TRANSITIONS BLOG POST: MAKE
MOOD BOARDS:
SHOT LIST:
I sat down with Ethan (our director) over a teams call to produce this shot list for our production.
COLOUR GRADING:
Here is a short video on some colour grading I would like to produce for this production. As you can see from the shot in the dinner I know that lighting will be a lot better, but I wanted to give the shot an added warmth to show to the audience that they are safe and happy at this location with their mother. The lighting for this scene would be practical so what I decided to light the scene with would hopefully give off enough light so the subjects are well lit, but I want the lights to give off a red tint, however, I don't want the subject covered in red, which is why the scene will also use natural lighting from windows. The other shot is an outside shot and as you can see from this one is that I've gone for a more natural feeling to the shot by giving it a blue tint, but then also making the shot seem a bit darker than usual. I spoke to the director after showing him both grades and he was pleased with both of the grades and so was the producer so I am happy with the outcome.
LIGHTING PLAN:
I have made 3 lighting plans for this specific shoot due to there only being 3 main locations that we are going to use. The first location will be in the car as there is a bit of dialogue that is said in the car, the second location will be when the brothers pull over in the car and one begins shadow boxing (I will use this same plan, with a few changes for when the brothers arrive at the mobile home), and lastly the lighting plan from inside the mobile home.
1) Car Scene:
With there being a lot of restrictions with filming inside a car we would simply need a truck to pull the car along, however, we do not have the budget for something like that so we would have to be careful with how we go around lighting this scene. Due to a lot of regulations, the scene would simply have to be light naturally by whatever daylight. Although most of that scene would have to be done using natural lighting there is a part when he pulls up to Charlie's house, this will need to be lit properly.
2) Shadow Boxing (when the car pulls over) & walking to the mothers' house
In the part of the production, James pulls the car over and begins to shadow box, so I have thought about this scene and I want to keep continuity which has led me to have more natural lighting but I will also be using an LED light to give some backlight to him. I will also place a diffuser to make the light softer on James. However, when Charlie sticks his head out the window I want it to be harsher as he is the one carrying the weed with this I will get rid of the diffuser and use just an ARRI Tungsten. So below is another idea on how I would like to light this specific scene.
3) Dinner Scene
The final lighting plan I have done was for the dinner scene. I kne straight away that this would be the most difficult to light de to the fact that the space inside the mobile home would be a squeeze to get all of the equipment in. So I made the decision that the entire scene should be lit using practical lights i.e lamps, windows, and built-in lights from the home. I took inspiration from a scene in Goodfellas when they're in the bar and the only way the actors are lit is through lamps on the table.
SHOT LIST:
I sat down with Ethan (our director) over a teams call to produce this shot list for our production.
COLOUR GRADING:
Here is a short video on some colour grading I would like to produce for this production. As you can see from the shot in the dinner I know that lighting will be a lot better, but I wanted to give the shot an added warmth to show to the audience that they are safe and happy at this location with their mother. The lighting for this scene would be practical so what I decided to light the scene with would hopefully give off enough light so the subjects are well lit, but I want the lights to give off a red tint, however, I don't want the subject covered in red, which is why the scene will also use natural lighting from windows. The other shot is an outside shot and as you can see from this one is that I've gone for a more natural feeling to the shot by giving it a blue tint, but then also making the shot seem a bit darker than usual. I spoke to the director after showing him both grades and he was pleased with both of the grades and so was the producer so I am happy with the outcome.
LIGHTING PLAN:
I have made 3 lighting plans for this specific shoot due to there only being 3 main locations that we are going to use. The first location will be in the car as there is a bit of dialogue that is said in the car, the second location will be when the brothers pull over in the car and one begins shadow boxing (I will use this same plan, with a few changes for when the brothers arrive at the mobile home), and lastly the lighting plan from inside the mobile home.
1) Car Scene:
With there being a lot of restrictions with filming inside a car we would simply need a truck to pull the car along, however, we do not have the budget for something like that so we would have to be careful with how we go around lighting this scene. Due to a lot of regulations, the scene would simply have to be light naturally by whatever daylight. Although most of that scene would have to be done using natural lighting there is a part when he pulls up to Charlie's house, this will need to be lit properly.
2) Shadow Boxing (when the car pulls over) & walking to the mothers' house
In the part of the production, James pulls the car over and begins to shadow box, so I have thought about this scene and I want to keep continuity which has led me to have more natural lighting but I will also be using an LED light to give some backlight to him. I will also place a diffuser to make the light softer on James. However, when Charlie sticks his head out the window I want it to be harsher as he is the one carrying the weed with this I will get rid of the diffuser and use just an ARRI Tungsten. So below is another idea on how I would like to light this specific scene.
3) Dinner Scene
The final lighting plan I have done was for the dinner scene. I kne straight away that this would be the most difficult to light de to the fact that the space inside the mobile home would be a squeeze to get all of the equipment in. So I made the decision that the entire scene should be lit using practical lights i.e lamps, windows, and built-in lights from the home. I took inspiration from a scene in Goodfellas when they're in the bar and the only way the actors are lit is through lamps on the table.
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