DOC INTERVIEWS
I plan to shoot these like reel interviews. The subjects will be looking off camera and speaking directly with me. I will be sitting close to axis of the lens so that they are close to looking in the lens. I want this piece to come off very authentic to leverage the notion that these in fact are real people testifying that Kinrix is a good thing. If the subjects look directly in the lens, it could make them very self aware and the authenticity of their performances could suffer. I want to personally engage the subjects in conversation and nurture the responses that we need. The interviews for the doc will be in different setting for the doctor, the nurse and the mom.
INDIVIDUAL SCRIPT INTERVIEWS
These interviews will be shot in the same way as the doc style interviews except that they will be shot in front of a green screen so that a branded color can be composited behind the individuals to match the color scheme of the website.
PHOTOGRAPHY
Its lookin' like we may not have enough stop to shoot on the pro-35's. If that's the case I still want to keep it long on the lens, to reduce the depth of field. I am thinking we keep the b-rull nuance oriented. Keep things tight. Pick up the little moments. Find as much foreground as possible. The doctor's office isn't going to play that well in wide shots. I am worried without a lot of lighting is going to look flat and ugly. If we stay close, we can shape the light a little more. The front of the office looks nice so we could go wider there at the beginning. I like the office hallway in a wide shot, too as the kid is lead back to the exam room. We should overcrank all of the B-roll so that we have the option of running it slow motion.
Sunday, December 30, 2007
Saturday, December 29, 2007
LOCATION INFORMATION
Location information provided by Jim Teiper. Thanks Jim!
Location looks like a normal pediatrician office. Overall, very small with little unused space. Parking should not be an issue.
The only windows line the NW wall (250 deg). They range in size but are no bigger than 4'Wx5'H and have venetians.
Power is available inside office and should not be a concern there.
Green room/makeup facilities are very limited. Perhaps an exterior pop-up might be a holding area option for talent. I have this and walkies for communication.
Lunch will be available across parking lot at Fresco Trattoria, 760-479-1525
Menu is available online at fresco-trattoria.com
They will be expecting a phoned in order for approx. 20 about 11A for service about 12:30? (I guessed...)
Note: All light meter readings referenced are for 400 ISO @ 50/th sec.
John has told me to plan on shooting daylight balanced.
LOCATION BREAKDOWN
ENTRANCE
Camera straight on towards entrance stairs is pointing 350 deg. NW. This means the sun is pointing at entrance to some degree nearly all day.
In full sun at 12:11P I was getting an F32 to F16 range depending on shading.
Inside the doors I was averaging an F8- quite a contrast difference.
Since it tends to be overcast in the morning here, I would recommend scheduling this sequence first up.
It will look flatter if overcast but the contrast will be more manageable.
Only 1 circuit is available here and I could not determine if it was dedicated.
Knowing the maintenance person to contact in case we need- and pop- this circuit could prove invaluable.
NOTE: Christmas decorations likely visible in any extreme wide shot.
ELEVATOR
This could be tricky.
Elevator doors are chrome.
Outside elevator at lobby level: F2.8, 4250K, +3CC (at noon. Daylight fill subject to change)
Inside elevator: F1.46, 2970K, +13CC
Outside elevator at 3rd flr: F2.0, 3690K, +13CC
I have no switch control over house lights at any of these places and will need to block by hand or unscrew.
There is 1 circuit outside @ lobby level, none inside elevator and perhaps 2 circuits on 3rd flr.
It seems quite likely I will need to place lights inside elevator, which means a cord connection, which means shutting off the elevator.
I await your storyboarding thoughts on this one...
OUTSIDE OFFICE HALLWAY
Ranges from F2.0- F2.8 depending on if under a fluoro or not. 3900K, +10CC
I do not have tubes to swap out & gelling would be an expensive time-eater.
I suggest WB to the house sources and correcting any supplemental units.
RECEPTION AREA
Approx. 12'x15'
Lit by 4' mini-T CW tubes and some fluoro down cans. I do not have daylight replacement for this 4' size though I could perhaps purchase.
Current bulbs give an F2.0- F2.8, 3650K, +10CC
All but security light are switch controllable.
One window (DR. Hitchcock's office) MAY be visible in deep BG but can be concealed or controlled with venetians.
