Pre-production
Experiments
The group performed a number of experiments for shots wanted within the productions. Tuesdays were set aside weekly on our production schedules for experiments and tests.
The group performed a number of experiments for shots wanted within the productions. Tuesdays were set aside weekly on our production schedules for experiments and tests.
- German Expressionism
Experiments were performed in the studio and in the street in advance of the German Expressionism Victorian Street shoot. During the day we performed tests creating the elongated angular shadows working on how the model is posed and also how the light casts the shadow, it was a good rehearsal for what was required from Richard and the crew once we got over to the street. It was in the street that we made the decision to abandon the idea of shooting on black and white 8mm film due to the constraints thrown on to shots by the fixed lens in the space available. The tests were successful.
- Green screen for sci-fi
We performed green screen lighting test for the floating shot in the sci-fi scene. The idea was to cover a box to make it green and for the actor to stand on it in front of the assembled green screen
The screen could have done with being higher and longer when rolled out onto the floor. Tests didn’t go so well and issues raised during the tests were not resolved on the day to enable us to move on with the tests.
- Colour experiments
We were looking to create a Giallo horror type lighting effect in the sci-fi scene, where the use of coloured light is sudden and to act as a signifier within the shot. These experiments amounted to playing with different coloured gels with lighting for dramatic effect. Which is always nice.
- Noir lighting experiment
I was unable to make these tests for the Noir scene but was able to review the experiments video.
- Dolly zoom experiments
For the courtroom scene in mary Ann Cotton I wanted to capture her swooning as the judge read out the verdict much to her surprise. To do this I really wanted to use a dolly zoom shot as in when Chief Brody sees the shark on the crowded beach in Jaws. This is a technical shot and I knew it was something that Kyle would also be interested in trying to create. The first thing that we learned was that it will not work with an actor just in front of a background the shot requires a good depth of field to allow the image to go wide well. The second was that it was better to track backward from your subject whilst zooming in and reverse in post if necessary than moving toward them and going wide. We used an AVC for the experiments and this would need practicing on the SR3 also. The experiments were successful.
- Three point lighting experiments
I don’t feel that we have ever genuinely nailed three point lighting and so to hone it further we did experiments with three and four point lighting in the studio as it will be used in a number of shots over the productions. We did experiments with low and high back lights and experiments to illuminate the backgrounds also with four point lighting. I cant say that I reached any new conclusions following the experiments and it’s probably a case of what ever combination of lights and intensities suits the conditions of the day when shooting.
Abandoned autopsy scene
Early on in pre-production I decided that the Mary Ann Cotton autopsy scene should be cut to control costs. It didn’t contribute much to the documentary’s narrative, rather it was a scene that we knew we could make look nice cinematically and it would only be in the production as filler eye-candy. I would still like this scene for a final production.
Early on in pre-production I decided that the Mary Ann Cotton autopsy scene should be cut to control costs. It didn’t contribute much to the documentary’s narrative, rather it was a scene that we knew we could make look nice cinematically and it would only be in the production as filler eye-candy. I would still like this scene for a final production.
Locations
Initial difficulty finding appropriate locations for the prison and courtroom scenes where instantly resolved with a trip to Ripon and visiting the Police and Prison museum and the Courthouse museum. A decision to use the Heugh gun Battery for the convicts exercise yard due to its perimeter wall defences ticked all the boxes for the production to proceed.
Initial difficulty finding appropriate locations for the prison and courtroom scenes where instantly resolved with a trip to Ripon and visiting the Police and Prison museum and the Courthouse museum. A decision to use the Heugh gun Battery for the convicts exercise yard due to its perimeter wall defences ticked all the boxes for the production to proceed.
Costume
During the minor project I did some paid work for Adam. The project was a mess on with the client for Adam and ended up doing an awful lot more work for him than what was expected. I knew that he would be making next to nothing on it if I took my fee, and so knowing that he owns a lot of the costume used in Ripper I asked if I could use them in my production and I would forgo my fee (to help him out on his first paid gig on leaving college). On agreeing to let us use the Ripon Museums James also agreed to let us use their costume cupboard also. A combination of the two solves all our costume requirements other than Marys shawl which was made for the production.
