Tuesday, May 8, 2012
Audience
The projected audience for this film is a bit difficult to pin down because naturally the Television appeals to everybody regardless to age or race in the varying channels. This film, however is experimental and that we feel draws in film students and enthusiasts. Aside from the film crowd, this film would appeal to adults of all races and age, because each channel has something very different to offer. The experimental sound would probably interest people that enjoy comedy because some of the juxtapositions and voiceover are funny. Limiting this film to comedy would be wrong, however, because this film extends far beyond that. There are aspects of romance, horror, action-packed sports, and even cooking. Overall, we believe that this film encompasses a lot of themes that in their collaboration would be enjoyed by film aficionados as the majority, but it could also be appreciated by a wide range of ages (probably around 16 and older) for the original music and quality and surprises of the images. The fast-paced cutting and elements of surprise add to the film and keeps the audience's attention throughout the films arc. We hope that this wide audience will work to our advantage in programming at festivals and distribution. Hopefully this will be a film that a wide variety of people enjoy watching!
Possible Festivals
Next
Frame (Philadelphia,
Pennsylvania): Small, cheap, and run by students. The festival isn't
exclusively Experimental, but they do accept and screen Experimental
works. The big pro is that they are a touring festival so if your
work gets accepted they screen it in several locations which is great
exposure. They have screened Andre's films before so we know they
take some crazy Experimental films.
Regular Deadline: May
15, $20
Columbus
Int. Film+Video Festival
(Columbus, Ohio): Look for Experimental works, “made
inexpensively by people interested in the unorthodox, the unusual,
and/or the noncommercial.” Works have to be under 10 minutes and
lack distribution. They are also the longest running festival in
America (since 1950) and like digital video, calling themselves
leaders in the digital world. Regular Deadline: July 1, $20
Action/Cut Short
Film Competition (Los Angeles,
California): Accept student works and give industry exposure. They
also promote your material with Internet streaming. Overall it
doesn't seem all that great, but the industry exposure seems
worthwhile.
Regular Deadline: March 15, $40,
Late Deadline: May 15, $50
Independent
Filmmakers Showcase (Los
Angeles, California): Showcase Experimental works as well as offer
grants for Experimental work.
Early Deadline: July 10, $25,
Regular Deadline: October 20, $30
Oxaca Film
Festival (Oaxaca, Mexico) Good
international exposure and still a small festival so acceptance
might not be too hard. They take different types of films including
Experimental.
Late Deadline: May 31, $35
Atlanta Film
Festival (Atlanta, Georgia):
Accept 40 minute or less Experimental shorts and have a discount fee
for students. Wouldn't be a bad drive to make if we wanted to attend.
Early
Deadline: July 6, $15, Regular
Deadline: October 5, $25
Humboldt Film
Festival (Arcata, California):
Oldest student run film festival. Wishes to, “expose independent
filmmaking to a diverse range of viewers, and to break away from
mainstream filmmaking; thus coming forth with a deeper appreciation
for this medium of cinema as a whole.” Experimental short is one of
only a few categories and they've accepted UNCW work before.
Early Deadline: November 1, $15, Regular Deadline: January 3, $25
Praxis
(Goldsboro, North Carolina):
They love UNCW and love to have the filmmakers visit. And you can't
beat free!
Regular Deadline: October 15, $0
Cucalorus
(Wilmington, North Carolina): A
highly respected festival in our town! It's also free to submit for
local filmmakers.
Early Deadline: June 20, $0, Regular
Deadline: July 10, $0
crew bios
Chris Mckee
Chris McKee grew up in Brevard, North Carolina. Being an avid fan of movies his entire life, he grew up making short videos with his friends and family. He enrolled in UNCW’s film studies program because of their emphasis on both the production and academic sides of film.Regarding the production side, he is interested in editing and also has an interest in music scoring. He is currently an editor at Lifestage Films. Currently his favorite film is Thomas Vinterberg’s Festen. His favorite experimental filmmaker is Kenneth Anger.
