Reactions in Time and Space Treatment Handbook. June 18, 2012

Reactions in Time and Space Treatment Handbook June 18, 2012

Reactions in Time and Space Introduction/Preproduction We would like to create a short piece running about 1.5 minutes. Its main purpose is to picture a few negative emotions and find beauty in them. Three headdresses symbolize three different emotions that are affected by a growing storm. Captured in slow motion, the film will flow in an elegant nature. Every move and edit should feel intentional. As the actors react to the wind, their movements will seem almost like a graceful dance. The piece will have a strong build over the course of it. The action taking place should intensify, starting from the beginning and arch by the film s end. Overall, it should be very minimal; only including what is necessary to tell the story. 01.

Design/Styleframes 02.

Headdress Design/Construction

Failure/Disappointment/ Loneliness/Sadness/ Depression 04.

The sadness headdress consists mainly of a few dense, geometric objects on top and long flowing tendrils that hang from the objects. This emotion will move in an self perserving fashion when the storm comes. It will have poor posture while it senses the wind and try to hide itself as the storm becomes more chaotic. 05.

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Immature/Naive/Crazy/ Wild/Energetic/Stimulated 07.

The crazy headdress is formed by a couple of skewed cube shapes on top of each other. Its other details are a large metal dish sitting on the left side and a plethora of feathers fanning out from the mask s base. The crazy emotion will become more animated over the course of the film. It will begin agitated and evolve into throwing fits when the storm is fully grown. 08.

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Confusion/Anxiety/ Frustration /Uneasiness 10.

The sadness headdress consists mainly of a few dense, geometric objects on top and long flowing tendrils that hang from the objects. This emotion will move in an self perserving fashion when the storm comes. It will have poor posture while it senses the wind and try to hide itself as the storm becomes more chaotic. 11.

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Production/Planning

Behind the Scenes/Production Process 14.

Behind the Scenes/Production Process 15.

Equipment List CAMERA 1x - Phantom Flex package with Cinemags 4x - Zeiss Masterprime lenses T1.3 (focal lengths TBD -- but i imagine one wide, one 35mm, one 50mm, one 85mm -- will double check) 1x - Baseplate, Mattebox, Rods 1x - Polarizer xx - ND filters/hot Mirror combos (0.3/0.6/0.9) 1x - Tripod Head 1x - Standard Legs 1x - Baby Legs 1x - Hi Hat 1x - 17 Panasonic HD-SDI monitor 1x - DIT station for Phantom Tech (tech might come with one) 2x - hard drives (formatted to NTFS, I believe, for special software) EXPENDABLES 1x - 4x4 bead board 1x - roll of Full CTB 1x - roll of Half CTB 1x - roll of CTO 1x - roll of Light Grid 1x - roll of Full Grid 1x - roll of Opal 1x - roll gaff tape 1x - roll of camera tape 1x - roll of paper tape 1x - bag of c47s ELECTRIC 2x - 5K Tungsten Fresnel (Senior) 1x - 10K Tungsten 4x - 4 foot 4 bank Kino Flos with Daylight bulbs xx - Stingers - lunchbox for those big lights? depends on location GRIP 2x - 4x4 mirrors 6x - C-Stands xx - Combo Stands (sizes and quantity depending upon location - how we can rig them - and number of lights and posts) xx - Sandbags 2x - 12 foot posts, couplers to t bars rags 3x - 12 rags to bounce (material will be chosen based on shot and location - one to bounce, two for diffusion and one black solid) xx - 4x4 floppies xx - spring clamps 16.

Shotlist Shot Number Shot Image Shot Type Description Actor Mask Mask Image Location 1,7,10 extreme close up SLOW MOTION: Out of focus... rack focus to sharp. Head down, shaking back and forth. Person looks up towards the left 3 confused location 3 2,4 extreme close up SLOW MOTION: B-roll of persons body as they look to left. Can be out of focus. random - location 1,2 or 3 14,21 extreme close up SLOW MOTION: Close up of person staring at camera while fabric is being blown past face. Person responds to wind by being pushed over and holding the mask up. Expression on face changes (if we see it). 3 confused location 3 22 medium shot SLOW MOTION: Close up person gets blown away by the wind. Fabric flows around head. 3 confused location 3 17.

Shotlist 5,8 medium shot SLOW MOTION: frustrated person paces.. then turns to look towards the wind starting to blow from the left. 2 crazy location 2 9 wide shot SLOW MOTION: frustrated person stops pacing then turns to look towards the wind blowing from the left. 2 crazy location 2 15,18 medium shot SLOW MOTION: in a big move, person is thrown by the wind. the fabric draped on him/her tosses in the air. 2 crazy location 2 3,6,11 wide shot SLOW MOTION: sits against person puts hand over arm as they are starting to get cold. 1 sadness location 1 18.

Shotlist 16,20 wide shot SLOW MOTION: wind picks up as person curls up... crosses arms and raises knees to chest. 1 sadness location 1 17 close up SLOW MOTION: wind picks up as person curls up... crosses arms and raises knees to chest. 1 sadness location 1 19 close up SLOW MOTION: Person squeezing knees while wind blows intensely 1 sadness location 1 12 medium/over shoulder shot SLOW MOTION: wind comes from a thunderstorm in a circle. It is moving in time lapse.the person sees this circle in the distance. 1 sadness location 1 13 wide shot Shot of studio environment. Time lapse storm booms in a circular shape. The shape exists in the studio space. - - location 4 19.

Style/Tone Reference

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22. We think overall studio lighting will have the best fit for this film. This lighting style, seeming very perfect and artificial embodies the fashion photography aesthetic. We would like to use studio lighting to mimic fashion photography s aesthetic and play on the beautiful quality that lies behind that aesthetic. However, although we are placing limits on the style,

we can still be flexible in how we interpret the studio lighting look. For instance, a few of these images show a prominent key light coming from above. There is much we can experiment with in terms of using a key light to add drama or a slight rim light to pop objects from the background. 23.

Headdress Design Reference

Failure/Disappointment/ Loneliness/Sadness/ Depression Covering the face works well for this emotion. We can use anything that points downward or seems like a weight on the head. Keep in mind slightly stiff shapes too. 25.

Slightly strangling elements help portray loneliness. We should do the best we can in hiding the face or placing it in shadow. 26.

Hidden face shapes... good. Heavy head shapes... also good. We also like the jumbled shapes in the image on the right. 27.

Immature/Naive/Crazy/ Wild/Energetic/Stimulated We would like to reserve the stranger looking masks for this section. The crazy/energetic emotion calls for chaotic and intricate structures. Here we can also play with a bit of whimsy or lightheartedness through the shape or concept of the mask. This mask could be the one closest to that of a face/head in our collection. 28.

29. Cultural head treatments are a good start in creating this emotion. The decoration and detail flows closely in line with the style of this mask.

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Cultural head treatments are a good start in creating this emotion. The decoration and detail flows closely in line with the style of this mask. 31.

Confusion/Anxiety/ Frustration /Uneasiness 32.

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Environment Reference

36. A slightly industrial studio space is the perfect setting for the film. The space needs to communicate the idea of being man-made or the opposite of natural. All of the spaces on this page retain the warehouse look while not seeming too dirty or gritty.