WAITING AREA
About 8'x12'
Same as reception. No windows. Sparsely decorated. Currently holiday themed.
EXAM ROOM(S)
Biggest I could access was approx. 9'x9'
Window on wall opposite door is 4'x5'.
At about 11:30A with house lights off at 6' from window with meter ball facing doorway I was getting an F2.0. This will fluctuate depending on time of day.
Outside window is moving traffic and greenery. In full sun I got an average spot reading of F11.
LAB AREA
About 8'x15'
Same as reception. No windows. Good alternate site.
OFFICE HALLWAY
About 4'x50'
Same as reception.
OFFICE AREA
About 9'x15'
Has 1 window on wall opposite door
Likely interview & green screen area as it is most isolated room there.
Has 2 desks and computers. Very sparsely decorated.
At about 11:30A with house lights off at 6' from window with meter ball facing doorway I was getting an F2.0. This will fluctuate depending on time of day.
Outside window is moving traffic and greenery. In full sun I got an average spot reading of F11.
DR. HITCHCOCK OFFICE AREA
Same as reception. Pretty cluttered. Right under a window.
The green I am planning to use is a 4'x6' flex-fil type. I can go bigger but that will take time.
Location looks like a normal pediatrician office. Overall, very small with little unused space. Parking should not be an issue.
The only windows line the NW wall (250 deg). They range in size but are no bigger than 4'Wx5'H and have venetians.
Power is available inside office and should not be a concern there.
Green room/makeup facilities are very limited. Perhaps an exterior pop-up might be a holding area option for talent. I have this and walkies for communication.
Lunch will be available across parking lot at Fresco Trattoria, 760-479-1525
Menu is available online at fresco-trattoria.com
They will be expecting a phoned in order for approx. 20 about 11A for service about 12:30? (I guessed...)
Note: All light meter readings referenced are for 400 ISO @ 50/th sec.
John has told me to plan on shooting daylight balanced.
LOCATION BREAKDOWN
ENTRANCE
Camera straight on towards entrance stairs is pointing 350 deg. NW. This means the sun is pointing at entrance to some degree nearly all day.
In full sun at 12:11P I was getting an F32 to F16 range depending on shading.
Inside the doors I was averaging an F8- quite a contrast difference.
Since it tends to be overcast in the morning here, I would recommend scheduling this sequence first up.
It will look flatter if overcast but the contrast will be more manageable.
Only 1 circuit is available here and I could not determine if it was dedicated.
Knowing the maintenance person to contact in case we need- and pop- this circuit could prove invaluable.
NOTE: Christmas decorations likely visible in any extreme wide shot.
ELEVATOR
This could be tricky.
Elevator doors are chrome.
Outside elevator at lobby level: F2.8, 4250K, +3CC (at noon. Daylight fill subject to change)
Inside elevator: F1.46, 2970K, +13CC
Outside elevator at 3rd flr: F2.0, 3690K, +13CC
I have no switch control over house lights at any of these places and will need to block by hand or unscrew.
There is 1 circuit outside @ lobby level, none inside elevator and perhaps 2 circuits on 3rd flr.
It seems quite likely I will need to place lights inside elevator, which means a cord connection, which means shutting off the elevator.
I await your storyboarding thoughts on this one...
OUTSIDE OFFICE HALLWAY
Ranges from F2.0- F2.8 depending on if under a fluoro or not. 3900K, +10CC
I do not have tubes to swap out & gelling would be an expensive time-eater.
I suggest WB to the house sources and correcting any supplemental units.
RECEPTION AREA
Approx. 12'x15'
Lit by 4' mini-T CW tubes and some fluoro down cans. I do not have daylight replacement for this 4' size though I could perhaps purchase.
Current bulbs give an F2.0- F2.8, 3650K, +10CC
All but security light are switch controllable.
One window (DR. Hitchcock's office) MAY be visible in deep BG but can be concealed or controlled with venetians.
WAITING AREA
About 8'x12'
Same as reception. No windows. Sparsely decorated. Currently holiday themed.
EXAM ROOM(S)
Biggest I could access was approx. 9'x9'
Window on wall opposite door is 4'x5'.
At about 11:30A with house lights off at 6' from window with meter ball facing doorway I was getting an F2.0. This will fluctuate depending on time of day.