Lauren Giggard
My name is Lauren Giggard and I was born and raised in Wake Forest, North Carolina. I am now a graduate of the University of North Carolina at Wilmington with a double major in Film Studies and Spanish. I’m a very hard worker, constantly setting goals to push myself. I love volunteering and doing what I can to help others, especially those in need. I love to travel to different countries because the cultures and architecture fascinate me.I was raised around music, and it has always been a huge part of my life. I am always listening to or writing music, there is constantly a song in my head. I love the soulful sound of the electric guitar, and am currently learning how to play. I’m very creative and love to make art. I also love the outdoors and being outside in the sun, especially swimming and going to the beach.
Ben Henson
Ben Henson was born in Boone North Carolina in 1990. He lived in the mountains of North Carolina until graduating high school at which time he decided to attend college at the University of North Carolina-Wilmington. Ben majored in Film Studies with a Minor in Creative Writing and while at UNCW he help found the theatre troupe Pineapple-Shaped Lamps.While in college his time was divided by school, his job, and work with the theatre troupe. Ben's love of Film comes from being an avid movie watcher his entire life and he hopes to one day get work as a Film editor while continuing his pursuits in theatre. Favorite filmmakers include the Coen Brothers, Martin Scorsese, and Quentin Tarantino.
Tuesday, March 6, 2012
Tuesday, February 14, 2012
Going over our budget
Our Budget
5D Mark II camera rental: $158 for a week (borrowlenses.com)
DP Slider: $300 (dpslider.com)
Lens rentals: (borrowlenses.com)
-cannon 10-20: $50 for a week
-cannon 24-70: $49 for a week
-cannon 50: $35 for a week
-cannon 70-200: $37 for a week
Tripod rental: $32 for a week
FCP X: $300
Food- A pizza for every day that we shoot. A 24" pizza from the Wilmington House of Pizza is $11.99. We plan on shooting for 6 days. Our food budget should be $72.
We are planning on putting $150 into a fund for festivals.
The entire cost: $883
Wednesday, February 8, 2012
Chris' devotional cinema response
Nathan Dorsky's Devotional Cinema was an interesting read. My feelings about it are a little mixed. I don't think he ever clearly made his point about what constitutes devotional cinema, though I think I understood what he was getting at. When it comes to movies, there seems to be a special few that really draw me in and capture my imagination completely; movies that at their core mean something while also having no explicit meaning at all. There's something about film; it has this special element that is uniquely its own, that is also very hard to describe.
One example of something that bothered me about Dorsky's writing is his repeated use of the term "nowness," which was how he described the movies that were to be considered devotional cinema. I think I know what he was getting at with "nowness," but he never really defines it. The whole essay, or I guess speech, while inspired and interesting, has the same pitfall as the term "nowness." It's too vague. Though I guess the point of this blog post is not to criticize the essay but to note my thoughts on it and how it inspired me.
Nathan Dorsky is clearly inspired by film. It shines through in his writing, which is in turn inspiring. It got me thinking about the films I've watched that had the "nowness" that Dorsky describes. The first thing that came to my mind was No Country For Old Men. I was totally immersed in that film the first time I saw it. It beautifully balanced meaning with ambiguity in a way that I have rarely seen any other movies do. I thought of Gus Van Sant's Elephant and Bela Tarr's Werkmeister Harmonies. There's just something to those movies and describing that something in words wouldn't do them justice. There's a relatability to great films that other art forms can't replicate. There are small moments in movies that can be incredibly powerful to one person while to another they mean nothing.
It makes me want to be part of making something that will inspire someone just like I was inspired.
One example of something that bothered me about Dorsky's writing is his repeated use of the term "nowness," which was how he described the movies that were to be considered devotional cinema. I think I know what he was getting at with "nowness," but he never really defines it. The whole essay, or I guess speech, while inspired and interesting, has the same pitfall as the term "nowness." It's too vague. Though I guess the point of this blog post is not to criticize the essay but to note my thoughts on it and how it inspired me.
