Week 007 - Post-Animatic.
Hours: 1-2hrs.
Things seem to be gelling together - well between me and Kall anyway, I think she finally Gets It. I had been speaking to a friend before about how I just felt that some people get what I am trying to portray in the story and some people just don't.
It was that way when I had first attempted filming it - it hadn't worked schedule wise since she was in Ballarat, but she got what I wanted and what was in my head.
... I guess something that isn't very easy to portray or explain when it comes to shifting it from something visual on a page to something not static and moving.
I think we're going okay.
I am a bit worried about how long it's taken us to get here - but we had other preoccupations. Anyway: lots of points had been brought up:
- color issue.
Thank you Ruben! :p I think it was the keystone in the issue being resolved.
I had spoken to her in week 5 about it being in color - I was adamant about it but she wasn't so keen. She was really set on having it in black and white - something I wasn't very keen on and didn't think it added any element to the film, not to mention that it just makes people think that it's all a memory thing - though I think La Jette was all in black and white? Black and white stills?
I wholly agree with her on the fact that color can make it look tacky and amateurish - but was considering in my mind on how we can achieve it and how we can get past it: I like pushing the boundaries and I think that's what Studio is about? I had suggested either washed out or to the "Lynch-extreme" making it too bright and unrealistic - both key factors in perhaps putting forward the perception of the character's mind - things are not right, she is not in a right frame of mind. So I am glad that at least this is sorted out.
- butterflies and moths:
I will work on getting someone to make me a 3D or CGI (must look up proper procedures on it) butterfly for sometime in the next week or a bit later since we will try to get a real one.
Peter is working on designing a 2D version sometime, and I will look up tutorials and things like that as Ruben had suggested - I'm also on the hunt for Illusion and Garage Man just to see what the programs are and to have a play with it.
I must also install After Effects and Premiere sometime. :)
- music:
I'm a bit worried about having to compose something and having to write down all the notes etc. I can usually get away with writing a few chords and progression arpeggios and what not and I will usually remember the song that I had tinkered with - but if I have to get down all the notes, and the phrasing - I feel I'm going to be a bit stumped - sad really when I've passed 7th Grade piano! Then again, different from Theory. If I remember (I have stopped studies in Piano, though I may pick it up again later) I think I was 4th/5th grade theory.
I suppose I can "employ" someone to give me a hand in notation - that will be time-consuming.
On a side note: Kall suggested that we get started on the music straight away, and I'm happy to do so - but also it's hard at this stage to gauge really how the film will progress, though I do have a very good idea and a few things in mind to try. I think I might try and see if Peter can lend me his MD player and just sit down at the piano and play and see what comes out.
In proper post production (I was watching the Gladiator extra stuff) the composer had the film before him and was inserting bits of music in via the mood the scene was taking.
Be nice to do that. :p
voice over is still an issue: I think I'll get in touch with my friend and ask her to record the narrative of it sometime and bring it in for the cheesy-test. :)
Things seem to be gelling together - well between me and Kall anyway, I think she finally Gets It. I had been speaking to a friend before about how I just felt that some people get what I am trying to portray in the story and some people just don't.
It was that way when I had first attempted filming it - it hadn't worked schedule wise since she was in Ballarat, but she got what I wanted and what was in my head.
... I guess something that isn't very easy to portray or explain when it comes to shifting it from something visual on a page to something not static and moving.
I think we're going okay.
I am a bit worried about how long it's taken us to get here - but we had other preoccupations. Anyway: lots of points had been brought up:
- color issue.
Thank you Ruben! :p I think it was the keystone in the issue being resolved.
I had spoken to her in week 5 about it being in color - I was adamant about it but she wasn't so keen. She was really set on having it in black and white - something I wasn't very keen on and didn't think it added any element to the film, not to mention that it just makes people think that it's all a memory thing - though I think La Jette was all in black and white? Black and white stills?
I wholly agree with her on the fact that color can make it look tacky and amateurish - but was considering in my mind on how we can achieve it and how we can get past it: I like pushing the boundaries and I think that's what Studio is about? I had suggested either washed out or to the "Lynch-extreme" making it too bright and unrealistic - both key factors in perhaps putting forward the perception of the character's mind - things are not right, she is not in a right frame of mind. So I am glad that at least this is sorted out.
- butterflies and moths:
I will work on getting someone to make me a 3D or CGI (must look up proper procedures on it) butterfly for sometime in the next week or a bit later since we will try to get a real one.
Peter is working on designing a 2D version sometime, and I will look up tutorials and things like that as Ruben had suggested - I'm also on the hunt for Illusion and Garage Man just to see what the programs are and to have a play with it.
I must also install After Effects and Premiere sometime. :)
- music:
I'm a bit worried about having to compose something and having to write down all the notes etc. I can usually get away with writing a few chords and progression arpeggios and what not and I will usually remember the song that I had tinkered with - but if I have to get down all the notes, and the phrasing - I feel I'm going to be a bit stumped - sad really when I've passed 7th Grade piano! Then again, different from Theory. If I remember (I have stopped studies in Piano, though I may pick it up again later) I think I was 4th/5th grade theory.
I suppose I can "employ" someone to give me a hand in notation - that will be time-consuming.
On a side note: Kall suggested that we get started on the music straight away, and I'm happy to do so - but also it's hard at this stage to gauge really how the film will progress, though I do have a very good idea and a few things in mind to try. I think I might try and see if Peter can lend me his MD player and just sit down at the piano and play and see what comes out.
In proper post production (I was watching the Gladiator extra stuff) the composer had the film before him and was inserting bits of music in via the mood the scene was taking.
Be nice to do that. :p
voice over is still an issue: I think I'll get in touch with my friend and ask her to record the narrative of it sometime and bring it in for the cheesy-test. :)
posted by J at 7:12 PM
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