Sunday, September 2, 2018

BSA 231 W9 : Manifesto Quick

Manifesto Quick

I have to finish my manifesto by tomorrow at 5, with the way it's been going that doesn't seem possible - at least it doesn't seem possible if I keep going with my original idea, but I can change it a bit to make it more manageable for now and always expand on it again later if I so choose to:

I've tried truncating the story to a smaller scale, especially in the department of actors and locations.
_________________________________________________________________________________

We start the film with voice over of a doctor telling a man that he has to be careful that even though he's undergone surgery stresses on his heart can still lead to another attack, this is accompanied by the sound of a slow heart beat

The man arrives home as this plays over and he prepares the kettle. (same scene as planned before)

Shaving scene

Google illness, finds others

Taking Precautions

It attacks anyway

Accidentally injuring it

Luring and killing it


A slow heartbeat can be heard, it goes for the entirety of the film

DOCTOR (V.O)

It's important to understand that even though you've had the operation now, you're heart is still sensitive and needs to be looked after more carefully than before. Extra stress or shock could lead to problems in the future, be careful what you do with yourself, even a scare can send you over the edge

PATIENT (V.O)

Yes doc I understand

Gib shot down of a man getting out of his car and walking towards his house, he goes to unlock the door but feels something watching and hears a peculiar noise, loos behind at his lawn and sees nothing,  he walks in briskly, locking the door behind him

He experiences the jump scare with the kettle and curtains

He calls the police, they say they found nothing, asks if he's been on any medication - he's on heart medication

VO of him talking to doctor, telling of his condition, the doctor says its a type of post traumatic stress or subconscious thing that he is experiencing

He prepares for bed and starts shaving, the noises start up again, he keeps going awaiting the jump, he finishes shaving finally only to experience it when he

_________________________________________________________________________________

Same opening scene, and first jump scare - but then the two patients don't meet, instead one learns from the other about the entity and how to avoid it. Shaving scene follows, then he accidentally harms the creature and finds ways to lure it in and harm it. - Simple

_________________________________________________________________________________

Instead I just decided to cut my original idea down to the first two scenes and use that as the entire content of my manifesto:
_________________________________________________________________________________

Contents

1. Overview x
2. Script x
3. Character Bios x
4. Artistic Intent
5. Production Design x
6. References and Influences x
7. Ethical & Legal Considerations x
8. Script Breakdown 
9. Hypothetical Budget
10. Shotlist
11. Storyboards and Lighting Schematics x
12. Resources Required
13. Shooting Schedule & Draft Call Sheets
14. Location Information
15. Hazard Assessment Forms
16. Release Forms 

Title

"Jump Scare"

Logline

A film in which a man with a recently diagnosed heart condition is haunted by a supernatural entity that wants to literally scare him to death.

Pitch:

The five minute opening scene of this film, in which the patient describes his ailment to The Doctor who's just trying to get out of the room and who decides to take matters into his own hands and breaches the Doctor's privacy. As well as the first jump scare of the film.

Script:

''JUMP SCARE'' by Bootje Myburgh


Over black we hear the sound of a slow heartbeat, it continues:


THE MARINE (V.O.)
I get this feeling that there's something in the house with me, and not just at home, like it's following me everywhere I go and it's not just the presence, it's real, like I see it, like a hallucination--but a violent one Doc

FADE IN
INT. Hospital Halls

The Doctor is walking through the halls of a hospital, it's in slow motion, he has a clipboard in one hand and pockets a golden pen with the other, as he walks through the halls he nods to the nurses


THE MARINE (V.O.)
And I'm scared because it's causing a lot of stress on my heart, every time it's this visceral jump and I see this face come out of nowhere and there's this horrible screaming sound, it's like someone's playing a prank on me but it's, it's something evil--

The Doctor is sitting behind his desk, across from him is The Marine telling his story
THE MARINE
--it happens infrequently at any point in the day I just get this horrible chill down my spine, hear noises in the house and follow it and turn around, or look to the side or something and this evil-like, well just--facelunges out at me and every time that pressure on my heart returns like with my attack

THE DOCTOR
How many times has it happened now?

THE MARINE
Since my surgery last month, about four times, and it doesn't always go as far as a jump, but I've had that paranoia come over me way more times than that

THE DOCTOR
That's actually perfectly normal for someone who's just undergone a heart attack, especially someone who was as seemingly healthy as you, I've heard similar stories with many of my patients, it's not really a medicalcondition per se, it's shock - your brain is having trouble processing it and has created a subconscious fear of going through that experience again, there's not really much I can do to help, I'm afraid it's a psychological problem

THE MARINE
Yes doc, but it's not--I-I'm awake when these things happen, in fact I'm awake all the time now because I'm losing sleep because of it, maybe there's something wrong with my pills or maybe just, maybe you could just help relieve my sleep deprivation

THE DOCTOR
If you're not sleeping than that's the source of your troubles, after a while it becomes hard to tell the difference between being awake and not--

The Doctor's phone vibrates on the table and the screen lights up, he gives it a quick glance 

THE MARINE
Hey Doc, it's just it didn't happen before the surgery, there must be something that you could....