Nathan Dorsky is clearly inspired by film. It shines through in his writing, which is in turn inspiring. It got me thinking about the films I've watched that had the "nowness" that Dorsky describes. The first thing that came to my mind was No Country For Old Men. I was totally immersed in that film the first time I saw it. It beautifully balanced meaning with ambiguity in a way that I have rarely seen any other movies do. I thought of Gus Van Sant's Elephant and Bela Tarr's Werkmeister Harmonies. There's just something to those movies and describing that something in words wouldn't do them justice. There's a relatability to great films that other art forms can't replicate. There are small moments in movies that can be incredibly powerful to one person while to another they mean nothing.
It makes me want to be part of making something that will inspire someone just like I was inspired.
Monday, February 6, 2012
Equipment needs by week
We're getting Ryan Sarfan to shoot our movie on his cannon 5d. We plan on working with him on the weekends of 2/18 and 2/25. For a back up and as a second camera we will check out the T2I on those weekends as well. Ben has his own H4N, so we won't need to check one of those out from the equipment room.
-On Monday 2/13, I will put a request form in for pick up on Wednesday to shoot on the upcoming weekend. It will include a T2I, a boom mic, an xlr , a kino flow light kit, and a tripod.
Ben will supply his H4N and a wheel chair for dollies, and Ryan will bring his 5d.
-We will make the same equipment request form for the following weekend.
After those two weekends we will go over all of our footage and determine whether we feel like we are done shooting or not. If not, we will put in the same request for the following weekends.
In March we will start having weekly rehearsals for writing music. By the end of the month we will start having foley sessions. The first session is scheduled for the week of 3/18. We will need to put in our request for various microphones to check out by 3/13.
We will put in the same request for the following weekend.
-Starting on the weekend of 3/31 we will have our first recording session for the music we have written. We will again need to check out various microphones. We will turn in our equipment request form by 3/27.
We will put in the same request for the following weekend to finish up recording the music.
For the rest of April we will be editing.
-On Monday 2/13, I will put a request form in for pick up on Wednesday to shoot on the upcoming weekend. It will include a T2I, a boom mic, an xlr , a kino flow light kit, and a tripod.
Ben will supply his H4N and a wheel chair for dollies, and Ryan will bring his 5d.
-We will make the same equipment request form for the following weekend.
After those two weekends we will go over all of our footage and determine whether we feel like we are done shooting or not. If not, we will put in the same request for the following weekends.
In March we will start having weekly rehearsals for writing music. By the end of the month we will start having foley sessions. The first session is scheduled for the week of 3/18. We will need to put in our request for various microphones to check out by 3/13.
We will put in the same request for the following weekend.
-Starting on the weekend of 3/31 we will have our first recording session for the music we have written. We will again need to check out various microphones. We will turn in our equipment request form by 3/27.
We will put in the same request for the following weekend to finish up recording the music.
For the rest of April we will be editing.
pre-production/production/post-productin schedule
-By Saturday, 2/11 we will have the first drafts of our segment scripts finished.
-By Wednesday, 2/15 meet again with revised scripts.
-Friday, 2/17- have Final segment scripts done.
-Saturday, 2/18- first day of shooting. Shooting mostly scripted segments.
-Sunday, 2/19- second day of shooting. Shooting B-roll.
-Tuesday, 2/21- screen work for class
-Saturday, 2/25- third day of shooting from 8:00 a.m. to 3:00 p.m.
-Saturday, 3/3- First musical rehearsal/ writing session.
-Wednesday, 3/7- second musical rehearsal/ writing sesh.
-Saturday, 3/10- Final weekend of shooting.
-Week of the 3/11- Spring Break, continue jamming and writing.
-Week of 3/18- Music rehearsal/ begin Foley sessions
-Week of 3/25- Continue Foley Sessions and music rehearsals
-Week of 4/1- First recording session for all the music we have written.
-Week of 4/8- continue recording music, begin editing
-Week of 4/15- editing
-Week of 4/22- editing
-Week of 4/29- editing
-By Wednesday, 2/15 meet again with revised scripts.