Outside window is moving traffic and greenery. In full sun I got an average spot reading of F11.
LAB AREA
About 8'x15'
Same as reception. No windows. Good alternate site.
OFFICE HALLWAY
About 4'x50'
Same as reception.
OFFICE AREA
About 9'x15'
Has 1 window on wall opposite door
Likely interview & green screen area as it is most isolated room there.
Has 2 desks and computers. Very sparsely decorated.
At about 11:30A with house lights off at 6' from window with meter ball facing doorway I was getting an F2.0. This will fluctuate depending on time of day.
Outside window is moving traffic and greenery. In full sun I got an average spot reading of F11.
DR. HITCHCOCK OFFICE AREA
Same as reception. Pretty cluttered. Right under a window.
The green I am planning to use is a 4'x6' flex-fil type. I can go bigger but that will take time.
Friday, December 28, 2007
PHOTOGRAPHY
Download a sun chart here
I recently saw the The Diving Bell and the Butterfly. They did a great job capturing a hospital. Obviously, we are in a much different boat, but this inspires me for the child point of view stuff I'd like to shoot.
I recently saw the The Diving Bell and the Butterfly. They did a great job capturing a hospital. Obviously, we are in a much different boat, but this inspires me for the child point of view stuff I'd like to shoot.
Thursday, December 27, 2007
DIRECTOR'S OVERVIEW
This is the story of a kid going in to get the standard vaccination shots. Before Kinrix a kid might need to get multiple shots, now with Kinrix the kid only needs to get one shot. The film inter-cuts moments leading up to the child's injection with interviews with the doctor, nurse and mom. Then we see the satisfaction on the kids face when he leaves the doctor's office only having to get one shot.
I would like to capture these moments with as much intimacy and authenticity as possible. I'd like to get into the child's space and feel the tension of what its like to go to the doctor's office and get shots. We've all been there. Its not fun. As much as possible, I'd like to tell the b-roll portion of this story from the child's perspective. We should think about this when we are choosing our angles. Maybe we shoot a bunch of this from child height.
I'd like to look for the subtle moments as the child enters the doctor's office and interacts with the mom and the nurse... the child holding the mom's hand, looks to mom, etc. We might try shooting some of these moments at 60fps since these shots will be MOS.
There are some big challenges on this shoot. First, our talent our non actors and our child is very young at four years old. I am going to expect the worst from a performance standpoint from the child. The good news is that for most of the story we are trying to sell that, for the child, going to the doctor's office and getting a bunch of shots is no fun. The truth is, we'll really be in a doctor's office so maybe we'll get some method acting from the child. I am going to take David Mamet's advice on directing actors and keep it simple. I am going to tell the mom to take her child to the doctor's office and most likely, worst case, we will have to be prepared to simply capture that action. We can't count talent hitting marks. That will only make them aware that they are working.
Overall, I want this piece to be authentic. So, I am going to be working with the talent to keep the comfortable and unaware of the camera. At the same time, I don't want this piece to come off with a jerky, reality TV feel. I'd like it to be smooth around the edges, leaning towards graceful and elegant. I am going to rely on the 35mm lens to give us the shallow depth of field that will make things interesting. John will be giving us smooth operation with the EZ rig. Part of the elegance would be to keep things moving in terms of pan and tilting compositions, rack focusing and little pushes.
Lighting is going to be tough. We have a lot of set-ups and not a lot time to light. Overall, I'd like this to be high-key. We'll have to rely on the office fluorescents and augment to add some elegance to the shots. I am imaging some lights that we can have ready and on standby to fly in and work for us.
As we receive location stills, I will be refining this treatment.
I would like to capture these moments with as much intimacy and authenticity as possible. I'd like to get into the child's space and feel the tension of what its like to go to the doctor's office and get shots. We've all been there. Its not fun. As much as possible, I'd like to tell the b-roll portion of this story from the child's perspective. We should think about this when we are choosing our angles. Maybe we shoot a bunch of this from child height.
I'd like to look for the subtle moments as the child enters the doctor's office and interacts with the mom and the nurse... the child holding the mom's hand, looks to mom, etc. We might try shooting some of these moments at 60fps since these shots will be MOS.