THE DOCTOR
It really isn't my area of expertise, I could maybe get you medication for the insomnia, but the actual ailment that you seem to be suffering from comes from a psychological place, if you're not seeing anyone already I could recommend a psychiatrist to you?

THE MARINE
Your past patients, did they have the same experience as me, like did they see this thing too, or...

THE DOCTOR
Not exactl--similar experiences, as I said it's normal after such a traumatic exp--

There's a knock at the door and a nurse pops her head through:

THE NURSE
Doctor, I'm sorry but your needed urgently in the west wing

THE DOCTOR
Yes, I'll be right out

The Nurse nods and close the door again

THE DOCTOR
I'm sorry, I have to go, maybe we can reschedule this appointment?

THE MARINE
I'm afraid man, this thing is playing some serious games with my heart, it's getting worse everytime and it sounds like bullshit but you said it yourself, stress and fright can kill you, one of these days my heart's gonna stop 

The Doctor's phone buzzes again, he picks it up this time:

THE DOCTOR
Tell you what, I'll make a note

He takes his gold pen and writes down on a pink post it note, he shows it to The Marine

THE DOCTOR
It says to get you something to help with the insomnia, and I'll put it right here in your file

He opens his file cabinet, which seems to be sorted by the type of ailment, and takes out The Marine's file and sticks the post-it note to it

THE DOCTOR
Next time you come I'll have that ready to go, but I have to leave now--

THE MARINE
This appointment took me a week to get and the attacks are getting worse, I'm gonna have another heart attack proper

THE DOCTOR
You're putting too much pressure on yourself, I've done what I can, what you need to do now is maybe just take a break from work, have some time off

THE MARINE
That doesn't help, it happens it home - I told you it happens everywhere I go, how am I supposed to go on with my life if this doesn't get fixed

THE DOCTOR
I don't know. And frankly it's not my problem, this is a personal matter that needs to be sorted with a psychological professional, it's not my area of expertise

His buzzes, there's the nurse's shadow at the door

THE MARINE
My life is in danger, how is that not your area of expertise?

The Nurse knocks

THE DOCTOR
I'm coming

THE MARINE
I'm not leaving until someone helps me

The Nurse enters again, she lingers in the doorway

THE NURSE
Doctor? Doctor you're needed urgently

The two men look at her

THE NURSE
It should be quick though...

THE DOCTOR
Okay, I'll be back in 20?

The Nurse confirms this with a thoughtful nod

THE DOCTOR
Yeah 20 minutes, if you don't mind waiting I'll come back with the pills you requested, how about that?

THE MARINE
Sure

The Doctor takes something out of his desk and starts for the door

THE DOCTOR
Okay then

He hurries to the door and the nurse excitedly exits into the hallway, on the way out The Doctor gives The Nurse a pinch in the butt and she giggles as they both walk away in a hurry

The Marine sits in silence, he's exhausted, he looks at the filing cabinet. His eyes light up a bit as an idea pops into his head.

He looks towards the door that was left ajar, gets up, pokes his head into the hallway and closes it gently.

He makes his way across the room to the filing cabinet, opens it where he saw his file, looks at his own file and the pink post-it, he looks at the other folders - they are all heart attack victims. They all seems to have undergone the same surgery as he did - he starts opening a could, only looking away to check over his shoulder as a shadow passes by the door. There are notes of similar experiences to what he had.

He starts taking photos of the other files with his phone. 

The Marine closes the cabinet, picks up his jacket and exits the office, starting to walk down the hall. He walks past a service cabinet, inside of which there is rummaging, through the bottom of the door two sets of feet can be seen, pants down by the ankles, The Doctor's golden pen falls and rolls towards the door. 

The Marine walks down the hallways, and looks around nervously, a shadow passes behind him, he keeps walking. In a reflection he sees something and as he walks past a hallway he sees another shadow, he ignores these and heads out of the building.

The Doctor walks back through the hallway, he's buttoning up his shirt, he walks past another nurse who looks at him and he looks back. The title shows as the music crescendos:

_JUMP SCARE


EXT. APARTMENT COMPLEX - NIGHT

The camera pans down as The Marine exits his vehicle and walks towards his apartment door, there's a sound in the driveway and he looks around - nothing but darkness. Hurriedly he unlocks the door and enters.