-Friday, 2/17- have Final segment scripts done.
-Saturday, 2/18- first day of shooting. Shooting mostly scripted segments.
-Sunday, 2/19- second day of shooting. Shooting B-roll.
-Tuesday, 2/21- screen work for class
-Saturday, 2/25- third day of shooting from 8:00 a.m. to 3:00 p.m.
-Saturday, 3/3- First musical rehearsal/ writing session.
-Wednesday, 3/7- second musical rehearsal/ writing sesh.
-Saturday, 3/10- Final weekend of shooting.
-Week of the 3/11- Spring Break, continue jamming and writing.
-Week of 3/18- Music rehearsal/ begin Foley sessions
-Week of 3/25- Continue Foley Sessions and music rehearsals
-Week of 4/1- First recording session for all the music we have written.
-Week of 4/8- continue recording music, begin editing
-Week of 4/15- editing
-Week of 4/22- editing
-Week of 4/29- editing
Wednesday, February 1, 2012
Devotional Cinema - Lauren's response
Nathaniel Dorksy’s poetic approach in describing film in his book Devotional Cinema was really unique. I thought the description of film as a “sculpture of light” was profound and as a creative mind, it inspired me a lot. We focus so much in the beginning of film school on style and elements within the frame, that we seem to overlook the meaningful spectacle itself of going to see a film. We had talked about this during our installations for experimental last year, and the thought is still bouncing around in my head. Furthermore, as an editor the article brought to my attention the balance of shots and cuts. Dorsky’s analysis of editing was a different outlook than most articles that I have read, and I found it entirely refreshing. Although the concept itself may be elementary, his explanations were very in-depth and made me look at my (hopefully) future job in a different way. Rather than focusing on finishing the film as a whole product on the timeline, Dorsky draws attention to the miniscule aspects of each individual piece (whether it be a shot or a single cut). Neither piece could function without the other. As an editor I consider myself to be a bit of a perfectionist, in that even the smallest detail that bothers me always has to be fixed. This editing section stressed the importance of every detail and validated the OCD-perfectionist feeling that I get when I am working on a piece. I also think that after having read this book, I will be more attune to the shot duration and the balance between shots and cuts. Overall, I thought this book was an interesting and enlightening read, and although I dread reading, I actually enjoyed it.
Tuesday, January 31, 2012
Devotional Cinema - Ben's Response
Nathaniel Dorsky's Devotional Cinema likens watching a film to religion, recounts certain films that had a great effect on him, and what makes a good film.
Honestly, most of this book confused me. I can see the points Dorsky is trying to make but he has a tendancy to ramble without giving much argument for his point. According to Dorsky, good film sticks with you, makes you think, and opens up humans to one another. His first main example is Rossellini's Voyage to Italy and how in the elevator ride afterwards people were crying and more open to one another than after most films. I agree that certain films do open us up, make us think, connect us with one another, and can even heal us, but I feel that Dorsky spends too much time on how bad most cinema is. His ideas about good cinema are there, but they are shrouded among several ideas of what make bad cinema.
Overall, Dorsky states that a good film revels in the miracle that is reality, lives in the now, has motivated shots and cuts, and makes us appreciate life and humility while being open much like religion should. Again, I agree, but I don't see why he couldn't have said that in a short essay instead of cluttering about 50 pages.
Honestly, most of this book confused me. I can see the points Dorsky is trying to make but he has a tendancy to ramble without giving much argument for his point. According to Dorsky, good film sticks with you, makes you think, and opens up humans to one another. His first main example is Rossellini's Voyage to Italy and how in the elevator ride afterwards people were crying and more open to one another than after most films. I agree that certain films do open us up, make us think, connect us with one another, and can even heal us, but I feel that Dorsky spends too much time on how bad most cinema is. His ideas about good cinema are there, but they are shrouded among several ideas of what make bad cinema.
