361mc: Shooting The World of Night

Progress Update for Shooting

Birmingham: 4th April 2013

The first date of our FMP shoot was 4th April when I travelled to an area of Birmingham called Bournville with Elouise Malin and Kurt Lambert. We had arranged to meet our child actor on this particular day to shoot the short flash back scene for the film. Shortly after arriving around 1:30pm we were joined by Neil Carroll and his son Jack Carroll to begin filming. Neil filled in the relevant paperwork for child performance legalities and we got under way. The camera of choice was a Canon 7D which belonged to our DOP for the day, Kurt Lambert.

The total length of screen time that would result from this footage which was shot in a neighbouring park was roughly 5 seconds and therefore was not the most mentally or physically enduring shoot of the project. After getting the shots we needed with Jack posing as the young Ricardo Freitas (Ronnie) we said farewell and promised the young boy and his dad a copy of the DVD and any other updates from the project.

flashback

Kenilworth: 9th April 2013

On the 9th April we got underway with shooting a major part of our film. Murray Simon who played the character ‘Blake’ in ‘The World of Night’ travelled up to Coventry train station from London where he lives. After going to meet him on this afternoon we sorted out his travel expenses and made our way to Kenilworth where the interior night shoot would take place later that evening.

I was a little anxious about making this initial connection and shooting on the same day as our only other communication with the actor was via Skype. However Murray turned out to be a gentleman and a great actor who was very easy to work with. While waiting for the sun to go down we got all of our lights and equipment in place and recorded the internal monologue which would play over the scene with some music. This was the diary entry scene which appears about half way through the film and really lets the audience peer in to the characters conscience reflecting his personality and disposition in the story. This scene was crucial to the film making sense and it was nice to shoot it in a quiet, controlled environment.

Having a very detailed shot list and story board helped us greatly to capture the shots we wanted and also to begin thinking about the edit despite how far away in the production process that seemed. We were very happy with Murray’s acting and the conditions in which we were allowed to work and I think it is safe to say that Murray actually helped a lot with the Art Direction in this scene by making lots of suggestions on how to dress the set. The camera of choice for this shoot was a Canon 600D.

When filming was wrapped, Murray stayed the night at Elouise’s family home. The next day we wished him farewell and had already arranged to meet him and the rest of the cast in Brighton a couple of weeks later to shoot the main bulk of the film.

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diary 2

Brighton: 17th – 20th April 2013

17th April:

Getting down to Brighton was the most exciting part of our project and I think we really wanted to throw ourselves at filming after all the months of pre-production. We shot on a Canon 5D mkii. However being that these were the most important dates of our entire project it also turned out to be the most rushed and stressful of the production stage.

We arrived on Wednesday afternoon the 17th April and we were already under pressure as we had an exterior night shoot planned for that night which I believe is the most challenging environment for a film maker. Elouise Malin, Sunil Singh and myself checked in to our hotel which was central to our filming locations and proceeded to get organised for the night ahead.

I’ve heard of actors not showing up on location on other projects and for a good hour and a half that evening I thought we had suffered the same problem. Murray Simon showed up on time at 9pm at the bandstand where we had arranged to meet. However it wasn’t until 10:30pm when Nicola Ollivere (Cherry) showed her face. Despite being bombarded with emails, texts and call sheets she still claimed that she was unaware that we were shooting that night which left us really far behind on the schedule. Shooting did not end until the early hours of the morning.

boarded

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18th April:

The following afternoon we were due to film on the beach and the pier with all three Brighton cast members (Murray Simon, Nicola Ollivere and Ricardo Freitas). Nicola showed up late again on this day and this is when I was beginning to lose my patience with her. I had to keep telling myself what a great actor she was. I was concerned about the shoot that day as the weather was good and the beach at Brighton is a popular spot to relax. However given that it was a Thursday our luck was good and the beach would only get busy at the weekend allowing us to capture exactly what we wanted out of the locations and cast.

Later that day we went back to the hotel with Murray and re-recorded his internal monologue for the diary scene as we were unhappy with the original attempt. That was a wrap for the day.

beach

pier

19th April:

On Friday afternoon we made our way to St Anne’s Well Gardens to shoot a dream sequence with Ricardo Freitas (Ronnie). That afternoon was quite a relaxing shoot as Ricardo showed up on time, the weather was nice and we only had a few shots to get.

Later that evening we were shooting at the Royal Pavilion Gardens in the soft light of Golden Hour. This scene was for the climax/ending to our film and we wanted the revelation of the characters to happen at this time of day where the sinking sun light plays on its subjects in striking ways. As usual Nicola was very late and I had to hold myself back from getting very annoyed at her. She apologised and we got started. However due to the fact she was late we were starting to lose the sunlight to the buildings and the entire evenings shoot ended up being extremely rushed.

As a result of this, we got to our next location at the Lanes to film more dream sequences and it had gotten a lot darker than I first imagined it to be which meant raising our camera ISO with the resulting footage looking grainy.

This was the last night of shooting the required footage and we had intended to film some cutaways the following morning. However having some time the previous day allowed us to achieve a lot of cutaways for a nice montage and opening credits.

royal

lanes

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