Disaster Strikes!

Louise has left the course and the college, so I've been left in the lurch alone in the group. So i had the choice to either try to complete the film alone or join another group.
I decided to finish my project through, however after many, many attempts I still can't get the blue screen/green screen effect to work properly.
So, I'm going to join another group for the final part of the project. I'm joining Amber, Casey and Abby and working with them on their Vampire film.
So for now, farewell.

Editing!

I've begun to edit the film today (well, part of it using the footage we have) and so far it's going okay. I've cut together all the right parts and have amassed an impressive blooper reel.
Creating the Rec overlay is still proving troublesome. The still transparent .png image of the overlay didn't work at all, so I've had to use the 'blue screen' method, by using a Video FX in iMovie HD to overlay a still image. A Ken Burns effect was on the image and i had trouble stopping it, but i found a way eventually. When previewing the effect all looked great and, finally, I was content... however when applying the effect, the video went very strange and ultimately didn't work. So i've tried having the Rec overlay as a video (opened in a new project and exported to a video, then imported into the original project) however this has yielded similar results... I'm going to have to do some research into this problem.

--Mitch

*Rec overlay

Filming Part 1

We had our first day of filming last week, got through one sequence, eventually, learnt a few things about lighting difficulties and camera framing.

We had the actors perform a scene several times but from different camera angles, as a result, we've got plenty of outtakes, probably got enough for another film...
Going to start editing our footage (so far) together soon, see if everything works together as it should (fingers crossed).
We're going to continue filming after half term, dates have yet to be confirmed.
That's all for now! Stay tuned.

14-2-11

We were supposed to film on the 12th but due to timing issues we were unable, so today we re-planned when and where we're filming as well as booking equipment out again.
We're making sure all our actors are okay to film on wednesday the 16th.

We've sorted out what planning pieces need uploading to this blog, and shortly will be.

We've also started creating an overlay to make some of our footage look like handycam footage, however making a transparent /png to layer properly in iMovie HD has been difficult so far, we're looking to try and work it as if it were green screen footage next time.

Our titles (as a static image) are almost finished, and we've looked into whether to fade the titles in or to cut to them.

That's it for today, plenty more work to be done...

Vampire Designs

We've been running therough several Vampire design ideas and we've settled on a less typical vampire style (with extended canines/fangs and pale skin) to a more animalistic approach, similar to that in 30 Days of Night.

We want our vampire to be pale with either black irises or (if doable) full black eyes. We also want all our vampire's teeth to be extended and pointed, not just the canines.

For example, Dental Distortions have arange of veneer teeth similar.

(Dental Distortions; Morlock FX Teeth £23.28 +P&P)

And fashion coloured lenses are easy to come by in many retailers, such as Blue Banana that stock blackout iris contact lenses for £19.99.

Test Shot of the vampire to come.

Tiny Vessels Script

We've decided on our Film being called Tiny Vessels, and we've just completed the first draft of the script. So here it is! 

Tiny Vessels

by

Mitchell Proctor
&
Louise Robertson

EXT. Fields - Early Morning (handicam)

Dialogue begins with a black screen, which cuts to action after the first line. TOM and CATHY are filming their camping trip with a Handicam, which the film is partially filmed on. We begin with CATHY filming TOM as they prepare to set off.

CATHY (off camera)

Tom, give us a wave baby!

TOM looks up from packing his rucksack and looks at the camera and waves.

CATHY

(Laughing)

You could at least *try* to be enthusiastic.

tom

I’m too tired Cathy, it’s too early! 

CATHY sighs, and puts down the camera.

CUT TO:

BLACK OUT

TITLES: ‘A FILM BY MITCHELL PROCTOR and LOUISE ROBERTSON’

CUT TO:

EXT. FIELDS - Later that day (HANDICAM)

TOM and CATHY have walked a distance, and TOM is now holding the camera, pointing it at CATHY as they walk, zooming in and out at her rear. TOM can be hear sniggering.

TOM

This is my girlfriend... Zoom.

CATHY hears TOM turns and and blushes. She stops walking and stalks up to the camera.

CATHY

Hey! Turn it off!

CUT TO:

BLACK OUT

TITLES: ‘[ACTORS 1 AND 2’s NAMES]’

CUT TO:

EXT. FIELDS - Dusk (HANDICAM)

CATHY is holding the camera as the two of them walk, she is filming the surrounding location. 

CATHY

(Heavy breaths)

Wow... 

CUT TO:

EXT. FIELDS - DUSK (CONTINUOUS) (LONG SHOT)

Camera is placed far away and we can see CATHY with the HANDICAM following TOM who is walking a little ahead of her. She realizes she is lagging behind and runs to catch up.

