Hey everyone! My friends and I are about to begin filming our first real short, which is awesome. But, I'm the one responsible for shooting it, lighting it, editing it, and doing all of the effects we need. (The other two wrote it and are acting. Were at 56 pages right now in the screenplay)
I'm pretty nervous, mostly because I've never done anything on this big of a scale and I'm responsible for everything visual. I have some questions so hopefully you guys can bear with me!
This is the first scene we're working on. If there is a better way of uploading this let me know!
For some reason, they wrote actions in the character's names and dialogue in the actor's names, so I apologize.
There are really two main questions I have. I'm having trouble lighting it, and I want to know if there's a more efficient way of shooting it than I've outlined.
Last weekend, we tried to film. We're using a garage, and my initial thought was to open the garage door for light and use a day for night here so we don't lose quality.(HV40 isn't the best in low light.) One of the writers got mad because he 'wanted a night scene' and didn't really understand what i was saying, so we shut the garage and used the garage fluorescent light and an old stage light with a poster board reflector. It... was bad. Even with the exposure lock trick, i wasn't happy with our crappy lighting and we stopped filming. This time, I'm opening the door and uncovering the windows; would that be enough? Should I try to get some home depot lights and makeshift gels? And if I do, what would be the best lighting for this mood?
Second thing I'm freaking over is shots. The guys I'm working with are used to having a script and just sort of winging it on set. That's fine for goofy little things, but with something like this, I need it organized, especially since I'm on my own here. Problem is, I've never made a shot list before, so I'm not sure if I'm overworking this. I would use a triangle configuration if it was just two people (OTS for each and a two shot) but since there're four people, I'm a little lost. Am I okay with what I have, or is there a secret to this I'm missing?
I'm on my iPad and I can't figure out a better way than this to upload it until i get home so;
http://picasaweb.google.com/lh/photo/O6GzGnTgCkWmef_4VDWHY4tglKBHSF5FzvlscAVHoRE?feat=email
http://picasaweb.google.com/lh/photo/Yskc72IfHn1pK69NEVMXR4tglKBHSF5FzvlscAVHoRE?feat=email
If you got through that novel, thank you -so- much. Any advice is so so so appreciated!
I'm pretty nervous, mostly because I've never done anything on this big of a scale and I'm responsible for everything visual. I have some questions so hopefully you guys can bear with me!
This is the first scene we're working on. If there is a better way of uploading this let me know!
For some reason, they wrote actions in the character's names and dialogue in the actor's names, so I apologize.
* * * *
INT. BUNKER — EVENING*
** * * * * * * *
External shot of garage door with radio broadcasts. Cut to BYRON leaning over the radio.*
** * * * * * * *
BYRON bangs the shelf.*
** * * * * * * *
DILLON
Damn it, damn it, damn it!*
** * * * * * * *
BYRON shoves the radio off the shelf.*
** * * * * * * *
PRIEST is sitting, reading his bible and drinking.*
** * * * * * * *
CONNOR
Oh, no, really by all means. Clearly the only logical thing to do is break the radio.*
** * * * * * * *
DILLON.
God dammit, why did it have to be Boston?*
** * * * * * * *
CONNOR
Safe money would be on the Zombies*
** * * * * * * *
DILLON
But why target Boston. There are plenty of other more heavily infested cities. New York, Providence, Atlanta. But NO, they go after frigging Boston.*
** * * * * * * *
PRIEST shrugs.*
** * * * * * * *
CONNOR
Boston’s a city, just like all the rest. The place was overrun anyway; we all saw what it was like.*
** * * * * * * *
DILLON
People were IN that city when it got glassed.*
** * * * * * * *
CONNOR
We weren’t. That’s all the matters.*
** * * * * * * *
DILLON
(laughs lightly)
Thats real priestly father. ' The heck kind of priest are you anyway?*
** * * * * * * *
CONNOR
A living one.*
** * * * * * * *
DILLON
Cant argue with that.*
** * * * * * * *
RICKY enters through the door.*
** * * * * * * *
ETHAN
You even need to ask?*
** * * * * * * *
CONNOR
Humor him.*
** * * * * * * *
ETHAN
It looks like a freakin’ zombie apocalypse; what else would it look like? Its wet and its cold and I can't see shit. Not that you two assholes would know. *grunt* last damn time I take watch during a friggin storm... Thank mother mary it stopped... friggin soaked....*
** * * * * * * *
CONNOR
Oh boo hoo. I had watch during that blizzard and you didnt see me complaining. I thought you were supposed to be a big tough thug eh?*
** * * * * * * *
ETHAN
Watch it Padre, I ain't above pistol whippin' a priest.*
** * * * * * * *
DILLON
Calm down, will you? It’s enough that we have the Infected to deal with without having the two of you at each other’s throats.*