INT. MARINE's APARTMENT - NIGHT


The Marine enters his house, takes off his jacket and pins it to a coat hanger, he looks through his window, ensure it's locked and closes the blinds.

He walks over to the kitchen and puts on the kettle, as he walks back to the lounge there is another sound and he looks down the hall, there is a figure standing between the rooms, he closes the door and as he does so:

THE MARINE 
Fuck off

He walks over to his desk and flips open his laptop, with his phone open he one by one googles the names of the different patients.

This is played as a montage with the kettle slowly starting to boil as The Marine sees each name with the person's time of death, flashing in between are messages from their social media accounts where people congratulate them on their surgery or wish them luck, with condolences and goodbyes being given only a month or so later. He finally finds one who is still alive, but when he googles him an article comes up about the patient attacking The Doctor at the hospital, he friend requests and sends the peculiar patient a message saying "I have the same condition, we should meet up, I suspect The Doctor might be accountable", the kettle comes to a boil here and he goes to turn it off.

As he takes it off the stove and starts pouring he hears the sound again, this time it's followed by a crash. 

He goes to the hallway door, picks up a bat and opens it slowly, he navigates his way down to the bedroom, inside he finds a picture frame on the floor smashed, he picks it up - it's of him and his old army pals.

He takes the picture with him as he walks back to the living room and finds the curtains wide open again, with wind moving them back and forth.

He places the picture on his desk and slowly approaches the window, which is indeed open. 

He looks out at the driveway again and slowly reaches out closing the window. 

He stares out for a bit, seeing only darkness, and as he's about to go close the blinds there is a sudden crash against the window, the face of the demon shows for a split second and he falls backwards, the sound of the heartbeat now fast. He holds his heart and grunts, the baseball bat lies on the ground, there is the sound of a messenger notification and on the computer screen there is a reply from the Ex-Patient.

____________________________________________________________________________________________________________


Character Bios

The Marine

The protagonist of our story, this military man is forced into early retirement when he suffers a heart attack, after surgery he starts experiencing supernatural encounters with a being that is putting a lot of pressure on his heart. Tired of his doctor's seeming incompetence and due to his growing suspicions the man decides to investigates only to find himself the latest in a long string of heart surgery patients haunted by the mysterious entity.

He is a man determined to find solutions, but also someone who struggles with the sudden shift in his world. He's used to being capable and reliable, now he has to adjust to a new world where running is dangerous for him and where he feels himself becoming more and more insignificant. He's a strong man forced into a weak body and he's having trouble with the transition.

The movie sees him starting to accept his newfound situation, the arc set-up is one in which he has to come to accept his new state of being and learn to live a happy life and not drive away those closest to him. This is of course cut short along with a vital artery when he dies.


The Doctor

A man who isn't particularly attractive but who every woman in the world seems to have a crush on. The doctor made a deal with a demon to provide it weak-hearted targets in return for his supernatural sex appeal.

He struggles somewhat with the immoral choice that he's made, it's also sent him down a dark path in which he has become a sex addict. By the point that he is confronted buy two of his patients he has grown tired of his situation and feels the fleeting relationships that he has are empty and meaningless.

He agrees to help, even though knowing that he will lose his sex appeal, his arc is one of coming to accept who he really is and not rely on the superficiality that his increased sex appeal offered. At the end of the film he encounters a cleaner who walks in on them slaying the demon and his charms are no longer effective, he has selflessly sacrificed his own power to help others, at the end when his powers don't work The Nurse is still into him, saying it's because of his actions and personality, not due to his artificial charm.


The Ex-Patient 

A diagnosed schizophrenic who has earned himself a restraining order because of an attempt to confront the doctor, who slept with the patients' wife at the time of his surgery.

He has become a recluse in his fight for survival, he has devised different ways of avoiding the entity and not getting killed by its frights. Strategies like always listening to music, never shaving, not having reflections or sharp objects in his house and turning corners slowly.

This character is a shell of his former self and has become a mess in his efforts to stay alive, he is at the end of his rope but believes that his strategies are working. He has a long standing relationship with the entity, which he simply addresses as Scary Face.


The Nurse

The Nurse has a relationship with the doctor character but he cheats on her with someone else, leading her to become somewhat depressed and ends up helping The Doctor's displeased patients. She is young and finds herself in a situation that she doesn't fully understand, her relationship with the doctor is strained but even after what he did she finds it hard to dismiss his unnaturally effective charm.