There are some big challenges on this shoot. First, our talent our non actors and our child is very young at four years old. I am going to expect the worst from a performance standpoint from the child. The good news is that for most of the story we are trying to sell that, for the child, going to the doctor's office and getting a bunch of shots is no fun. The truth is, we'll really be in a doctor's office so maybe we'll get some method acting from the child. I am going to take David Mamet's advice on directing actors and keep it simple. I am going to tell the mom to take her child to the doctor's office and most likely, worst case, we will have to be prepared to simply capture that action. We can't count talent hitting marks. That will only make them aware that they are working.
Overall, I want this piece to be authentic. So, I am going to be working with the talent to keep the comfortable and unaware of the camera. At the same time, I don't want this piece to come off with a jerky, reality TV feel. I'd like it to be smooth around the edges, leaning towards graceful and elegant. I am going to rely on the 35mm lens to give us the shallow depth of field that will make things interesting. John will be giving us smooth operation with the EZ rig. Part of the elegance would be to keep things moving in terms of pan and tilting compositions, rack focusing and little pushes.
Lighting is going to be tough. We have a lot of set-ups and not a lot time to light. Overall, I'd like this to be high-key. We'll have to rely on the office fluorescents and augment to add some elegance to the shots. I am imaging some lights that we can have ready and on standby to fly in and work for us.
As we receive location stills, I will be refining this treatment.
LOCATIONS
EXT. DOCTOR’S OFFICE
INT. ELEVATOR
INT. HALLWAY
INT. ENTRYWAY DOCTOR’S TO OFFICE
INT. DOCTOR’S OFFICE - (GREEN SCREEN) INTERVIEW SET- UP
INT. DOCTOR’S OFFICE LOBBY
INT. EXAM ROOM
INT. ELEVATOR
INT. HALLWAY
INT. ENTRYWAY DOCTOR’S TO OFFICE
INT. DOCTOR’S OFFICE - (GREEN SCREEN) INTERVIEW SET- UP
INT. DOCTOR’S OFFICE LOBBY
INT. EXAM ROOM
SHOOT SCHEDULE
JAN. 3RD - LOCATION TECH SCOUT, WALK THROUGH
*PRODUCTION TEAM MEETS WITH DR. HITCHCOCK AND ANY FACILITY PERSONNEL
*MEET WITH ALL 4 TALENT SO ALL ARE FAMILIAR WITH THE PLAYERS, ANSWER ANY QUESTIONS, AND GIVE A PERSONAL OVERVIEW OF THE NEXT DAY’S WORK – ALSO DISCUSS WARDROBE OPTIONS / PROP OPTIONS
*FINALIZE AND LOCK‘B-ROLL’ ELEMENTS
JAN. 4TH - SHOOT
8 AM ARRIVE AT OFFICE
*COFFEE/BAGELS ARE AVAILABLE – ANYONE REQUIRING A MORE SUBSTANTIAL BREAKFAST SHOULD ARRIVE HAVING HAD.
*ALL ARE CALLED TO SET – INCLUDING MOM, CHILD, TALENT, DOCTOR
AGENCY/CLIENT ARE ASSIGNED ‘VIDEO VILLAGE AREA’
*ALL TALENT REPORT TO MAKE-UP/HAIR
*EQUIPMENT LOADS IN
*PA #1 STANDS IN FOR LIGHTING/CAMERA
*ALL TALENT SIGN OFF ON RELEASES – DIGITAL PHOTOS ARE TAKEN
*ALL CREW/AGENCY/CLIENT ARE MADE AWARE OF OUR ‘WORKING AREAS’ AND ‘NON-WORKING AREAS’
*SAFETY MEETING IS HELD – AND THE DAY’S WORK IS DISCUSSED. TIME ISSUES ARE REMINDED TO ALL – AS WELL AS THE IMPORTANCE OF QUIET AND RESPECT IN THIS WORKING OFFICE.
