Edition

It proved much easier to import footage from the cinealta camera we were using for the shoot on Thursday. Because it records to a memory card it is already in a digital format so it doesn't require capturing. After reviewing the clips it became clear that the quality of the camera shows up the faults of the operator in some detail! Poor focussing on some of the shots we took are down partly to not taking the time to ensure it was done properly on set and also partly, I think, to lack of adequate monitoring (which I guess is the same thing!) Manual focus will require the use of a monitor or at least the expanded focus function to check the camera is set up the way it should be.
We were disappointed with the pace of our establishing tracking shot too. It seems that it's too easy to pull the dolly too quickly as it is difficult to keep it slow and smooth at the same time. We applied the plug-in Twixtor in After Effects to slow this footage down but the shutter speed we used wasn't ideal and it has made only a relatively small amount of difference. It's still an improvement and we learnt a little about a great feature of the software.
Going through the edit after adding exterior shots taken at the weekend we needed to make some stringent cuts to keep the time down to 45 secs. The narrative had to suffer a little because we didn't want to change the pace of the story too much. Repetitive elements that just didn't work were dropped and the final effect was a much better flow to the ad.
We wanted to give the piece a uniformity of look to link it all together so we experimented with the Magic Bullet plug-in in AE as well. We found a preset that gave us a contrasty and slightly saturated look, as well as a vignette that screams sinister. On consideration we may drop the vignette as one of the tilt shots make it look a little odd. Maybe we should just drop it there. Also need to experiment with the graduation of this effect as it seems to step a little too severely, drawing attention away from the scene.

Keeping Track

Well, after running round organising props and a location in which to shoot Frankenstein's Den the day came to set our bottles and lamps out in G03 and make with the video. It took all morning to dress our scene and construct the track and dolly for our opening sequence. It turned out to be a steep learning curve putting it all together and we were still a little disappointed with the art direction. However, with our budget, time and location constraints we reckoned there wasn't a lot more we could have done. We would have to hope that creative lighting and camera angles would give us the atmosphere we wanted to create. Fortunately, the story we are working to requires a lot of close up to avoid revealing the setting. This meant we could use details instead of overall look to drive things forward.
The track was an experience I had been looking forward to for a while. The really smooth camera movement that can be achieved is crucial to some of the best work seen on both big and little screens. It's relatively easy to put together, if a little time consuming, with supervision from staff. I now feel confident I could use it unsupervised (indoors at least!) which is a bonus for future productions. It did seem a bit of an anticlimax to spend only a few minutes shooting the sequence we needed with it after building it for more than an hour! The effect looked really good in camera on the day.
Using three redhead lights was also relatively new experience for us both. We had used them to light still photography work before and tried them out on a green screen induction but this was the first chance to get hands dirty lighting a scene we had in mind ourselves. It turned out quite a challenge to achieve the effect we wanted but we learnt a great deal about the lights and the way the camera works in the end. Using the ND filter setting to achieve a dimmer scene without closing the aperture down a lot is one example.
We had a stroke of luck in finding an understudy for the part of the crazy scientist. James would have had to step in to cover for his step-dad (who was unable to make it) but when Oliver arrived he brought his dad as well as his mum who was happy to volunteer! We had a lot of fun spending the afternoon shooting with Dave and Oliver which will probably show through in the performances. Even the interruption by a group of visiting teenagers was turned into an opportunity for light relief! Keeping performers relaxed in front of camera is one of the biggest challenges we face as we use non professionals in the roles we create.
I came out of the room feeling pleased that we had achieved what we set out to and enjoyed it too! We could have improved things with more thorough rehearsal and practice with equipment but, again, time issues constrained us. Next the edit...

Props and sets

In my role as producer I have been researching opportunities for the art direction of our lab/den scene. Figured we could use toy chemistry sets and techno stuff to give the impression of experiments in progress. These lend themselves to a kid's bedroom or den space equally well so we can be ambiguous until the payoff moment when the lights go up.
Fortunately, after meeting Oliver, who we've cast as the kid/Igor part, it turns out, as I thought, that he already has a lot of the kind of toys we are after. The roboraptor in the photo was a christmas present two years ago!
My sister has been immense help in finding scientific looking glassware and instruments for that Frankenstein lab look. Her kitchen is full of unnameable devices which look the part! On my way round to my mum's house too because apparently my brother had a chemistry set when young and definitely had a microscope. It feels like the plan is coming together.
We plan to rehearse our story tomorrow so we know what shots we're aiming to capture on the day and a) it goes smoothly and b) we have the right level of authority with the cast. Any problems with framing the shots should become apparent at this stage and we can make last minute adjustments before the big day.

Animatic sequence

Working out timings and shot framing for our idea has enabled us to plan our shoot schedule so we are not wasting a lot of time experimenting with the way it will look. This shows the way we anticipate the action proceeding in our commercial. It doesn't have a great deal of detail about the lego kit itself, focussing instead on selling the thing through the narrative and the spectacle.
We want to tap in to the myth of Frankenstein which we think will be both familiar to all and easy enough to subvert to our message. To do that we need to consider the art direction carefully. The crit last week raised a few ideas about how to solve the classic switch moment. We could try to bring it up to date with a modern version of the switch (a touchpad or something) that would need to be dramatised in an exaggerated way to reference the myth. We may decide to stick with a very traditional style of switch instead.

Casting Quality

Think we've had a stroke of luck in casting the part of the boy in our commercial. I did ask James to shave off his beard and swallow helium to do the part but he refused. Even after a lot of gentle persuasion.
So it's a good job I know somebody with a son who loves drama, I thought to myself. When I approached her about the project I half-expected her to say it was too short notice and she didn't want him to miss any school. I explained what we were working on and she nearly snapped my hand off! (Figuratively speaking, it was on the phone!) It turns out her son is a massive fan of Lego anyway so he won't even have to fake enthusiasm... Really looking forward to getting the art direction sorted out and cracking on with it now.

Igor

From an art direction point of view this film proved useful in tapping into the zeitgeist of Frankenstein mythology represented in popular culture. I spent the whole time scanning the backgrounds for atmospheric prop and scenery ideas for our Franken-bot concept. Good job I was only watching it for this reason though, because the movie was pretty awful! Predictable and lacking any real performances or plotting of note, it was an exercise in feelgoodery for the Hollywood machine trying to tap into the emo generation. Tim Burton produces way more effective animated films for the yoof market with such horror-esque influences.
After noting the scene settings, however, we will be looking for an electrical type prop for our commercial such as a van der Graaf generator or plasma ball. The lighting will need to be subdued and dimmed I think. We need a switch to throw as well, since this is a key part of the myth.
Just need to finalise the plot and make a conceptual storyboard for it now.

Don't go too far...

Cartoon Network Halloween
Follow the linky for a "2.5D" sequence from Spanish Cartoon Network with a Halloween theme. I don't know what the show with the Frankenstein theme is that appears near the end but it's all useful stuff for solving the look of our monster themed commercial. I think this looks a bit too cartoony for us to promote the mindstorms product but we do need to aim for something that can be taken lightly. We run the risk of coming across too dark so we need to be careful.
Also, I love the way they make Basil Brush sinister! Genius! How do you turn a character that's as camp as a row of tents into a creepy psycho? Ha ha! Brilliant!