Filming with the 4K Panasonic DVX200 in the green screen studio at DJCAD.
Malcolm Finnie was absolutely brilliant and so was Kerry Flemming.
I printed off my storyboards, including the timings for each shot. Once the camera was set up, I filmed all shots that included that particular camera angle (therefore the action wasn't shot necessarily in sequence).
I had a copy of my Previs on a pen drive, so could have it playing on a loop on the TV monitor,
This was particularly for lighting changes, where the sun comes out in the time-lapse footage, in case I needed to shield the lights (red heads) with a lighting flag.
In the event, I didn't need to do that, as the lighting effects will be done in post production, but none the less it was good to have it as back up reference. I used one stand alone red head light (as shown in the pics) to give a rim light to Kerry's face.
At one point I asked Malcolm if the tear in shot 19 could be created in post-production. "No." was the answer. So it was up to Kerry to produce a tear.....which she did!!
I'd allocated 2 days for filming, but with a great actress, Malcolm Finnie and lots of preparation we wrapped in 1.5 hours!
Next the shots were downloaded from the camera (bottom right pic) and uploaded into Adobe Prelude.
Backed up onto two computer server systems at uni, plus my portable hard drive.
All of this will be comped together in Nuke....
Paper copies of the shot lists below were on set, so all of us could refer to them for shot set up, and where the CGI elements would be in comparison to the live action. Plus these lists were crucial to give Kerry a good idea of eye-line and how long to hold a pose for...