*BLOCKING ESTABLISHED – REHEARSAL IS EXECUTED
9AM FIRST SHOT
1. Doctor Interview
2. MS Doctor one on one
3. B-roll shots of Doctor
10:30AM
4. Capture Mom and child entering building, walking down hallway, entering doctor’s office.
11:00AM
5. Capture Nurse greeting Mom and Child.
6. Capture Mom and Child sitting in waiting room.
7. Capture Mom and Child following Nurse into exam rooms. 12:00AM
8. Capture Mom and Child leaving the doctor’s office.
9. Capture Mom and Child walking down hallway
12:30PM
10. All B-roll Coverage that includes Mom and Child
*FORMAL B-ROLL SHOTLIST WILL BE FINALIZED END OF DAY ¼
*CHILD IS WRAPPED
1:30PM LUNCH
2:30PM BACK
11. Mother Interview
12. MS Mom one on one
3:30PM
13. (MOS) MS Nurse prepares materials in Exam room
14. (MOS) CU materials on tray
4:00PM
15. Nurse Interview
16. MS Nurse one on one 5:00PM
17. Buffer Zone / Additional Broll that do not include Mom, Child or Doctor
18. 5:30PM WRAP 7PM OUT OF OFFICE
*PRODUCTION TEAM MEETS WITH DR. HITCHCOCK AND ANY FACILITY PERSONNEL
*MEET WITH ALL 4 TALENT SO ALL ARE FAMILIAR WITH THE PLAYERS, ANSWER ANY QUESTIONS, AND GIVE A PERSONAL OVERVIEW OF THE NEXT DAY’S WORK – ALSO DISCUSS WARDROBE OPTIONS / PROP OPTIONS
*FINALIZE AND LOCK‘B-ROLL’ ELEMENTS
JAN. 4TH - SHOOT
8 AM ARRIVE AT OFFICE
*COFFEE/BAGELS ARE AVAILABLE – ANYONE REQUIRING A MORE SUBSTANTIAL BREAKFAST SHOULD ARRIVE HAVING HAD.
*ALL ARE CALLED TO SET – INCLUDING MOM, CHILD, TALENT, DOCTOR
AGENCY/CLIENT ARE ASSIGNED ‘VIDEO VILLAGE AREA’
*ALL TALENT REPORT TO MAKE-UP/HAIR
*EQUIPMENT LOADS IN
*PA #1 STANDS IN FOR LIGHTING/CAMERA
*ALL TALENT SIGN OFF ON RELEASES – DIGITAL PHOTOS ARE TAKEN
*ALL CREW/AGENCY/CLIENT ARE MADE AWARE OF OUR ‘WORKING AREAS’ AND ‘NON-WORKING AREAS’
*SAFETY MEETING IS HELD – AND THE DAY’S WORK IS DISCUSSED. TIME ISSUES ARE REMINDED TO ALL – AS WELL AS THE IMPORTANCE OF QUIET AND RESPECT IN THIS WORKING OFFICE.
*BLOCKING ESTABLISHED – REHEARSAL IS EXECUTED
9AM FIRST SHOT
1. Doctor Interview
2. MS Doctor one on one
3. B-roll shots of Doctor
10:30AM
4. Capture Mom and child entering building, walking down hallway, entering doctor’s office.
11:00AM
5. Capture Nurse greeting Mom and Child.
6. Capture Mom and Child sitting in waiting room.
7. Capture Mom and Child following Nurse into exam rooms. 12:00AM
8. Capture Mom and Child leaving the doctor’s office.
9. Capture Mom and Child walking down hallway
12:30PM
10. All B-roll Coverage that includes Mom and Child
*FORMAL B-ROLL SHOTLIST WILL BE FINALIZED END OF DAY ¼
*CHILD IS WRAPPED
1:30PM LUNCH
2:30PM BACK
11. Mother Interview
12. MS Mom one on one
3:30PM
13. (MOS) MS Nurse prepares materials in Exam room
14. (MOS) CU materials on tray
4:00PM
15. Nurse Interview
16. MS Nurse one on one 5:00PM
17. Buffer Zone / Additional Broll that do not include Mom, Child or Doctor
18. 5:30PM WRAP 7PM OUT OF OFFICE
SCRIPTS
There are two scripts. The "story" script and the "interview" script. The "story" script includes a few interviews but its purpose is to tell the story of the child coming in to receive some shots and revealing that instead of receiving multiple shots, the child only has to receive one. Awesome.
The "interview" scripts are separate interviews that will be shot against a green screen. The two scripts will not be inter-cut.
Download the Story script here
Download interview script here
The "interview" scripts are separate interviews that will be shot against a green screen. The two scripts will not be inter-cut.
Download the Story script here
Download interview script here
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