It adds comedy to the scenes with all four characters, especially the interrogation scene, but it also leads The Nurse to become a stronger individual, she is the one in the third act who point out the monster can be killed and ultimately the one most intent on doing so.


The Demon

A supernatural entity that is too weak to collect souls properly like others of it's kind, it instead feeds of those naturally weaker - people with heart problems and pays it's dues by scaring them to death.

____________________________________________________________________________________________________________


Artistic Intent

Slow movements : The camera movements will be slow and consistent zooms will be used, this helps establish the atmosphere as well as slowly draw the audience more into the mystery. The idea is that the horror is descending on us and that it's like looking closer and closer down a hole.

Locked camera : The camera will not move much as it is, the film is intended to have a locked off approach, wherein the audience isn't necessarily along for the ride, more observing, at points even taking the point of view of the creature.

Off center framing : Asymmetry will be applied to give the film an off-kilter look and assert the idea that something is wrong.

A clinical type of approach : In general the film will have a very clinical approach to action, thematically appropriate to the subject matter and location of a hospital.
____________________________________________________________________________________________________________


Production Design Concepts

The entity itself will play off horror movie tropes - specifically the type of designs usually seen in jump scare filled movies where the monster's basically just a scary face. This is alluded to by the Ex-Patient character who calls the entity Scary Face.

  

The creature designs from Sinister (2012) and Insidious (2010), who are essentially just a scary face in a suit.

I am also taking inspiration from creepy-pastas and internet jump scare videos, things like Jeff the Killer.


This machine above is an instrument used for sounds commonly heard in horror movies (called the Apprehension Engine), I thought it would be a unique design choice to give my monster one of these. I haven't seen it in a horror movie before, breaks the fourth wall to a degree, is visually interesting yet narratively coherent and adds more texture to this world.

I am also thinking of incorporating the weaker aspects of the demon's persona into its design, the idea is its lesser than its peers and this could be presented in a variety of ways, like certain unpronounced features (weak jaw, small shoulders) or a physical disability (spinal dysraphism - which is weak but also somewhat unsettling). 

So key features of my design:

- Suit
- Scary Face, usually painted (like Sinister, Insidious or old viral jump scare videos)
- The Apprehension Engine
- Weak physicality/deformity

The other characters will have costuming specific to their characters, The Marine for example will be neat in his dress and possibly wear some kind of garment related to army uniforms, the Doctor and Nurse's costumes are pretty straight forward.

____________________________________________________________________________________________________________


References and Influences

Yorgos Lanthimos (The Losbter (2015), The Killing of a Sacred Deer (2017)) : His locked off style and clinical look at the characters and situations are something I wish to incorporate into my film, technically I will take a lot of inspiration from Lanthimos in how how he executes a scene. His incorporation of music is also a key technique I will be applying. 

Insidious (2010)/ Sinister (2011) : The jump scares in this film are directly inspired, and this film somewhat parodies, what is seen in these two films (and others like it - e.g. The Conjuring). The slow burn, extreme quiet with creepy escalation until a final jump and loud noise is taken from these films and will be applied in my film in the jump scare scenes.

The Incredibles (2005) : I am taking specific inspiration from the scene in which Mr. Incredible discovers the villain's evil plan, in the scene the pace of the editing increases and the music crescendos as he discovers superhero after superhero dead. This specific scene is one I want to take inspiration from for my scene where The Marine does his research on the Doctor's past patients and finds them having died one by one. 

____________________________________________________________________________________________________________

Intentions for Sound Design 

One of the big sound design elements I intend to incorporate is the constant presence of a heart beat which is a very important thematic connection to the plot. This relates directly to the main character's own heart, so it grows faster or slows down depending on his emotional state.

Musically I want to go with something like Alfred Schnittke's orchestral works, something I stole from Yorgos Lathimos, one of my primary stylistic inspirations. He uses the piece String Quartet No. 2: I. Moderato in The Lobster (2015), this is the same piece I am currently using for the opening, that which transitions into String Quartet No. 2: II. Agitato as the title appears on screen. I love the horror strings that are used in these pieces and want the score permeated with that stabbing sounds usually associated with Psycho (1960). 

For most of the jump scare sequences music will be absent and quieter noises of foliage and ambient noise will be amplified to increase the suspense in these scenes, the creature applies the use of the apprehension engine though - a musical instrument concocted specifically for use in horror movies, so these haunting noises will also be present during quieter scenes, although used sparsely. 

____________________________________________________________________________________________________________

Ethical and Legal Considerations 

The biggest thing I have to take into consideration is of an ethical nature: people can actually be scared to death so I need to not only be careful with a possibly sensitive subject, but also give fair warning of the jump scares at the start of the film. 


