Today we're doing our on location shoot in the uni church. I have my shortlist ready and equipment. Since we don't know if we'll have access to the plugs in there (the woman who gave us permission said it was unlikely), we have enough equipment that is battery powered to run the whole shoot, but also some equipment that requires plugs in case we are able to use them and keep our options open.
Our shortlist is as follows:
- wide shot church not lit up
- pan up to ceiling w/actors
- wide shot church - projections all over (one section at a time then mask)
- details of church w/ mirror reflections
- actors walking through (shot through pews)
- eyes w/ lightshow reflected
- faces w/ mirror reflections
- close ups of bodies w/ projections
The most complex shot to carry out will be the church filled with projections, and it is the central shot of the whole scene. We have two battery powered projectors and two plug ones. The first challenge I ran into during tests for this in the flat was the harsh rectangular line that the projector leaves around the edges. This could have been fixed with a software for projector mapping, but installing this on all the devices would have been too much hassle, and I know at least two of the projectors we're using would not support this format anyway. Somebody online suggested having a black border around the video being projected, which I was sure couldn't work, but after trying it on 2 different projectors it actually works really well. As you can see in the picture, there is still a very faint line, but the further away from the wall the projector itself is, the less obvious it is. I have three of these circular videos prepared, to put on the projectors so no images are repeated, with some parts having 3 or 4 smaller circles instead of one. We will set up the camera for a wide shot of the chapel, and split the wall into 3 sections, using all the projectors on each. I'll then use masking to combine all of these shots together into one, to give the impression of many more projectors than we have, all showing different lightships layered on each other. This will be the most time consuming and technically difficult shot, so it is the first thing we will set up upon arrival. If we can only use two projectors we may have to do this a couple more times. Really the most important part will be making sure the camera stays in the same place and on the same settings throughout. We have roughly an hour at the location before the talent arrives fully in costume, and we will spend the majority of that time doing this shot as well as the shots of the mirrors reflecting around the space, so once the talent arrives we're ready to do the shots with them, and have minimal shots around the church left to do without them.
Since we only have 4 hours in the church I'm very conscious of the need to prioritise the most important shots and make sure that setup goes as smoothly as possible. The time limit is however a good thing, since I won't have time to hesitate and waste time like I did in the last shoot at the flat. For that shoot I was very indecisive, but for this one I'm focussing on making decisions as efficiently as possible, since this is arguably the most important scene in the film, leading up to the big light show sequence.
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