Overall, Dorsky states that a good film revels in the miracle that is reality, lives in the now, has motivated shots and cuts, and makes us appreciate life and humility while being open much like religion should. Again, I agree, but I don't see why he couldn't have said that in a short essay instead of cluttering about 50 pages.
Proposal revised
The concept that we want to explore with this project is how sound can affect a person's perception and/or mood while watching a film. We want to explore how sound can lead a person to feel a certain way about an image they are seeing.
In essence, what we want to do is an audio kuleshov experiment. Where Kuleshov worked with visuals, we will work with audio. In multiple segments, we want to show a variety of images and/or little scenes and then replay them with changes in the sound design and drastic changes in the score. We will show these segments in a way that mimics changing channels on a television. We'll show a segment and then "change the channel" and then eventually come back to that segment, but now with a new sound design and score behind it, changing the mood from what was on screen before. For instance, we could see an adult playing with a child and hear an upbeat soundtrack, but once we return to this segment, the score is now dark. The performance does not differ, but the mood of the audience changes because of the score.
The structure of the film being like a t.v. changing channels will add a layer exploring our society's increasingly limited attention span that comes from watching too much t.v. Near the end of the film, the channel changing will become sporadic and sounds from one program will carry over to other channels.
Regarding what will be playing on the other channels we will play with just the sound design, having sound design that totally doesn't fit the image on screen. This will allow us to explore how having expectations broken through the sound design can illicit responses that are in turn unexpected (such as laughter), which is an idea that fits inside how sound can alter the viewer's mood.
-Rough plan for the next couple weeks-
We show our first dailies in three weeks. By then we should have a final script written, equipment checked out, locations scouted, and the first of our segments shot.
In essence, what we want to do is an audio kuleshov experiment. Where Kuleshov worked with visuals, we will work with audio. In multiple segments, we want to show a variety of images and/or little scenes and then replay them with changes in the sound design and drastic changes in the score. We will show these segments in a way that mimics changing channels on a television. We'll show a segment and then "change the channel" and then eventually come back to that segment, but now with a new sound design and score behind it, changing the mood from what was on screen before. For instance, we could see an adult playing with a child and hear an upbeat soundtrack, but once we return to this segment, the score is now dark. The performance does not differ, but the mood of the audience changes because of the score.
The structure of the film being like a t.v. changing channels will add a layer exploring our society's increasingly limited attention span that comes from watching too much t.v. Near the end of the film, the channel changing will become sporadic and sounds from one program will carry over to other channels.
Regarding what will be playing on the other channels we will play with just the sound design, having sound design that totally doesn't fit the image on screen. This will allow us to explore how having expectations broken through the sound design can illicit responses that are in turn unexpected (such as laughter), which is an idea that fits inside how sound can alter the viewer's mood.
-Rough plan for the next couple weeks-
We show our first dailies in three weeks. By then we should have a final script written, equipment checked out, locations scouted, and the first of our segments shot.
Sunday, January 22, 2012
Our experimental Proposal- Chris, Lauren, and Ben
The basic Idea that we want to convey with this (as of now untitled) film is the universal feeling or fear of not being able to communicate with other human beings. With this film we want to convey that feeling in the back of your head that we all sometimes get, that you're a little bit crazy and that everyone else just gets "it" when you don't. Through the use of experimental film techniques we will explore feelings of isolation, insanity, and the fear of not connecting.
That description sounded kind of depressing and that's not the tone that we're going for. It should actually be rather playful and hopefully have parts that are funny. This movie's going to take place in the subconscious of a character and we will follow him through a series of dreamlike vignettes. Like in most dreams, the character will not be self aware that he is dreaming (though it will remain ambiguous that this is even a dream, we never plan to explicitly state what's going on). With the first vignette we will subtly introduce that the world we are seeing isn't reality by playing with the sound design to create something hypnotic and unnatural. For example, we could foley sound that will oppose the onscreen image, like showing a dog barking but hearing the sound of a car horn.
