Sunday: A Day Off (Sort of)…and Some Quiet Time With the Script

7:00 PM

I got in a good 5 hours this AM with no phone calls, no emails, no interruptions — and was able to put it toward developing the shooting plan for some of the key scenes. I started with the open water scenes and did a narrative shooting plan and some sketches. These will be examined by the others in the production, and with their help troubleshooting we will refine them into a final plan. Here is a sample from one scene: I got about 10 scenes done today:

SC 3
SYNOPSIS: Craig and Gwynn arrive, talk, watch Delphinus leave.

OVERVIEW
We start with A CAM on the Diving Platform (where it was at conclusion of scene 2 previous)
We start with Dolphins on hand, continuing from scene 2, so we have to shoot out the dolphin portions first
Later, after the dolphins leave, A CAM moves to Delphinus for additional coverage w/o dolphins.

Note: To avoid wasting time with the dolphins in the water (and they will be here in continuation from scene 2), our initial coverage of this scene will pickup from the point where Gwen and Craig are already stationary on their jet skis, and will end before Daniel fires up the engine and the Delphinus begins to move. So we will skip the arrivals and departures and do them separately, at the end, after the dolphins are gone. Also, for the same reason we will start this scene with both cameras in same position they were at the end of Scene 2 — i.e. CAM A is on the diving platform, and CAM B is in the water.

SETUP 1
W/DOLPHINS
A CAM ON DIVING PLATFORM
B CAM IN WATER
SEE SKETCH ENTITLED: SCENE THREE, SETUP 1

1A) A CAM: Wide Classic Master on Craig/Gwen from high enough angle that it could be POV from deck of Delphinus — wide enough to show Craig/Gwynn and Rasca in the same shot.
1B) B CAM: Grab dolphin pieces as possible, taking care to stay out of A CAM’s shot, which is pretty wide. Might get some underwater shots wide enough to show the two jetskis from below, and Rasca in the water around them.

2A) A CAM: (LENS CHANGE; SAME POSITION AS 1A) Lively master, tighter, panning from Craig to Alyssa
2B) B CAM: In water, can be closer, trying to get Rasca and Craig/Gwen in same shot. We’ll take whatever pieces we can get that tie them together.

SETUP 2
W/DOLPHINS
SHOOTING END OF SCENE ONLY (from point where Daniel fires up the engine

SETUP 3
W/DOLPHINS
5A: A CAM: From Delphinus, closer shots of Rasca

WITHOUT DOLPHINS
ARRIVAL/DEPARTURE MASTER
SETUP 4
1A) A CAM: From Platform: Clean classic master on Craig/Gwynn from Delphinus, mainly for the beginning and end of the scene. We need to get the jets skis approaching, stopping, and beginning of dialogue; then we need the end, a two shot of Craig and Gwenn watching the Delphinus and Rasca disappear. If we can get all the dialogue too, that’s great – but not essential and becaue of jet-ski maneuverability issues, it will be necessary to shoot the “dialogue master” separately, without showing the arrival, so we can implement procedures to keep the jet skis stable during the dialogue.

1B) B CAM: From water, catching 2 shot master of same action. This would be Rasca’s POV of the arrival; at the end it would just be another angle of Craig/Gwynn watching, since Rasca is no longer there. During this take, B CAM can also free lance some underwater shots of the jet skis arriving and, while talking is going on, maneuverng in the water as seen from below – presumably as seen by Rasca from Rasca POV.

SETUP 5
W/O DOLPHINS
A CAM ON DELPHINUS
B CAM IN WATER

DIALOGUE MASTER
Note: This setup starts with Craig and Gwynn on their jetskis after having arived. This is so that we can implement procedures to keep the jet skis as stable as posslbe during the dialogue, with the engines off for sound purposes. There may be some special rigging to keep them close together and pointed in the right direction.

2A) A CAM: From Delphinus, 2 Shot of Craig/Gwynn
2B) B CAM: From water, lively master panning from Gwynn to Craig and back, simulating Rasca’s POV

SETUP 6
W/O DOLPHINS
A CAM ON DELPHINUS
B CAM IN WATER

3A) A CAM: Lively MCU master, panning from Alyssa to Kita to Daniel — try several takes, various combinations.

3B) B CAM: Simulate Rasca POV, swimming around actively while watching Craig/Gwynn from above and below surface, freelance closer shots on each.

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