LENNY’S NIGHTMARE

Link to the video: LENNY’S NIGHTMARE

PRE- PRODUCTION:

During the pre-production stage, the first thing we decided was analysing the script and assigning the role among the team members. Each of the group members shared their personal ideas. We read the script, visualised the scene and decided about the best location which will be apt for the script. We planned to shoot the task interior and decided on the staircase of building 9. We inspected the place and took location stills before the shoot.

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After inspecting the location, I took the task of drawing the floor map. With the help of the map, we decided on the camera position and actions of the character.  With the support of the map, we decided on the camera angles and shot scale of each shot. We divided the whole scene into 16 shots, and for each 16 shots we came up with different shots and angle. The staircase had enough light for the scene, so we stick on to one plan only.

Floor Map:

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We deconstructed the whole scene and noted the camera position, shot type and angle.

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We scaled the length of each shot and had a perfect plan for each shot. After planning the shots we decided to make a trail shoot with our phone. We almost shot our scene fully with the phone. With reference of the trail shoot, we decided on the final camera positions, angle, the length of each shot and position of the characters.

Trail shoot clips:

We also decided on the cast and crew roles for the next day, and also when to swap the roles between the shoot.

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PRODUCTION:

My first task was to set up the camera settings, the frame rate was set in 24 fps and 1/100 shutter. The location had the limited light so the higher exposure value and low shutter became the reason for high noise in the footage. The white balance or Kelvin value was 3900. Still, I decided to go on with the available light.

We has made full preparation for the shooting, but production process started with a problem; students and teachers were coming and going through the location and this made out work slow. My role was to handle the camera and also director gave me the full privilege to direct the shot. I need to tell the actors where to stand and where to move when doing the take. With the help of trail shoot, everything was easy to accomplish without further thinking. As the location was on the staircase, OTS was a bit tough to be framed. However, I managed to set a frame. With the limited time, another issue was with setting the white balance. Setting white balance for each shot made out work slow. To be frank, at times I disobeyed the director and took multiple shots from different angles because I knew how the post-production would be. Later after going through the footages, everyone in the was pleased with the more footages, and they can play with many shots.

For the sound recording,  we planned to position the mic as close as possible to the characters. We recorded ambience sounds, footsteps, door opening and closing and also the dialogues. There was no recording process, so we decided not to take extreme wide shots as the boom cannot be hidden from the frame, and ended up in shooting close frames.

POST-PRODUCTION:

Naming the raw footages and sound clip was the first step and it was followed by setting up the project, sequence and bin in Premier Pro. Most of the shots were great, and continuity of the shots was also perfect. The dialogues matched the lip sync of the actors perfectly. With the flapping sound of slate, the merging of audio and video was easy.  Editing was the easiest task for me, I have experience working for feature films and ad films. I’m a certified Foundry Nuke Studio artist, but working in premier pro was a learning process for me.

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Half way of the movie, the character was changed, and to remove that feel in the video a “Dip to black” transition effect was used. In between the two parts, a caption is shown, “After few minute”. Then it goes to the new character, I believe this worked to a great extent. The aspect ratio of the video was set in 1:85:1, which is the standard US value for the theatrical film.

Timeline Screenshot:

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Audio of the raw files was filled with noise and dialogues of the crew members. After arranging the clips and audio each clip was exported to Adobe Audion to denoise and match the adjacent clips. After importing back the “Constant power” audio transition was used to match the audio with other audio clips.

Workspace Screenshot:

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Colour Grading and Correction:

I’m a great fan of David Fincher and his movie tones. So, I decided to give a bluish tone to the whole film. The Three Way colour corrector and RBG curves were used for accomplishing the task. Reducing the saturations helped me to reduce the yellow and greeish tone in the raw footage.  The movie was shot in the low light interior, so the ISO was set to a high value during the shot and this caused lots of noise in the footage. Grading was tough even though the denoiser effect was used. Still, I managed to bring my favourite blue tone to my edit by playing with all three tones and three-way colour corrector.

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