_________________________________________________________________________________

Resources Required:

- Doctor's coat
- Stethoscope 
- Scrubs
- Facemask
- Clipboard
- Phone
- Filing Cabinet
- Desk
- Chairs
- Marine's uniform (army jacket?)
- Kettle
- Blinds
- Car
- Gold Pen
- Laptop
- Bat
- Picture Frame 
- Folders


Thursday, August 30, 2018

BSA 231 W8 : Manifesto Development

Overview of the concept:

Title

"Jump Scare"

Logline

A film in which a man with a recently diagnosed heart condition is haunted by a supernatural entity that wants to literally scare him to death.

Character Biographies:

The Marine

The protagonist of our story, this military man is forced into early retirement when he suffers a heart attack, after surgery he starts experiencing supernatural encounters with a being that is putting a lot of pressure on his heart. Tired of his doctor's seeming incompetence and due to his growing suspicions the man decides to investigates only to find himself the latest in a long string of heart surgery patients haunted by the mysterious entity.

He is a man determined to find solutions, but also someone who struggles with the sudden shift in his world. He's used to being capable and reliable, now he has to adjust to a new world where running is dangerous for him and where he feels himself becoming more and more insignificant. He's a strong man forced into a weak body and he's having trouble with the transition.

The movie sees him starting to accept his newfound situation, the arc set-up is one in which he has to come to accept his new state of being and learn to live a happy life and not drive away those closest to him. This is of course cut short along with a vital artery when he dies.


The Doctor

A man who isn't particularly attractive but who every woman in the world seems to have a crush on. The doctor made a deal with a demon to provide it weak-hearted targets in return for his supernatural sex appeal.

He struggles somewhat with the immoral choice that he's made, it's also sent him down a dark path in which he has become a sex addict. By the point that he is confronted buy two of his patients he has grown tired of his situation and feels the fleeting relationships that he has are empty and meaningless.

He agrees to help, even though knowing that he will lose his sex appeal, his arc is one of coming to accept who he really is and not rely on the superficiality that his increased sex appeal offered. At the end of the film he encounters a cleaner who walks in on them slaying the demon and his charms are no longer effective, he has selflessly sacrificed his own power to help others, at the end when his powers don't work The Nurse is still into him, saying it's because of his actions and personality, not due to his artificial charm.


The Ex-Patient 

A diagnosed schizophrenic who has earned himself a restraining order because of an attempt to confront the doctor, who slept with the patients' wife at the time of his surgery.

He has become a recluse in his fight for survival, he has devised different ways of avoiding the entity and not getting killed by its frights. Strategies like always listening to music, never shaving, not having reflections or sharp objects in his house and turning corners slowly.

This character is a shell of his former self and has become a mess in his efforts to stay alive, he is at the end of his rope but believes that his strategies are working. He has a long standing relationship with the entity, which he simply addresses as Scary Face.


The Nurse

The Nurse has a relationship with the doctor character but he cheats on her with someone else, leading her to become somewhat depressed and ends up helping The Doctor's displeased patients. She is young and finds herself in a situation that she doesn't fully understand, her relationship with the doctor is strained but even after what he did she finds it hard to dismiss his unnaturally effective charm.

It adds comedy to the scenes with all four characters, especially the interrogation scene, but it also leads The Nurse to become a stronger individual, she is the one in the third act who point out the monster can be killed and ultimately the one most intent on doing so.


The Demon

A supernatural entity that is too weak to collect souls properly like others of it's kind, it instead feeds of those naturally weaker - people with heart problems and pays it's dues by scaring them to death.

Stylistic Intentions:

Artistic Intent

I have a very clear idea of what I want in my head, it will take some careful wording though.

Production Design + Concept Art: 

The entity itself will play off horror movie tropes - specifically the type of designs usually seen in jump scare filled movies where the monster's basically just a scary face. This is alluded to by the Ex-Patient character who calls the entity Scary Face.

The creature designs from Sinister (2012) and Insidious (2010), who are essentially just a scary face in a suit.

I am also taking inspiration from creepy-pastas and internet jump scare videos, things like Jeff the Killer (those kind of creepy smile stuff, so maybe my monster has a smile, then again the idea is that he is weak in comparison to his peers so maybe he's sad instead).


Costuming:

Costuming for my film will be character specific, that much I know, but I will obviously need to develop it much further than that and I am not sure I can do this on my own. Like with the creature design concept art, I might ask someone else to help me develop in this specific department, in this case probably a fashion student (of which I know none except Morgan - so probably just ask her). 

