From a story point of view, the exterior shots of the workshop do a number of different things.
1) They set the world in which the story takes place. With one shot, at a glance, the audience know that we are dealing with a different world or time-period. They know that within that world we are dealing with an erratic, impoverished man, largely cut-off from society, unconcerned about his material comforts. They also know from the first frame the sort of style this film will take them down, rather than piecing the style together in the first scene with Grabulous, when they could otherwise be concentrating on story and character.
2) They allow the audience a chance to breathe - to take a step back from the action, process what has been and prepare themselves for what has come. A cutaway of an object within the set would not allow the audience this breathing moment.
3) They punctuate the narrative in a distinct way that a cutaway would not do.
4) They link the constructed set and the Mugdock location by combining elements of both in the same composition. The audience are more likely to buy the link between the two scenes if they have a visual picture of the workshop as part of a larger world.
Given the need for the exterior scenes, it appears we have three options.
1) A model
2) A matt painting
3) A location
Option 3, while normally the best, requires us on this occasion to first find a suitable structure, then film it in three different lighting conditions.
Option 2, while notionally easier, is actually the harder option for TPA, having spoken to them. Luisa says she would need to do it an home in her spare time, which seems an unnecessary intrusion.
Option 1 is one I was very wary of. But Luisa has told me that none of the Art Dept assigned to the DFTV films would actually be doing the model. She has spoken to a TPA3 Props specialist called Gary. He is looking to move into film work, he has done models before, he has little to do once the TPA Grad Show finishes on Friday, and he has expressed interest in doing this. Phil has been to see Gary's models in the TPA GRad show and assures me they are of the highest quality. Steven has assured me that with a bit of care the lighting of the model is no different to the lighting of anything else and that he is happy to mentor John in whatever needs to be done. Gavin has assured me that if we light the model nicely it is a good deal easier to greenscreen an inanimate workshop than a moving fairy. Luisa tells me the cost for the model would be between £30 and £50. While money matters are not my decision, this did not seem outrageous to me.
It took me a long time to be convinced that the model was possible. Even now I am not sure it will work. But I look at this as a learning experience. If the modelwork fails, we will know the potential pitfalls for next year. But I have been assured that it will look good, that we can light it well and that we can greenscreen it well. It will not greatly take time away from anyone but Gary - who is not needed for any other role on the crews. So - I ask myself - what do we have to lose?
Could we do it without the exterior shots? Yes - we could take Close-Ups of the clock at different times. This would be satisfactory, and it may be good to shoot this as a back-up plan. But the story would be better served, I believe, by attempting the model.
John, Phil and myself have had a discussion about this, and I feel we are agreed that a model is the best way to solve this problem.
1) They set the world in which the story takes place. With one shot, at a glance, the audience know that we are dealing with a different world or time-period. They know that within that world we are dealing with an erratic, impoverished man, largely cut-off from society, unconcerned about his material comforts. They also know from the first frame the sort of style this film will take them down, rather than piecing the style together in the first scene with Grabulous, when they could otherwise be concentrating on story and character.
2) They allow the audience a chance to breathe - to take a step back from the action, process what has been and prepare themselves for what has come. A cutaway of an object within the set would not allow the audience this breathing moment.
3) They punctuate the narrative in a distinct way that a cutaway would not do.
4) They link the constructed set and the Mugdock location by combining elements of both in the same composition. The audience are more likely to buy the link between the two scenes if they have a visual picture of the workshop as part of a larger world.
Given the need for the exterior scenes, it appears we have three options.
1) A model
2) A matt painting
3) A location
Option 3, while normally the best, requires us on this occasion to first find a suitable structure, then film it in three different lighting conditions.
Option 2, while notionally easier, is actually the harder option for TPA, having spoken to them. Luisa says she would need to do it an home in her spare time, which seems an unnecessary intrusion.
Option 1 is one I was very wary of. But Luisa has told me that none of the Art Dept assigned to the DFTV films would actually be doing the model. She has spoken to a TPA3 Props specialist called Gary. He is looking to move into film work, he has done models before, he has little to do once the TPA Grad Show finishes on Friday, and he has expressed interest in doing this. Phil has been to see Gary's models in the TPA GRad show and assures me they are of the highest quality. Steven has assured me that with a bit of care the lighting of the model is no different to the lighting of anything else and that he is happy to mentor John in whatever needs to be done. Gavin has assured me that if we light the model nicely it is a good deal easier to greenscreen an inanimate workshop than a moving fairy. Luisa tells me the cost for the model would be between £30 and £50. While money matters are not my decision, this did not seem outrageous to me.
It took me a long time to be convinced that the model was possible. Even now I am not sure it will work. But I look at this as a learning experience. If the modelwork fails, we will know the potential pitfalls for next year. But I have been assured that it will look good, that we can light it well and that we can greenscreen it well. It will not greatly take time away from anyone but Gary - who is not needed for any other role on the crews. So - I ask myself - what do we have to lose?
Could we do it without the exterior shots? Yes - we could take Close-Ups of the clock at different times. This would be satisfactory, and it may be good to shoot this as a back-up plan. But the story would be better served, I believe, by attempting the model.
John, Phil and myself have had a discussion about this, and I feel we are agreed that a model is the best way to solve this problem.
No comments:
Post a Comment