During the minor project I did some paid work for Adam. The project was a mess on with the client for Adam and ended up doing an awful lot more work for him than what was expected. I knew that he would be making next to nothing on it if I took my fee, and so knowing that he owns a lot of the costume used in Ripper I asked if I could use them in my production and I would forgo my fee (to help him out on his first paid gig on leaving college). On agreeing to let us use the Ripon Museums James also agreed to let us use their costume cupboard also. A combination of the two solves all our costume requirements other than Marys shawl which was made for the production.
Actors
Getting and keeping actors has been a problem. I think that the distance to Ripon and the fact that most of the actors that we associate with are based in the Durham, Sunderland and Newcastle areas may have been a step too far for a day’s free work as the requests for actors received a lot of interest but no responses.
My Hangman opted out of the gallows scene at the Heugh Battery last minute (even though I had arranged it for a weekend to suit him), and so did hangman two the night before the shoot, my Victorian Industrialist Extra who I had hoped would stand in as the hangman as he looked the part Also did.
These shots were where the real drama of the scene would play out and which were lost under the circumstances. I did think that shooting over the weekend may help convince other actors to be involved if the shoot didn’t conflict with a working week, which it didn’t. But it did cost us an extra days van hire.
Getting and keeping actors has been a problem. I think that the distance to Ripon and the fact that most of the actors that we associate with are based in the Durham, Sunderland and Newcastle areas may have been a step too far for a day’s free work as the requests for actors received a lot of interest but no responses.
My Hangman opted out of the gallows scene at the Heugh Battery last minute (even though I had arranged it for a weekend to suit him), and so did hangman two the night before the shoot, my Victorian Industrialist Extra who I had hoped would stand in as the hangman as he looked the part Also did.
These shots were where the real drama of the scene would play out and which were lost under the circumstances. I did think that shooting over the weekend may help convince other actors to be involved if the shoot didn’t conflict with a working week, which it didn’t. But it did cost us an extra days van hire.
I decided that if geography was an issue then maybe I should
try to contact drama groups in the Ripon area and luckily found the Ripon Rowel
Players, who unfortunately have recently disbanded. I did manage to contact the
secretary but it was not possible to forward a group email to the ex-members
who might be interested.
As time went on without luck picking up actors for the Ripon
shoots it was decided to abandon the trial scene as without a jury and public
gallery we could not shoot it convincingly. This leaves the trial scene as a
standalone reconstruction but this is the scene that will sell the piece to the
audience due to the drama…mmm.
I had an enquiry from an extra regarding the crowd shots but
upon seeing her photo I offered her the part of the mature prison guard which she
agreed to play. I was really pleased about this as I thought she would really
compliment Abby who was playing the younger prison guard. A couple of days
before shoot she opted out as her daughter had gone into labour and she was
going to be present. After failing to get last minute interest for the role
Tori thankfully stepped up for the part
as a consequence to these stumbling blocks the production
lacked actors, and it shows. No genuine actors for the hangmen working together
took all the drama out of the scene.
No response from experts.
Whilst I did narrow my net as far as experts that I contacted I was surprised that none got back in touch, one had already agreed to talk to me through James Etherington at Ripon Museums. But the lack of interest from the Hartlepool History Group left me quite shocked. Through a bit of research, I suspect that the group is effectively the work of one man.
Whilst I did narrow my net as far as experts that I contacted I was surprised that none got back in touch, one had already agreed to talk to me through James Etherington at Ripon Museums. But the lack of interest from the Hartlepool History Group left me quite shocked. Through a bit of research, I suspect that the group is effectively the work of one man.
Production Shoots
Book Keeper – CCAD Victorian Street - German Expressionist scene
We had been given permission to film in the entertainment designs Victorian street mock-up, once normal college hours were over. We set up as quickly as possible and prepared for the actors arriving once in costume. We started shooting with Steven as he was first to come over in costume. We got Richard in costume and captured the spring heeled Jack shots also. Our experiments paid off and we just got on with lighting the shots with Tim moving and walking with the light to create the desired effects. I brought in my backlight stand pole so that he didn’t have to burn his hands and he could hold and control the light comfortably. Steph came over and we completed the scene with her shots. By the end of the shoot we knew that we had some good shots and were happy that the shoot had gone well.