** * * * * * * *
RICKY waves him off.*
** * * * * * * *
DILLON (CONT'D)
I'm gunna take a look outside. See how crowded it is out there...*
** * * * * * * *
PRIEST shrugs.*
** * * * * * * *
ETHAN
Have fun. Not like you're gunna be able to see anything through the fog anyway.*
** * * * * * * *
RICKY notices Priest's drinking.*
** * * * * * * *
Correct me if I'm wrong, Priest, but ain't it...you know...not right for men of the cloth to be drinkin' that heavy?*
** * * * * * * *
CONNOR
Yeah... that’s what my colleagues back in Boston used to preach before the virus hit us... look where it got THEM.*
** * * * * * * *
ETHAN
Georgie not back from his side of the watch yet?*
** * * * * * * *
CONNOR
Nope.*
** * * * * * * *
ETHAN
Sweet. I call the couch. Pass the hooch.*
** * * * * * * *
CONNOR
I got... crappy store bought wine aaaaand... crappy store bought vodka.*
** * * * * * * *
ETHAN
Vodka me.*
** * * * * * * *
DILLON
Alright, things look clear enough. Grab your things and get ready to move. Ricky, grab the ammo. Priest, go get George.*
** * * * * * * *
ETHAN
What, you serious? you seriously want to go back out there? in this weather?*
** * * * * * * *
BYRON opens the cabinet.*
** * * * * * * *
DILLON
What do you see, here?*
** * * * * * * *
ETHAN
An empty cabinet.*
** * * * * * * *
DILLON
What you see here is no food. No water. No supplies. If we stay here, we definitely die. If we move on... we’ll only PROBABLY die.*
** * * * * * * *
ETHAN
Why can't it ever be just an empty cabinet...*
** * * * * * * *
RICKY looks at PRIEST, who is standing up and getting ready.*
** * * * * * * *
ETHAN (CONT'D)
What? Priest... you’re going along with this?*
** * * * * * * *
CONNOR
Hey I'm hungry. And if I got a destiny, and it doesn’t involve spending the rest of my life in this room.*
** * * * * * * *
EVERYONE begins to get up and gather their things.*
** * * * * * * *
GEORGE enters through the door.*
** * * * * * * *
DILLON
You’re supposed to be on watch.*
** * * * * * * *
KYLE
There’s gotta be a horde somewhere nearby... Normally it’s quiet in this part of town, but I’ve spotted a dozen of them in the past fifteen minutes alone. We should... wait, what the hell? Are we LEAVING?*
** * * * * * * *
ETHAN
You’re preaching to the choir, man.*
** * * * * * * *
DILLON
We’re out of supplies. We have to find someplace else to hole up, or we’ll starve.*
** * * * * * * *
GEORGE
But its so cold....*
** * * * * * * *
GEORGE picks up his weapon.*
** * * * * * * *
CONNOR
We walked three miles in a Massachusetts Blizzard. I think we can handle a measly Pennsylvania chill.*
** * * * * * * *
KYLE
So what, do we have a game plan or are we just gonna wing it?*
** * * * * * * *
DILLON
Find some food and a vehicle, and get the hell out of this city.*
** * * * * * * *
KYLE
Wing it. Got it.*
** * * * * * * *
DILLON
Everybody ready?*
** * * * * * * *
ETHAN
No.*
** * * * * * * *
CONNOR
Just open the damn door.*
** * * * * * * *
Shot: BYRON turns back and hits the garage door button. Door begins to open. Everyone walks outside, Ethan looks around and closes the garage door. When it closes, cut to outside of Downingtown location with him in the same position.
There are really two main questions I have. I'm having trouble lighting it, and I want to know if there's a more efficient way of shooting it than I've outlined.
Last weekend, we tried to film. We're using a garage, and my initial thought was to open the garage door for light and use a day for night here so we don't lose quality.(HV40 isn't the best in low light.) One of the writers got mad because he 'wanted a night scene' and didn't really understand what i was saying, so we shut the garage and used the garage fluorescent light and an old stage light with a poster board reflector. It... was bad. Even with the exposure lock trick, i wasn't happy with our crappy lighting and we stopped filming. This time, I'm opening the door and uncovering the windows; would that be enough? Should I try to get some home depot lights and makeshift gels? And if I do, what would be the best lighting for this mood?
Second thing I'm freaking over is shots. The guys I'm working with are used to having a script and just sort of winging it on set. That's fine for goofy little things, but with something like this, I need it organized, especially since I'm on my own here. Problem is, I've never made a shot list before, so I'm not sure if I'm overworking this. I would use a triangle configuration if it was just two people (OTS for each and a two shot) but since there're four people, I'm a little lost. Am I okay with what I have, or is there a secret to this I'm missing?
I'm on my iPad and I can't figure out a better way than this to upload it until i get home so;
http://picasaweb.google.com/lh/photo/O6GzGnTgCkWmef_4VDWHY4tglKBHSF5FzvlscAVHoRE?feat=email
http://picasaweb.google.com/lh/photo/Yskc72IfHn1pK69NEVMXR4tglKBHSF5FzvlscAVHoRE?feat=email
If you got through that novel, thank you -so- much. Any advice is so so so appreciated!