Sound Design and Score:

One of the big sound design elements I intend to incorporate is the constant presence of a heart beat which is a very important thematic connection to the plot. This relates directly to the main character's own heart, so it grows faster or slows down depending on his emotional state. This of course stops when The Marine dies, it returns threefold when the other three characters start moving the plot towards is climax, transitioning into a musical piece with an 80's synth inflection as the characters engage in a suit-up montage.

Musically I want to go with something like Alfred Schnittke's orchestral works, something I stole from Yorgos Lathimos, one of my primary stylistic inspirations. He uses the piece String Quartet No. 2: I. Moderato in The lobster, this is the same piece I am currently using for the opening, that which transitions into String Quartet No. 2: II. Agitato as the title appears on screen.

For most of the jump scare sequences music will be absent and quieter noises of foliage and ambient noise will be amplified to increase the suspense in these scenes.

Artist Models/Inspiration: 

I want to take inspiration partially from the films of Yorgos Lathimos (The Losbter (2015), The Killing of a Sacred Deer (2017)), but of course the whole idea comes from modern supernatural horror films like Sinister, Insidious and that sort. Saw (2004) (the original) is also an inspiration I think, because of how fun it is with it's set-ups and sequences. The execution in later scenes might lean more heavily to the style seen in that movie too.
Ethical & Legal Considerations: 



Script Breakdown: 



Budget: 



Shot list:



Lighting Schematics:



Resources: 



Shooting Schedule + Call Sheet:



Location Details:



Risk Assessment Forms: 



Release Forms and other Legal Documentation: 





Wednesday, August 29, 2018

BSA 227 W8 : Actual Nuke Tutorial

So the other one was just like a saber thing...and I'm tired and I wanna go home and sleep, and write my script and I'm hungry and this class is long...

So this week we actually looked at the program Nuke:



We changed the frame rate to 25 and the format to HD-1080

We press tab to bring up a pop up menu, clicked read which took us to the folder opening system:


They are in and just kind of chillin'


We can connect the viewer to the different images, showing them on the timeline:


We typed in merge in the tab dropdown and created a merge node, with which we can combine different images on one timeline:


We typed in transform into the tab menu and connected that node to the car bomb layer allowing us to transform the explosion layer like you would in after effects:


We masked the pillar by creating a roto node, and had to invert this to get it to work:


The masked pillar:



Changed the colour grading on the boxes:


You can create extra connector bends and turns by holding in ctrl.


What I did in class:




BSA 227 W8 : Playing with Nooks

_C0mp05Iting227


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The first thing we did was open Nook™, which we did by opening it from the dektop icon and not from the windows pop up mehu, otherwise it crashes

We started working in After Effects, where we dragged in the carpark ref photo, then made a new black solid, in the presets/effects area we typed in Saber:




 we dragged and dropped this effect onto the black solid - this is a free plugin you can download from video co-pilot. Obviously it was originally made for lightsaber effects, but it has a lot more uses, especially for sci- fi things.



Changing the presets changes a lot:





Works a lot like the lightning from last lesson. There are also a lot of setting we can change:






By inserting an ellipse tool and changing the core type from saber to layer masks we can make the effect take the shape, of well...a shape (in this case an ellipse). 




We key-framed the start offset to make it slowly form in the shape:



We can also make any shape or thing we want with the pen tool:


Combined two of 'em and changed the compositing settings under render settings from black to add.


You also do text


Tuesday, August 28, 2018

BSA 204 W8 : Out Bear Idea was just How To Train Your Dragon and I hate it, oh and Status

The title says it all, it's that plagiarism thing where you don't realize your plagiarizing but you are.

We also looked at high and low status:

- Who holds the power in the world of the story or in the relationship
- Position of the character in the social dynamics
- Controls the scene or transaction
Status in dialogue

- Help inject subtext in dialogue 
- Helps to highlight the social dynamics


Status changes --> can help force plot points

High Status 
alpha


Low Status
beta

 INT. MAX'S CAB - MAX                                             86

      in shock. Back in purgatory...eternally in his cab's front
      seat. As the lone yellow cab drives east...

      SINGLE:   VINCENT                                                     

                            VINCENT
                  What a clusterfuck. Only thing didn't
                  show up was the Polish cavalry.

      Max's life, controlled by Vincent, is a nightmare, perpetual and
      eternal...

                            VINCENT (CONT'D)
                  You don't wanna talk, tell me to fuck
                  off...

                            MAX
                      (inaudible)
                  ...fuck off.

      Vincent's attention is out the window at the streams of
      emergency vehicles...at the earpiece, filled with LAPD and news
      helicopters.

86A   EXT. STREET - FRONTAL:   THE ANONYMOUS YELLOW CAB               86A

      heads east.   All other traffic races to the debacle left
      behind...