We had been given permission to film in the entertainment designs Victorian street mock-up, once normal college hours were over. We set up as quickly as possible and prepared for the actors arriving once in costume. We started shooting with Steven as he was first to come over in costume. We got Richard in costume and captured the spring heeled Jack shots also. Our experiments paid off and we just got on with lighting the shots with Tim moving and walking with the light to create the desired effects. I brought in my backlight stand pole so that he didn’t have to burn his hands and he could hold and control the light comfortably. Steph came over and we completed the scene with her shots. By the end of the shoot we knew that we had some good shots and were happy that the shoot had gone well.
Book Keeper - Middlesbrough Reference Library - Library
scene (part 1)
We arrived at the library early and got set up and tidied before they opened to the public. The camera was placed on the dolly and stayed on it for the rest of the day, so as to be able to move the camera away from walkways quickly if required. It is a smooth parquet flooring in the library and the dolly was used to create movement in shots also. It was going to be a slow day and shots were taken as actors arrived at various times through it, ending with Nathan who was not going to be able to make the shoot until about 4pm.Lighting was not required as the room was well illuminated with natural light but lighting could not be used due to the proximity to the public. We used the LED lights hand held a couple of time for effect as Kyle wanted highlights in the actors eyes. The shoot involved a lot of hanging around and it was clear that we were annoying other library users. Kyle did really well re-writing on the fly and we got the shots we needed.
We arrived at the library early and got set up and tidied before they opened to the public. The camera was placed on the dolly and stayed on it for the rest of the day, so as to be able to move the camera away from walkways quickly if required. It is a smooth parquet flooring in the library and the dolly was used to create movement in shots also. It was going to be a slow day and shots were taken as actors arrived at various times through it, ending with Nathan who was not going to be able to make the shoot until about 4pm.Lighting was not required as the room was well illuminated with natural light but lighting could not be used due to the proximity to the public. We used the LED lights hand held a couple of time for effect as Kyle wanted highlights in the actors eyes. The shoot involved a lot of hanging around and it was clear that we were annoying other library users. Kyle did really well re-writing on the fly and we got the shots we needed.
Book Keeper - The Black Plantation - Horror scene
We were stalled getting to the location and we arrived at the Black Plantation after dark.
Compromised by a lack of lighting we were limited to LED’s. More controllable lighting would have been good for shots but also it was so dark inside the woods that it was difficult to see where you were walking with undergrowth and potholes. As a lot of shots were intended to be handheld, this made me very nervous about walking confidently as I was scared of tripping with the camera to get shots. Focusing on the move was also made difficult and due to this many shots were set to infinity to play safe. Mattys work lights provided the mass of the lighting on the shoot backed up with the photographic LED’s handheld. the shoot had to be cut short due to our lighting battery’s running out. I wasn’t left feeling confident about expected results. A friend of mine had offered to loan us his 3k petrol generator to supply lighting for the shoot which was not taken up.
We were stalled getting to the location and we arrived at the Black Plantation after dark.
Compromised by a lack of lighting we were limited to LED’s. More controllable lighting would have been good for shots but also it was so dark inside the woods that it was difficult to see where you were walking with undergrowth and potholes. As a lot of shots were intended to be handheld, this made me very nervous about walking confidently as I was scared of tripping with the camera to get shots. Focusing on the move was also made difficult and due to this many shots were set to infinity to play safe. Mattys work lights provided the mass of the lighting on the shoot backed up with the photographic LED’s handheld. the shoot had to be cut short due to our lighting battery’s running out. I wasn’t left feeling confident about expected results. A friend of mine had offered to loan us his 3k petrol generator to supply lighting for the shoot which was not taken up.
Mary Ann Cotton – Ripon Police and Prison Museum – Execution
prison scene
due to the limited space at the location I planned a minimal crew so as not to get under each other’s feet. I did an early Hartlepool pick up and we met the second car behind the train station. Richard and Matty also turned up on spec to help but I only had one spare car seat as the actor was getting a lift there but needed a lift back from us. I had to say to Matty that he couldn’t come which I felt very guilty about as he had made the effort to come out early to help. He could get a lift back home instantly though and we set off. Upon our arrival to the prison museum the girls went with James the Manager over to the workhouse museum for costume which I entrusted them to pick to allow me to help with the setting up so we could start shooting as soon as the girls arrived back. We set up the track and dolly for our cinematic shots and planned to get these first so the equipment could be dismantled and packed whist we got the remainder of the shots. The girls phoned to confirm again what type of costume was required and so I was quite surprised when they came back looking like a couple of chaps, they were limited to the costumes that fit them, which was an immediate disappointment and a compromise to the shots. Luckily Sharon did look the part.
