BSA 227 W16 : Compositing Hell

This week I composited my filmed project, a bevy of things went awry. Where do I begin?

1. Didn't film more

2. What I did film had no VFX or story tie in

3. Computers kept crashing and Camera Track wasn't working

4. Lost some of my shots

5. Lacked audio for others

I looked at this screen far too often, at times I had multiple computers going just to try and get one of them to go through the whole

I would have liked to put different drawings on the whiteboard - like a dick-butt or something - which I would have tracked, create a null object, pre-compose the solid, then place the the PNG above the solid and delete it, taking on the path of the solid - then changed the opacity on the drawing to blend it better.

I actually did a test to see if this would work first, it was with a dick-butt, unfortunately I didn't save this and lost it when I changed rooms.

I tried green screening the phone in Kiarne's hand here. It didn't work out great, the second one was a bit better because I changed the shape of his hand and the case of the phone on photoshop first.

The title worked well, I used the rotoscope brush to achieve this, and refined it a bit when it was too rough.

There was a lot more that I wanted to do:

- Explode Matthew's head at the end
- Put a mustache on him
- Replace mic with actual handheld mic
- More text/lyric type stuff
- And most importantly stuff on whiteboard.

It wasn't a great time and I am very unhappy with the final product but at least there is something here. I feel like premiere just wasn't cooperating, but then I shouldn't have left it so late.

BSA 231 W16 : Kiarne's Shoot

Last week and Monday we shot Kiarne's film (J.O.E). It was highly enjoyable. Here are some pictures:

BSA 231 W15 : My Shooting

This week we quickly shot something for mine. I wrote up this quick script:

My intention was for the script to continue and to have the other character show up, at which point I wanted to use Matthew's research project from earlier in the year as an example - where the characters don't really say much of anything and it's really quite depressing.

This didn't end up happening but my six hour shoot was more than filled to the brim with what I did have. 

Ill edit next week after compositing.

BSA 204 W16 : Different Approach

I found this in writer duet from last week - a different approach to the same doctor scene that I started.

INT. DOCTOR'S OFFICE - DAY

BARTHOLOMEW

It's not good on my heart Doc, I tell ya I need something different!

DOC DAN

Well hold your horses there now slick, what you're asking is highly unorthodox.

BARTHOLOMEW

All I'm asking is to get some sleep for once! Is that so much?

DOC DAN

Well now it's not what you're asking, granted many people have trouble with insomnia, but the context in which you've presented your case has me seriously concerned sir!

BARTHOLOMEW

The context of my case is that I've tried doctor after doctor and each in turn have directed me from proper treatment to psychiatry.

DOC DAN

You must understand why? Your claims are very unusual.

Beat.

BARTHOLOMEW

(offended)

Claims?

DOC DAN

(defensively)

I didn't mean it that way. I just--maybe I don't completely comprehend your situation.

BARTHOLOMEW

I'm telling you that it is a heart condition!

DOC DAN

Yes but exactly how? I'm not sure I completely understand, maybe you could just give it to me again?

2.

BARTHOLOMEW

Sure. Where do we start? On a weekly, or sometimes even bi-weekly, basis I have been experiencing hallucinations of a sort. Where there is a loud noise and a big fright and my heart is coming closer and closer to stopping again.

DOC DAN

Yes. As you say. But what exactly do you see in these hallucinations?

I didn't get very far before deciding to not take this approach, but I remember that I looked at the script for Psycho to find inspiration.

I'm thinking this might actually be more fun to film and I just have to build the film off of this stylistic base. But then originally I had the films of Yorgos Lanthimos serving as a great stylistic inspiration so i just need to go back to that...

BVA 203 W16 : Video stuff

Me and Matthew talked to Ash about doing the event on the night, we talked to him in person and also confirmed his involvement on fagebook.

We flicked Ash a text about flicks.

BSA 203 W16 : Questions for Ash

We have some questions that need answering.

- Dump it. How does the transfer of video files work, can the computer access the Y drive, would it be better to play from a hard-drive, or straight from the computer. Should we put it everywhere? Let's C0mpress.

- Mics? What's happening, how does it work - is it our department. Must be, we in the box. Should be easy, just ask.

- When can we set it up? (Ash recommended that we watch through the whole reel in order to make sure everything runs smoothly and there are no audio problems - audio levels tend to differ between films). Last year Ash did it on the day, before the event night, might take up all day...

- Ash wants to get drunk on the night, he's helpful when he's drunk though? But we'll do most of the stuff. He'll help setting up though? And also.

NOTE: How do we keep IMS out of the box??? Ash. Can we lock the box?

BSA204 W15 : Short Film Checklist

We got given a short film checklist that we can use, putting here for future ref.

BSA204 SHORT FILM WRITING CHECKLIST

• Who is your main character/protagonist?

• What is their objective?

• What is the inciting incident or "game changing" obstacle that throws their plans awry and is preventing them from achieving their objective?  (This can be another character – i.e. an antagonist – with a counter objective.)

• How does your protagonist react to overcome the obstacle and remain on course to achieve their objective?  Do they take a different path??  Ideally, a high-stakes choice should be involved to force your protagonist into a dilemma.

• Are there other obstacles to further complicate the situation?

• Character arc: what does the protagonist have to concede/give up/sacrifice in the final push to achieve their objective?  (Ideally, can you reincorporate a device/element that you seeded earlier in the story – maybe to help your protagonist achieve their goal?)  Ultimately, your protagonist does not need to succeed in their objective, but should have at least grown in some way – i.e. learnt some kind of lesson, changed in their outlook and/or redeemed themselves – as a result of this experience.

• Is there a surprise stinger/twist that you can add to the end of your story as a punchline or to help subvert audience expectation?  (Alternatively, you might decide to reincorporate an earlier seeded device/story element in this stinger.)

BSA 227 W15 : Filming First Scene

This week I filmed one scene from my script, specifically the speech that Dwayne gives about fire safety.

It was not my original intention to film this scene first, and if I did I wanted to film more at SIT - like the encounter with the hooded figure and the coroner flash back. My goal was to start with the scenes at the house, on Day 1 of filming I wanted to film the opening scene as well as the showdown with the Cleric.

Things did not go to plan, I only had a two hour gap on the first day to film, before shooting someone else's project and after getting gear. This meant it was easier to film at SIT and it also meant that I couldn't get that many shots done.

I have to film the rest next week - I am thinking Tuesday. Will have to cut down what I can film since there are two other projects on that day.

The problem with filming this scene is that it has no planned VFX shots in it, the whole point of this paper and assessment. I could potentially composite something onto the whiteboard and try to do it well enough that the viewer doesn't notice, but we'll have to see how it goes with next week.

BSA 204 W15 : Subtext

Last time in class (a class I missed) they looked at Subtext and did and exercise on it, where one team wrote bad on the nose dialogue and the other had to correct it, make it sound more natural and communicate the same points in a sub-textual manner.

Written by Izaiah and Sebastion

Re-written by Jacqui and Tyler

Written by Jacqui and Tyler

Re-written by Izaiah and Sebastion

Patrick pointed out that the part "I would expect, you would know manners, considering you used to be a teacher" is a bit on the nose still and that there is a better way to communicate this. I think a pedophile joke or saying something like "I hope you didn't pass on such manners to the children" (poorly worded). A better way to establish this information would probably be through the Mary-Anne character (she could point out he still treats her like a student).

At this point I was surprised that the relationships people came up with were so intricate and interesting. Good Job guy! 👍

Written by Matt B and Kiarne

Re-Written by Jean and Sam

Written by Jean and Sam