Building up to my realisation.

Now I know I have a strong idea on what I'm doing in the build up to my actual realisation task, I have to focus on organising it and bringing it all together so it works, sort of reiterating my points from the second task. The first thing I need to focus on is risk assessing the TV Studio and book out the equipment I want to use, as well as arranging actors to play the drug dealers. The risk assessments were my priority, ensuring that if anything needed sorting out prior to completing my task, I could do so without any issues. Of course, this was followed by booking the equipment 48 hours in advance to confirm I definitely had the gear I needed in order to achieve the shots I wanted in order to tell my adapted version of the story.

ANNOTATED SCRIPT































RISK ASSESSMENTS

It's always essential to risk assess every location before shooting, as it not only resolves any health and safety issues prior to filming, but it ultimately speeds up the shooting process knowing that any potential problems have been resolved, or there will be already attained knowledge on how to deal with any arising issues that may occur - which is likely during shooting.

EQUIPMENT

The noticeable thing about my chosen equipment, is that I've decided against using the sound kit, mainly because I felt this task is focusing more on the visuals rather than the audio and I felt that it was extra and unnecessary effort to set up sound, when in fact it wasn't particularly needed.

Canon C100, along with a standard tripod.

Canon EF Macro Lens - to enable me to get shots with a large aperture and shallow depth of field as I discussed earlier, particularly close ups of what the drug dealers are doing with their hands - the body language may give the audience a brief insight into each characters personality, despite not knowing them whatsoever.

Tracking Dolly - allows me to get shots that dolly in, which achieves the dramatic and tense long takes, which drag the scene out, further increasing the tension. Additionally, as I've previously said in relation to camera movement, it allows me to play around with my actors and props and use movement as a means to reveal something.

Dedo Lights - these lights are fairly flexible when it comes to brightness. I chose the Dedo's as my primary lights because they can be set to be quite dim, which is what's required for my scene, however if I need light to be brighter in a specific place, they allow me to do this.

Arri Lamps - I only really booked out the arri lamps as a back-up, whilst there was little to no chance of me using them, especially considering the TV Studio I was using already has some built into the set, it was very unlikely. However, I wanted to have a kit anyway, just in case I needed it for whatever reason.



THE SET

Prior to filming, I went into the set to take pictures in order to gauge an idea of how I could place my props and still function comfortably with the camera - baring in mind it is a relatively small space to film in. More so, I looked at what was already built in the set (lighting, for example) and how I could use this to my advantage.

As you can see, there isn't a lot of room, especially because my plan was to fit a long table in there in order to fulfil my long take dolly shot, so I had to figure out a way around this, as well as where I was going to place my lights. The built-in blinds work well for what I want, as I can use them to create the effect I mentioned earlier with the natural light intruding the darker interior on the set.

Set from the other side.

Around the side of the set there are already built-in arri lamps pointing at reflectors to soften the light, considering how bright arri lamps are. Shining an arri lamp with nothing else would be too bright and ultimately too unrealistic, so using the reflectors provide a more natural look. Allowing me to use only the dedo lights for the interior.

Again there are arri lamps already built into the set around the back, pointing at reflectors to produce the same effect as the others. In order to produce the effect that it is night time, I will likely place blue filters onto the lights to recreate a moonlight effect.






DIAGRAM OF SET AND LIGHTING CONSTRUCTION

COSTUME DESIGN































STORYBOARD