Unfortunately however Sharron was really quite ill which stalled production and she ultimately ended up vomiting into a museum exhibit. Sharon was a trooper though and after spending some time recovering and recomposing herself she insisted in carrying on with the shoot. After having lost so much time we continued with the smaller quicker shots to get some coverage expecting all the time for Sharon to be ill again and have to cancel the shoot. As time was limited we had to be clear of the site by 1pm and had to abandon our last cinematic tracking shot. I drove Sharon home to Durham rather than to Hartlepool train station to meet connections as she looked so ill, however this will probably sell the shots in the final edit.
due to the limited space at the location I planned a minimal crew so as not to get under each other’s feet. I did an early Hartlepool pick up and we met the second car behind the train station. Richard and Matty also turned up on spec to help but I only had one spare car seat as the actor was getting a lift there but needed a lift back from us. I had to say to Matty that he couldn’t come which I felt very guilty about as he had made the effort to come out early to help. He could get a lift back home instantly though and we set off. Upon our arrival to the prison museum the girls went with James the Manager over to the workhouse museum for costume which I entrusted them to pick to allow me to help with the setting up so we could start shooting as soon as the girls arrived back. We set up the track and dolly for our cinematic shots and planned to get these first so the equipment could be dismantled and packed whist we got the remainder of the shots. The girls phoned to confirm again what type of costume was required and so I was quite surprised when they came back looking like a couple of chaps, they were limited to the costumes that fit them, which was an immediate disappointment and a compromise to the shots. Luckily Sharon did look the part.
Unfortunately however Sharron was really quite ill which stalled production and she ultimately ended up vomiting into a museum exhibit. Sharon was a trooper though and after spending some time recovering and recomposing herself she insisted in carrying on with the shoot. After having lost so much time we continued with the smaller quicker shots to get some coverage expecting all the time for Sharon to be ill again and have to cancel the shoot. As time was limited we had to be clear of the site by 1pm and had to abandon our last cinematic tracking shot. I drove Sharon home to Durham rather than to Hartlepool train station to meet connections as she looked so ill, however this will probably sell the shots in the final edit.
Book Keeper – Grand Hotel, Hartlepool - Film Noir
The Grand Hotel were kind enough to let us use their function room for the Noir shoot. This probably helped to make it look like a classier venue than the café’s that had been planned. But the huge open space and a huge wall of mirrors reflecting back made it difficult to light compared to the studio test shots that we had performed, and so there was still an amount of trial and error to try to achieve the required chiaroscuro lighting. The Camera was mounted on the dolly to get movement over the ballroom floor. A crew members cable trip saw one of our three redheads put out of action with a blown bulb. With the help of the First year film students the larger area was well occupied. Steven the main character had lost his voice and was struggling with his dialogue so it was probably a good thing that much of his script was narrated inner dialogue to be ADR’ed at a later date. It was great hearing everybody acting with American accents; it was just like playing japs and commandoes again when I was young.
Despite these issues we completed the remaining shoot without major hitch and it will be interesting to see the results when the lighting graded.
The Grand Hotel were kind enough to let us use their function room for the Noir shoot. This probably helped to make it look like a classier venue than the café’s that had been planned. But the huge open space and a huge wall of mirrors reflecting back made it difficult to light compared to the studio test shots that we had performed, and so there was still an amount of trial and error to try to achieve the required chiaroscuro lighting. The Camera was mounted on the dolly to get movement over the ballroom floor. A crew members cable trip saw one of our three redheads put out of action with a blown bulb. With the help of the First year film students the larger area was well occupied. Steven the main character had lost his voice and was struggling with his dialogue so it was probably a good thing that much of his script was narrated inner dialogue to be ADR’ed at a later date. It was great hearing everybody acting with American accents; it was just like playing japs and commandoes again when I was young.