                            VINCENT (O.S.)
                  ...blood, bodily fluid and death get
                  to you? Try deep breathing. Or
                  remember, we all die anyway...

                            MAX (O.S.)
                  You had to kill Fanning?!

                                                            (CONTINUED)

                                   9/29/03 MM revs. (salmon)   89.
86A   CONTINUED:                                                     86A

                             VINCENT (O.S.)
                       (blasé)
                   Who's Fanning?                                          

86B   INT. CAB                                                       86B

                             MAX
                   That cop!
                       (beat)
                   Why'd you have to do that? You
                   couldn't wound him? The guy had a
                   family, maybe parents, kids who gotta
                   grow up without a dad, he was a good
                   guy, and he believed me...

                             VINCENT
                   I shoulda saved him 'cause he believed
                   you...?

                             MAX
                   No, not just that.

                             VINCENT
                   Yeah, that...

                             MAX
                   Yeah, so, what's wrong with that?

                             VINCENT
                   It's what I do for a living...

                             MAX
                   Some living.

                             VINCENT
                   Head downtown...

                             MAX
                   What's downtown?

                             VINCENT
                   How are you at math? I was hired for
                   five hits. I did four.

                             MAX
                       (grim)
                   One more.

                             VINCENT
                   There you go...!

                             MAX
                   Whyn't you kill me and find another
                   cab.

                                                            (CONTINUED)

                                       9/27/03 MM revs. (buff)   90.
86B   CONTINUED:                                                       86B

                             VINCENT
                   'Cause you're good.
                       (shrugs)
                   We're in this together. You
                   know...fates intertwined. Cosmic
                   coincidence. All that crap...

                             MAX
                   You're full of shit.

                             VINCENT
                   I'm full of shit?
                       (beat)
                   You're a monument of it. You even                         
                   bullshitted yourself, all I am is
                   taking out the garbage. Bad guys
                   killing bad guys...

                             MAX
                   'Cause that's what you said...

                             VINCENT
                   And you believe me...?

                             MAX
                   What'd they do?

                             VINCENT
                   How do I know?
                       (beat)
                   But, they all got that "witness for                       
                   the prosecution" look to me. It's
                   probably some major federal indictment
                   against somebody who majorly does not
                   want to get indicted... I dunno.

                             MAX
                   That's the reason?

                             VINCENT
                   That's the "why." There is no reason.
                       (beat)
                   No good reason; no bad reason. To
                   live or to die.

                             MAX
                   Then what are you?

                             VINCENT
                       (looks up)
                   ...indifferent.

      Vincent hesitates, then back out the window...


                                                             (CONTINUED)

                                  9/30/03 MM revs. (cherry)   91.
86B   CONTINUED: (2)                                                86B

                           VINCENT (CONT'D)
                 Get with it. Get over it.
                 ...millions of galaxies of hundreds of
                 millions of stars and a speck on one
                 in a blink...that's us. Lost in
                 space. The universe don't care (about
                 you).
                     (beat)
                 The cop, you, me? Who notices?

                           MAX
                 What's with you...?                                      

                             VINCENT
                 As in...?

                           MAX
                 Man, if someone had a gun to your head
                 and said: "You gotta tell me what's
                 goin' on with that person across the
                 street, there, what they think, who
                 they are, how they feel, or I will
                 kill you"...they'd have to kill
                 you...wouldn't they...?
                     (beat)
                 'Cause you don't have a
                 clue...about...anyone.                                   
                     (struggling for the words)
                 ...I don't think you, you have a clue,                   
                 period. Did anyone "do" for you in
                 your life...? Ever? When you draw
                 breath in the morning? Open your eyes
                 in the a.m.? You
                 anticipate...anything? Want anything?
                 Expect anything? I don't think so...
                     (beat)
                 'Cause you are low, my brother, way
                 low... and some standard parts that are
                 supposed to be there?...with you,
                 aren't. So what happened to you, man?
                 What happened to you?

                           VINCENT
                 ...all the cabbies in LA, I get Max,
                 Sigmund Freud meets Dr. Ruth...

                           MAX
                 Answer the question.

                           VINCENT
                 Look in the mirror.
                     (on the attack)
                           (MORE)


                                                           (CONTINUED)

                                 9/30/03 MM revs. (cherry)   92.
86B   CONTINUED: (3)                                               86B

                           VINCENT (CONT'D)
                 ...with your paper towels...a bottle                    
                 of 409...a limo company someday. How
                 much you got saved?

                           MAX
                 None of your business.