In the vein of a David Lynch film, the character's subconscious will jump around into totally different narratives (or vignettes). The character won't be self aware and will have no memory of the previous vignette. Here's one example of how we will do this- the character closes his eyes at the beach and opens them in a totally new location like a small room. The sound design from the beach that included waves crashing will bridge into the next scene in the room and continue, although now there is no diagetic motivation for that sound. Then the sound of waves crashing could morph into the sound of a ceiling fan. We will have sounds morph into other sounds and will also have sounds fade in and out at unnatural times.
Most of the work will be done in post. We're going to play a lot with the sound design. There will be almost no sound recorded during filming. Pretty much all of the sound will be foley, ADR, sound effects, and score. We plan to play with sounds that will contrast the image on screen. We also plan to mess around with lining up the audio to the video, like maybe having the audio come in just a little bit late. We also plan to play with the pitch of the audio, especially during the ADR process. We might pitch down a female character's voice while pitching up a male character's voice. All of this would be used to emphasize the dreamlike tone of the film.
In addition, another element that we will be responsible for in this film is the score. The three of us will collaborate to compose and record music for the vignettes. In order to explore the feeling of insanity, we want to compose music for each vignette that will drastically contrast the image on screen. For example, one vignette might be visually chaotic and violent while effervescent, dainty music plays in the background. On the other side of the coin we could show an incredibly boring, monotonous tracking shot while hearing epic, grandiose music.
We also want to explore the feeling of insanity through visual means. We don't want to make any visual decisions without motivation, but we've talked about shooting the different vignettes in different mediums. Maybe one vignette would be shot on a DSLR, and then the character would walk through a door and when he comes out the other side, the scene would be shot in super 8. We also plan to play with un-traditional lighting techniques. For example, the character could be in a crowded room and we could properly light him while leaving everyone else in the room in the dark, further emphasizing the feeling of disconnection. To further separate the vignettes we plan to play with color correction in post. Again, more of the work will be done in post than in actual production.
We're aiming for an 8 to 10 minute movie comprised of about 4 or 5 vignettes. We've come up with multiple vignette ideas, but because a lot of the work will be done in post they are kind of hard to describe. Here's an example of the best one we've come up with so far- Our lead character is in a room with a group of people having a conversation. They all seem to be friends, having fun, laughing, and enjoying themselves. The lead character laughs too, but a little later than everyone else. He begins to look slightly uncomfortable. We then see and hear things from his point of view. He is unable to understand what everyone is saying because when their mouths move, all he hears are sounds that don't make any sense, like doggie toys or car horns. We then go back to seeing things from the third person perspective and the character is becoming visibly nervous. Sounds in the room, like a ceiling fan or a fly on the wall slowly grow louder and louder, over powering the character's senses, and despite his efforts it soon becomes visibly clear that he is losing it. Eventually we go back to his perspective and everyone else in the room is staring at him, waving their arms and acting like they don't understand why he isn't replying to something that they've just said. The character then cover's his ears and closes his eyes and when he opens them he is in a totally new place but the buzzing sounds of the fly and the ceiling fan are still there.
---Tentative (and rough) schedule---
We need to finish writing scripts for each vignette. We will make storyboards for each one. All of this will be done by mid February.
We need to cast our lead role. We already have someone in mind.
We need to scout appropriate locations.
Our first first day of screening our work is 4 weeks away. We plan to shoot at least 1 of the vignettes by this time.
We plan to finish shooting by mid march.
Most of the work is going to be done in post. We will need to schedule weekly music rehearsals. Then we will need to schedule a weekend when we will try to record everything that we've written.
We will need to schedule foley sessions and ADR sessions.
We will need plenty of time to play with the editing and sound editing in final cut pro and pro tools.
That description sounded kind of depressing and that's not the tone that we're going for. It should actually be rather playful and hopefully have parts that are funny. This movie's going to take place in the subconscious of a character and we will follow him through a series of dreamlike vignettes. Like in most dreams, the character will not be self aware that he is dreaming (though it will remain ambiguous that this is even a dream, we never plan to explicitly state what's going on). With the first vignette we will subtly introduce that the world we are seeing isn't reality by playing with the sound design to create something hypnotic and unnatural. For example, we could foley sound that will oppose the onscreen image, like showing a dog barking but hearing the sound of a car horn.