Despite these issues we completed the remaining shoot without major hitch and it will be interesting to see the results when the lighting graded.
Mary Ann Cotton – The Heugh Gun Battery Museum – Gallows
scene
After a very busy evening and very early morning start finishing elements of the set and completing documentation I called out and booked the Van as I had just missed them closing by getting caught in traffic coming back from Ripon the day before. I then set about loading it by myself with the set and camera equipment, then drove over to Hartlepool where I arrived late. Everybody else got there fine and helped to unload the van and build the gallows creating the set quite quickly. Dan didn’t make the shoot and so Jacob who was there as a runner stepped in to help with production sound . Adam came to help and after all the problems trying to get actors he did a great job rustling up some extras for the day.
Although kept together and separate from the other museum costume, major elements of Tori and Abbys costumes were missing when collected from Ripon for the gallows scene at the Heugh Battery. This effectively wrote them out of the opening shots and the loss of the last piece of drama in the scene’s conclusion with them. They were still able to be extras in the crowd though. The shooting plan changed to suit getting coverage of the crowd so they could then leave and to then get the actors shots. Props for the photographer worked great but to be honest all this extra work on set was a stretch and to the detriment of my director role. I was glad that Adam was there as a great help wrangling people etc. whilst I was occupied with other tasks. We ran out of time to complete the shoot which really had to run very smoothly and quickly to be achieved and many of the planned shots were not got. Although we had the van until Monday and the Sunday was already provisionally booked with the Battery in case pickup shots were needed. We were unable to take this option as many of the crew were unavailable to shoot and we couldn’t afford to hire the van again (we couldn’t really afford it the first time). The shoot didn’t go so well really.
After a very busy evening and very early morning start finishing elements of the set and completing documentation I called out and booked the Van as I had just missed them closing by getting caught in traffic coming back from Ripon the day before. I then set about loading it by myself with the set and camera equipment, then drove over to Hartlepool where I arrived late. Everybody else got there fine and helped to unload the van and build the gallows creating the set quite quickly. Dan didn’t make the shoot and so Jacob who was there as a runner stepped in to help with production sound . Adam came to help and after all the problems trying to get actors he did a great job rustling up some extras for the day.
Although kept together and separate from the other museum costume, major elements of Tori and Abbys costumes were missing when collected from Ripon for the gallows scene at the Heugh Battery. This effectively wrote them out of the opening shots and the loss of the last piece of drama in the scene’s conclusion with them. They were still able to be extras in the crowd though. The shooting plan changed to suit getting coverage of the crowd so they could then leave and to then get the actors shots. Props for the photographer worked great but to be honest all this extra work on set was a stretch and to the detriment of my director role. I was glad that Adam was there as a great help wrangling people etc. whilst I was occupied with other tasks. We ran out of time to complete the shoot which really had to run very smoothly and quickly to be achieved and many of the planned shots were not got. Although we had the van until Monday and the Sunday was already provisionally booked with the Battery in case pickup shots were needed. We were unable to take this option as many of the crew were unavailable to shoot and we couldn’t afford to hire the van again (we couldn’t really afford it the first time). The shoot didn’t go so well really.
Book Keeper – The Heugh Gun Battery Museum - Sci-fi
the Sci-fi scene was an evening shoot at the Heugh Battery museum. We arrived and set up in the café as we would be able to begin shooting earlier indoors as we lost natural light outside.
The room was filled with smoke and lights were positioned outside of the windows to project through when the aliens arrive. The sharp beams required were not as defined as required cutting through the haze really, and probably more powerful lights were required. Shooting was slow as cast and crew members did not seem as focused on the job in hand, and the shotlist was not completed. Shooting in the dark was again a problem and at times an infinity setting was the best option.
Wrapping up the shoot to leave was a problematic and badly organised placing other people’s problems in my hands to resolve.
the Sci-fi scene was an evening shoot at the Heugh Battery museum. We arrived and set up in the café as we would be able to begin shooting earlier indoors as we lost natural light outside.
The room was filled with smoke and lights were positioned outside of the windows to project through when the aliens arrive. The sharp beams required were not as defined as required cutting through the haze really, and probably more powerful lights were required. Shooting was slow as cast and crew members did not seem as focused on the job in hand, and the shotlist was not completed. Shooting in the dark was again a problem and at times an infinity setting was the best option.