CUT TO:

BLACK OUT

TITLES: ‘[ACTORS 3 AND 4’s NAMES]’

CUT TO:

EXT. FIELDS - NIGHT (HANDICAM)

As it is now dark and the two have yet to find where they were heading, CATHY has become worried and tense.

CATHY

Tom, where are we?

TOM

I know exactly where we are calm down.

CATHY

Don’t lie to me! Just admit it, we’re lost!

TOM turns and walks towards CATHY and points the camera away from him, the HANDICAM is pointing towards the ground for this entire sequence. 

CUT TO:

EXT. FIELDS - NIGHT (CONTINUOUS) (LONG SHOT)

TOM walks towards CATHY with purpose, his body tense.

CUT TO:

EXT. FIELDS - NIGHT (CONTINUOUS) (OTS SHOT - BEHIND CATHY)

TOM grabs CATHY by the shoulders and looks her in the eye, angry at first, but then looking defeated. 

TOM

Yes, we’re lost. Not that admitting it makes us any less lost...!

There is a pause, TOM sighs and calms himself. He looks at CATHY meaningfully. 

TOM

(Whisper)

I’m sorry.

CUT TO:

EXT. FIELDS - NIGHT (TWO-SHOT)

There is a pause as CATHY and TOM look at each other, both looking sad and sorry for themselves. Between them, in the distance, a light flickers on, and they both turn to look at it. 

CUT TO:

EXT. FIELDS - NIGHT (CLOSE UP)

CATHY looks at TOM.

CUT TO:

EXT. FIELDS - NIGHT (CLOSE UP)

Tom looks back at her

CUT TO:

EXT. FIELDS - NIGHT (MID SHOT)

They are facing towards the camera, looking past it, they begin to walk towards the light, past the camera. As they do it pans to follow them. They walk towards the light, their arms moving closer.

CUT TO:

EXT. FIELDS - NIGHT (CLOSE UP)

Close up of their hands. CATHY’s moves to TOM’s and they lock together. They walk forwards holding hands.

CUT TO:

EXT. THE HOUSE - NIGHT (LONG SHOT)

Establishing shot of The House. An old Victorian lamppost is lit outside it, the house looks old, but grand. There are no lights on inside the house, but doors and windows have been left ajar. The entire scene looks suspicious.

TOM and CATHY come into shot, walk up to lampost, look around it, and move towards house, they stop holding hands at this point. They begin to investigate the house, looking through windows to little avail.

CUT TO:

INT. THE HOUSE (LIVING ROOM) - NIGHT (LONG SHOT)

Long shot from within the house as TOM peers through the open french doors, poking his head through. He squints and looks around.

CUT TO:

INT. THE HOUSE (LIVING ROOM) - NIGHT (CLOSE UP)

The camera moves closer to his face as he squints and looks. He decides he can’t see anything, and moves his head out.

CUT TO:

EXT. THE HOUSE - NIGHT (CONTINUOUS) (MID SHOT)

The camera is placed parallel to the wall and doors now and we can see TOM emerging from between the doors. CATHY taps him lightly and moves her finger to her lips, indicating he be quiet. He nods, understanding, and they walk towards the camera, as they do a noise becomes louder, what sounds like flesh being torn apart. The camera (on a dolly) moves backwards in a reverse tracking motion. TOM and CATHY get to the edge of the wall and peer around silently. 

CUT TO:

EXT. THE HOUSE - NIGHT (MID SHOT)

Around the corner, a figure is on it’s knees, devouring what appears to be a corpse. There is masses of blood everywhere, all coming from the victim’s neck. The figure can not be seen fully, it is in shadows.

Behind it, CATHY and TOM can be seen peering around the wall. 

The noise is even louder than before.

CUT TO:

EXT. THE HOUSE - NIGHT (CLOSE UP)

Close up of CATHY as she gasps, and she brings her hands to her mouth in shock.

CUT TO:

EXT. THE HOUSE - NIGHT (MID SHOT)

Same mid shot of the figure as before. As CATHY gasps the figure has become aware of others. The camera pans upwards as the figure slowly rises. It turns slowly towards them.

CUT TO:

EXT. THE HOUSE - NIGHT (MID TWO SHOT - SIDE)

CATHY, panicked, drops the HANDICAM. TOM’s eyes are wide and they both tense.

CUT TO:

EXT. THE HOUSE - NIGHT (HANDICAM)

We can see the camera drop to the floor and land, it is facing upwards slightly, towards the figure, it’s hands and mouth are covered and dripping in inky black blood, it’s eyes are dark and it’s skin palid. It’s lips part and for a moment teeth can be seen. It is neither a grimace, nor a smile. It is only a look of hunger. 

CATHY and TOM can be heard inhaling, as if to scream.

CUT TO:

BLACK OUT

TITLES: TINY VESSELS

FADE OUT




Click here for a PDF of the script!