In the vein of a David Lynch film, the character's subconscious will jump around into totally different narratives (or vignettes). The character won't be self aware and will have no memory of the previous vignette. Here's one example of how we will do this- the character closes his eyes at the beach and opens them in a totally new location like a small room. The sound design from the beach that included waves crashing will bridge into the next scene in the room and continue, although now there is no diagetic motivation for that sound. Then the sound of waves crashing could morph into the sound of a ceiling fan. We will have sounds morph into other sounds and will also have sounds fade in and out at unnatural times.
Most of the work will be done in post. We're going to play a lot with the sound design. There will be almost no sound recorded during filming. Pretty much all of the sound will be foley, ADR, sound effects, and score. We plan to play with sounds that will contrast the image on screen. We also plan to mess around with lining up the audio to the video, like maybe having the audio come in just a little bit late. We also plan to play with the pitch of the audio, especially during the ADR process. We might pitch down a female character's voice while pitching up a male character's voice. All of this would be used to emphasize the dreamlike tone of the film.
In addition, another element that we will be responsible for in this film is the score. The three of us will collaborate to compose and record music for the vignettes. In order to explore the feeling of insanity, we want to compose music for each vignette that will drastically contrast the image on screen. For example, one vignette might be visually chaotic and violent while effervescent, dainty music plays in the background. On the other side of the coin we could show an incredibly boring, monotonous tracking shot while hearing epic, grandiose music.
We also want to explore the feeling of insanity through visual means. We don't want to make any visual decisions without motivation, but we've talked about shooting the different vignettes in different mediums. Maybe one vignette would be shot on a DSLR, and then the character would walk through a door and when he comes out the other side, the scene would be shot in super 8. We also plan to play with un-traditional lighting techniques. For example, the character could be in a crowded room and we could properly light him while leaving everyone else in the room in the dark, further emphasizing the feeling of disconnection. To further separate the vignettes we plan to play with color correction in post. Again, more of the work will be done in post than in actual production.
We're aiming for an 8 to 10 minute movie comprised of about 4 or 5 vignettes. We've come up with multiple vignette ideas, but because a lot of the work will be done in post they are kind of hard to describe. Here's an example of the best one we've come up with so far- Our lead character is in a room with a group of people having a conversation. They all seem to be friends, having fun, laughing, and enjoying themselves. The lead character laughs too, but a little later than everyone else. He begins to look slightly uncomfortable. We then see and hear things from his point of view. He is unable to understand what everyone is saying because when their mouths move, all he hears are sounds that don't make any sense, like doggie toys or car horns. We then go back to seeing things from the third person perspective and the character is becoming visibly nervous. Sounds in the room, like a ceiling fan or a fly on the wall slowly grow louder and louder, over powering the character's senses, and despite his efforts it soon becomes visibly clear that he is losing it. Eventually we go back to his perspective and everyone else in the room is staring at him, waving their arms and acting like they don't understand why he isn't replying to something that they've just said. The character then cover's his ears and closes his eyes and when he opens them he is in a totally new place but the buzzing sounds of the fly and the ceiling fan are still there.
---Tentative (and rough) schedule---
We need to finish writing scripts for each vignette. We will make storyboards for each one. All of this will be done by mid February.
We need to cast our lead role. We already have someone in mind.
We need to scout appropriate locations.
Our first first day of screening our work is 4 weeks away. We plan to shoot at least 1 of the vignettes by this time.
We plan to finish shooting by mid march.
Most of the work is going to be done in post. We will need to schedule weekly music rehearsals. Then we will need to schedule a weekend when we will try to record everything that we've written.
We will need to schedule foley sessions and ADR sessions.
We will need plenty of time to play with the editing and sound editing in final cut pro and pro tools.
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