Wrapping up the shoot to leave was a problematic and badly organised placing other people’s problems in my hands to resolve.
Mary Ann Cotton - CCAD
- Pickup shots execution
We had to get in very early to begin shooting to have access to the SR3. I met Kyle at College and we began filming at about 8am outside CCAD next to an appropriate wall. We started by getting the shots of the dummy breathing wearing the hood, then breathing whilst falling for the freeze frame, We next moved onto our fun shots and captured the slow motion close ups of the photographers flash which we locked off by mounting on a mike stand in time for Tori arriving to stand in as Mary for close ups of her being bound wearing the cape. We quickly packed up and I drove Kyle over to Middlesbrough to meet the Slaps film crew at 10am.
We had to get in very early to begin shooting to have access to the SR3. I met Kyle at College and we began filming at about 8am outside CCAD next to an appropriate wall. We started by getting the shots of the dummy breathing wearing the hood, then breathing whilst falling for the freeze frame, We next moved onto our fun shots and captured the slow motion close ups of the photographers flash which we locked off by mounting on a mike stand in time for Tori arriving to stand in as Mary for close ups of her being bound wearing the cape. We quickly packed up and I drove Kyle over to Middlesbrough to meet the Slaps film crew at 10am.
Book Keeper - Cemetery Hartlepool – Horror
Due to other commitments planned before the shoot I had a busy day and I met the crew at the cemetery as they were setting up and Steph was getting into costume. It was one of the first nice bright sunny days of the year, for a horror scene. Due to this we had to shoot everything with the lens stopped right down. This mightn’t be a bad thing form some points of view as the 35mm lens has developed a problem with its aperture action and tends to be fully closed or fully open. Other than some establishing shots all camera work was hand held. The bright sun created problems seeing the Camera screen and guaranteeing focus was difficult, at times I had to put my coat over my head and the camera to see. Other times a crew Matty held the reflector in place for me as a sun guard. For many of the handheld shots with movement where a pull focus may have been required the lens was set for infinity as I was struggling to see the composition alone. Things became easier as we lost the sun a bit as it went down, but that was really as we were finishing. I’m curious to see the results.
Due to other commitments planned before the shoot I had a busy day and I met the crew at the cemetery as they were setting up and Steph was getting into costume. It was one of the first nice bright sunny days of the year, for a horror scene. Due to this we had to shoot everything with the lens stopped right down. This mightn’t be a bad thing form some points of view as the 35mm lens has developed a problem with its aperture action and tends to be fully closed or fully open. Other than some establishing shots all camera work was hand held. The bright sun created problems seeing the Camera screen and guaranteeing focus was difficult, at times I had to put my coat over my head and the camera to see. Other times a crew Matty held the reflector in place for me as a sun guard. For many of the handheld shots with movement where a pull focus may have been required the lens was set for infinity as I was struggling to see the composition alone. Things became easier as we lost the sun a bit as it went down, but that was really as we were finishing. I’m curious to see the results.
Mary Ann Cotton – Battery and workhouse museums - K3
cutaways steel wall defences
For the title sequence I want images of the steel wall defences at the Heugh Battery and from the workhouse museum in Ripon as well as their steel and stone stairwell. I want these to be shot 4:3 too as its now an old fashioned format. I don’t mind if they are dirty or distorted colour wise due to a home telecine (I actually think this could add to it). These will be displayed alongside noises of steel doors shutting, bolts being thrown and locked, similar to the opening titles for porridge and the quiet voices. These images would then transform to 16:9 during the opening shot. To this end we took my K3 16mm camera out for the day filled with the same film stock as the SR3. We started the day by getting the cell window slow zoom shot before taking a trip up to the Battery. We briefly called in to see Diane to sign off documentation before captured shots of the spikes from outside the Battery, where they face outward. We then drove to Ripon to meet James in the Workhouse Museum again to sign off documentation and let him know that we were there. We then proceeded to get the shots of the staircase and courtyard wall spikes that were to keep the tramps inside at night. Time is getting tight but I hope to develop these shots myself.
