Tags: filmmaking, prey

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