                           VINCENT
                 Your business "plan?" Someday?
                 "Someday my dream'll come..."?
                     (beat)
                 And one night you'll wake up and
                 discover it all flipped on you.
                 Suddenly you're old. And it didn't
                 happen. And it never will. 'Cause
                 you were never going to do it, anyway.
                 The dream on the horizon became
                 yesterday and got lost. Then you'll
                 bullshit yourself, it could never have
                 been, anyway. And you'll recede it
                 into memory...and zone out in a
                 Barcalounger with daytime TV on for
                 the rest of your life...
                     (beat)
                 Don't talk to me about killing.                         
                 You're do-in' yourself. In this
                 yellow-and-orange prison. Bit by bit.
                 Every day.

      EXTREMELY CLOSE:   Max is soaking up every word.

                           VINCENT (CONT'D)
                 All it ever took was a down payment on
                 a Lincoln Town Car. What the hell are
                 you still doing in a cab?

      The needle on the speedometer is creeping past forty...

                           MAX
                 'Cause I never straightened-up and
                 looked at it, you know...?

                           VINCENT
                 Slow down.

                           MAX
                     (ignoring him)
                 ...myself, I should have. My brothers
                 did...
                     (beat)
                 Tried to gamble my way out from under.
                 (That was) Another born-to-lose deal!
                 Then, "it's gotta be perfect to go!"
                 You know? Risk all torqued-down.

      Needle pushing sixty...

                                                          (CONTINUED)

                                  9/30/03 MM revs. (cherry)   93.
86B   CONTINUED: (4)                                                86B

                           MAX (CONT'D)
                 But you know what? It doesn't matter.
                 What's it matter, anyway? 'Cause we
                 are...insignificant out here in this                         
                 big-ass nowhere. Twilight Zone shit.                         
                 Says the badass sociopath in my
                 backseat. So that's one thing I got
                 to thank you for, bro... Until now, I
                 never saw it that way...

      The cab goes blasting through an intersection on a red light.       A
      LOS ANGELES TIMES DELIVERY TRUCK SLAM ON ITS BRAKES as Max
      swerves, barely avoiding a collision.

                           VINCENT
                 That was a red light!

      Max glances in the rearview.

                           MAX
                 ...not until now. So what's it all
                 matter? It don't. Fuck it. Fix it.
                 Nothing to lose. Right?

      Vincent's H+K's aimed at Max's head.   Max almost laughs.

                           VINCENT
                 Slow the hell down!

                           MAX
                 Why? What are you gonna do? Pull the
                 trigger? Kill us? Go ahead, man!
                 Shoot...my ass.

                           VINCENT
                 Slow down!

                            MAX
                 Vincent?

      Their eyes meet in the rearview mirror. Vincent is arrested by
      a look in Max that he's not seen before. It's the even,
      confrontational look of a man with nothing to lose.

                           MAX (CONT'D)
                 Go fuck yourself.

      Max slams on the brakes and cranks the steering wheel hard
      right...

                                 9/27/03 MM revs. (buff)    93A.


A Reasonable Request:


We watched this short film in class, it serves as a really good example of clear status changes.


I am now thinking about the statuses of my characters, I think The Marine has one of the highest because of his confidence and stern nature, then The Doctor has a high status because of the power that he holds, but he also comes from a place of low status, The Schizophrenic has the lowest status in the film because of his rejection from society and issues with The Demon. The Nurse falls in a weird spot because she has a lower status than The Doctor for sure, but that changes at the end, and her interactions with the other two characters.

We then did an activity in class where we were required to come up with a situation that would see internal status changes as well as an external narrative device that results in a big status change, our idea was:

A man wakes up during surgery to find the room empty except for the surgeon himself, who is eagerly requesting him to sign a contract allowing for the removal of his kidney.

https://www.scriptmag.com/features/improvising-screenplays-using-the-concept-of-status-to-elevate-every-scene-writing



BSA 203 S2W8 : Media Release Continued

This week in class we read out everyone's media releases and unfortunately ours wasn't brought up...

Monday, August 27, 2018

BSA 231 W8 : Marcus' Film

We discussed a little bit my role on Marcus' film (I'm the gaffer) and he showed me some clips from The Darkest Hour (2017) of what kind of style he's going for and what specific type of shots he wants:

Car Rig




He wants this kind of lighting and we'll have to set up a car rig, which is fine since we'll be practicing that in preparation for Izaiah's shoot and on his shoot, which falls before Marcus'.

Close-Up



He pointed out the shot below specifically as one that he wants:


BSA 231 W8 : Creature Mood Board

I've quickly chucked together a mood board of my intentions/general foundations for my creature:


My intention at the moment is to get some animators to make quick concept for me for what the creature could look like, I know what I want but can't design it myself and won't really know until I see it.