For the title sequence I want images of the steel wall defences at the Heugh Battery and from the workhouse museum in Ripon as well as their steel and stone stairwell. I want these to be shot 4:3 too as its now an old fashioned format. I don’t mind if they are dirty or distorted colour wise due to a home telecine (I actually think this could add to it). These will be displayed alongside noises of steel doors shutting, bolts being thrown and locked, similar to the opening titles for porridge and the quiet voices. These images would then transform to 16:9 during the opening shot. To this end we took my K3 16mm camera out for the day filled with the same film stock as the SR3. We started the day by getting the cell window slow zoom shot before taking a trip up to the Battery. We briefly called in to see Diane to sign off documentation before captured shots of the spikes from outside the Battery, where they face outward. We then drove to Ripon to meet James in the Workhouse Museum again to sign off documentation and let him know that we were there. We then proceeded to get the shots of the staircase and courtyard wall spikes that were to keep the tramps inside at night. Time is getting tight but I hope to develop these shots myself.
Book Keeper - Ormesby Hall Woods Middlesbrough – Horror
Pickup shots for the horror scene were completed in Ormesby Hall’s woods where we shot for Inferno, as they are are just off the main road. It was equally as muddy there but you didn’t have to walk through as much of it to get there. As we got there before dark we could see easier in the twilight and thankfully the ground was firmer with less potholes and undergrowth, so handheld shooting was less problematic as I was more confident with my footing. We replicated the lighting technique used on the first shoot but being able to use both of Mattys lights made a difference. As it got darker the infinity setting was again relied on to achieve focus. As this has been a repeated problem retrospectively thinking I should either keep a powerful torch with the camera to focus or adapt to measuring it off (probably both), however not so easy again when pulling a marked focus in the dark. Shooting went well and we wrapped up earlier than expected.
Pickup shots for the horror scene were completed in Ormesby Hall’s woods where we shot for Inferno, as they are are just off the main road. It was equally as muddy there but you didn’t have to walk through as much of it to get there. As we got there before dark we could see easier in the twilight and thankfully the ground was firmer with less potholes and undergrowth, so handheld shooting was less problematic as I was more confident with my footing. We replicated the lighting technique used on the first shoot but being able to use both of Mattys lights made a difference. As it got darker the infinity setting was again relied on to achieve focus. As this has been a repeated problem retrospectively thinking I should either keep a powerful torch with the camera to focus or adapt to measuring it off (probably both), however not so easy again when pulling a marked focus in the dark. Shooting went well and we wrapped up earlier than expected.
Book Keeper – Seaton Carew – Western
Of all the Book keeper shoots for some reason this was the shoot I had been looking forward to the most. We arrived at Seaton beach late mid-afternoon in order to shoot during the golden hour. Luckily for us and perfect for the shoot, it was a lovely sunny day. Shooting was straight forward with the camera locked of on the tripod a lot of the time and also using pans and tilts. I have been considering drag on the tripod head more this year and adapting it to suit, which I like.
I applied the same rules when taking my shots as conventionally by leaving space in front of the actors but off centre opposed to on thirds. For the extreme close up of Nathan, I wanted to use the gold side of the reflector to highlight his face which looked nice. I’m sure it helped with the snake eyes look of the shot also, as he squinted to deal with the bright reflection.
I did point out Seaton front in view in the background behind Steven for some of his shots, which were impossible to eliminate by repositioning and keeping the shot that Kyle wanted. After consideration he said that they weren’t an issue and we took the shots. The most difficult shot of the shoot to take was the shot where Steven does the cowboy fall to his knees in the sand and shoots. We took several takes adjusting image composition to suit the end point of each shot as he fell, but we felt it when we got the shot. The shoot went well.
Of all the Book keeper shoots for some reason this was the shoot I had been looking forward to the most. We arrived at Seaton beach late mid-afternoon in order to shoot during the golden hour. Luckily for us and perfect for the shoot, it was a lovely sunny day. Shooting was straight forward with the camera locked of on the tripod a lot of the time and also using pans and tilts. I have been considering drag on the tripod head more this year and adapting it to suit, which I like.
I applied the same rules when taking my shots as conventionally by leaving space in front of the actors but off centre opposed to on thirds. For the extreme close up of Nathan, I wanted to use the gold side of the reflector to highlight his face which looked nice. I’m sure it helped with the snake eyes look of the shot also, as he squinted to deal with the bright reflection.
I did point out Seaton front in view in the background behind Steven for some of his shots, which were impossible to eliminate by repositioning and keeping the shot that Kyle wanted. After consideration he said that they weren’t an issue and we took the shots. The most difficult shot of the shoot to take was the shot where Steven does the cowboy fall to his knees in the sand and shoots. We took several takes adjusting image composition to suit the end point of each shot as he fell, but we felt it when we got the shot. The shoot went well.
Book Keeper – Hartlepool - Stevens street shots & CCAD -
Library scene (shoot 2) The ghost
Early afternoon we drove up to the abandoned streets in Hartlepool that we have used a number of times now to shoot the back to reality shots of Steven from the Western scene. As we got there we were surprised to find a large number of the houses have now been demolished and the ground flattened. Whilst not planned this was actually great. The vast expanse of rubbly dirt surrounded by the abandoned boarded up housed made an excellent vast real-life vista for the transformation from the desert shot. Steven performed well, as always and the shots were got quickly. As we had time, I had noticed that with the slight breeze when Steven ripped the story although out of shot the paper blow away nicely and so we collected up the paper and got some shots of this next to the bag that the story had come from. Nice.
Once college finished normal hours we had been given permission to shoot in the stairwell next to fashion to get the remaining Library scene shots. Abby dressed as a Victorian ghost and we got two locked of shots of Abby, one in shot and one without. The remaining shots weren’t awkward but took a long time to get as one of the actors struggled a bit with lines and receiving direction.
Early afternoon we drove up to the abandoned streets in Hartlepool that we have used a number of times now to shoot the back to reality shots of Steven from the Western scene. As we got there we were surprised to find a large number of the houses have now been demolished and the ground flattened. Whilst not planned this was actually great. The vast expanse of rubbly dirt surrounded by the abandoned boarded up housed made an excellent vast real-life vista for the transformation from the desert shot. Steven performed well, as always and the shots were got quickly. As we had time, I had noticed that with the slight breeze when Steven ripped the story although out of shot the paper blow away nicely and so we collected up the paper and got some shots of this next to the bag that the story had come from. Nice.
Once college finished normal hours we had been given permission to shoot in the stairwell next to fashion to get the remaining Library scene shots. Abby dressed as a Victorian ghost and we got two locked of shots of Abby, one in shot and one without. The remaining shots weren’t awkward but took a long time to get as one of the actors struggled a bit with lines and receiving direction.
Mary Ann Cotton -
CCAD and my house - digital safetys and 16mm
No matter how I tried to re-arrange the 16mm shots there was key footage missing to tell the story. I called into college to collect Kyle and the jacket that Steven wore as the Hangman taking my cameras. We first got shots at the rear of CCAD on my BMPCC digital camera of the cell window to fill blanks in the module submission. We then called to mine to get some digital shots of the noose being placed around Marys neck and the final shot of Marys POV with the hood on. These shots were also taken on film, but these shots are unlikely to be developed in time for submission now.
No matter how I tried to re-arrange the 16mm shots there was key footage missing to tell the story. I called into college to collect Kyle and the jacket that Steven wore as the Hangman taking my cameras. We first got shots at the rear of CCAD on my BMPCC digital camera of the cell window to fill blanks in the module submission. We then called to mine to get some digital shots of the noose being placed around Marys neck and the final shot of Marys POV with the hood on. These shots were also taken on film, but these shots are unlikely to be developed in time for submission now.
Book Keeper – Hartlepool - Nathan street shots
to wrap the Book Keeper shooting we ended on Nathans street shots (back from the western)It was a pleasant sunny day and this will have helped the link from the western. The mini shoot was straight forward and we ended on a wide to establish his new location. As we used Lee’s own BMCC camera and lenses for this shoot, we took advantage of his 8mm lens for this shot.
to wrap the Book Keeper shooting we ended on Nathans street shots (back from the western)It was a pleasant sunny day and this will have helped the link from the western. The mini shoot was straight forward and we ended on a wide to establish his new location. As we used Lee’s own BMCC camera and lenses for this shoot, we took advantage of his 8mm lens for this shot.
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