Production Log: 22/08/13

This weekend I went to London to do some filming for my short film. I went to Greenwich Tunnel to capture a running scene of the main protagonist for a montage scene at the end of my film. The lighting in the tunnel created a great spiral of shadow going through the entire tunnel, and due to the low ISO sensitivity, the tunnel appeared darker than it actually was in reality, so the spiral was more exaggerated and appeared as a deeper shadow. As the actor ran towards the camera, the separated lights created a flashing effect on the actors face as he got closer and closer, so his face would go from lit to shaded as he got closer and closer to the camera. This added drama to the shot, as well as being a very Film Noir-esque location to film in. Nicely lit creating a great contrast between light and dark, reflective tiles which capture the light, and an old fashioned look which works for the 1930's-40's setting of our movie. Due to the tunnel being constantly in use we had to time each take well making sure not to capture any members of the public in the shot. Luckily the darkness created by the low ISO sensitivity hid most of them when they were far enough away from the camera; or at least only captured them as faint silhouettes, so their clothing could not be identified as modern. I also filmed at the Chiswick Lamb Brewery, which is an old fashioned, black and white, tall building with a New York-eque fire escape and harsh lighting. A perfect location for Film Noir. However, the camera ran out of battery, so the shots I managed to capture were limited and poor, so I shall hopefully be returning at a later date. This location will have to be used again for other external shots. Raw footage of both locations will be added to the blog at a later date.

Production Log: 13/8/13

This week I did my storyboard for my short film by reading through the script and visualising in my mind what I want the shots to look like by putting the lights in the right place in relation to the camera and the actor/props that are the main focus of each shot, but making sure that the lighting still looks natural to the scene rather than forced. Doing this has allowed me to think up shots that are either conventionally Film Noir; such as putting lights behind lattice blinds to create effects on the walls, as well as shots that are clearly there for more comical/parody purposes, like having a Cluedo board stuck to the wall with red ribbon going in between the playing cards to resemble a detectives cork board as well as referencing a joke in the script. 

I used Celtx to create my storyboard, which was also used to write my script, as Celtx has a very easy to use storyboard maker that not only makes it easy to make sequences and add shots, with a selection of shot types to choose from, but it also allows for sketches of the shots to be drawn with a drawing tool, so that lines, circles and squares can be made, as well as having stock images of a man and a woman, a camera and different forms of lighting which makes the story board very clear to make out what the images are of, as well as making the story board easy to follow. Here is a frame from my storyboard: 

The black light represents a spot light, and the grey light represents a flood light. I hope to use an actual desk lamp as a form of flood light in my short film as my dad has an old fashioned lamp which would add to the mise-en-scene of the set as well as acting as an unforced form of light.

Shot List

1. ONE REHEARSAL IDENT RUNNING TIME 16 SECONDS 

1.1. Medium Shot

Shot of Globe spinning, with the words 'One Rehearsal Pictures' written on it. 

16 Seconds. 

2. TITLE SEQUENCE RUNNING TIME 24 SECONDS

2.1. Wide Shot

Still image of Gumshoe, lit from a low angle with harsh lighting, casting a long shadow; clean. Titles and credits will be later put over this.

24 Seconds.

3. INT. MALLOWS OFFICE.SCENE 1 RUNNING TIME 145 SECONDS

3.1. Medium Close Up Shot

Mallow sparks a match and lights a cigarette, the flame revealing his face for the first time, in stark shadows.

"How many private dicks does it take to change a lightbulb?..."

30 Seconds.

3.2. Very Wide Shot

Cut to wide shot of office.

"My office was dark: I liked it that way..."

23 Seconds.

3.3. Cutaway Shot

A cutaway to the door, to show that he's a Private Investigator. 

"...Announcing to the world..."

3 Seconds.

3.4. Very Wise Shot

Cut to wide shot of office.

"...Or any part of it that..."

31 Seconds.

3.5. Close Up Shot 

Mallow at his desk, filmed from the opposite side.

"...as I idly peeled the label from a bottle of cheap whisky."

8 Seconds.

3.6. Very Wide Shot 

Cut to wide shot of office.

"I’d drained its drain-cleaner contents three days earlier..." 

10 Seconds.

3.7. Cutaway Shot 

Cutaway to an non-ringing phone. 

"...unless a case came in..."

3 Seconds.

3.8. Very Wide Shot

Cut to wide shot of office.

"...and soon."

10 Seconds. 

3.9. Cutaway Shot

Cutaway to a Cluedo board. 

"...‘Miss Scarlet’ had done it..."

3 Seconds.

3.10. Very Wide Shot

Cut to wide shot of office. Mallow is walking towards the Camera.

"...by peeking into the envelope while my landlord, Kaplunkski..."

5 Seconds. 

3.11. Medium Close Up Shot

Mallow’s face, lit by the arrhythmic flashing light which casts shadows through the lattice blinds and onto his features.

"...was taking a leak."

19 Seconds.

4. EXT.ALLEYWAY SEEN FROM WINDOW.SCENE 2 RUNNING TIME 22 SECONDS 

4.1. POV Shot

Mallow looking down the window, watching the fem fatale walk through a wet alleyway. 

"Yeah, being a dick way hard..."

22 Seconds.

5. INT. MALLOWS OFFICE.SCENE 3 RUNNING TIME 146 SECONDS

5.1. Very Wide Shot

Cut to wide shot of office, furnished appropriately. Mallow tidies up frantically. 

21 Seconds.

5.2. Wide Shot

Lotta steps into frame behind the door, casting a silhouette on the glass panel.

"I could see her silhouette through the frosted glass..."

21 Seconds.

5.3. Wide Shot

Opposite side, to show Lotta walking into the office. 

"She wore a dress of rich, ruby satin..."

10 Seconds.

5.4. Extreme Close Up Shot

Close up of Lotta as her appearance is narrated by Mallow. Camera zooms into her eyes, then moves down to her lips, then down to her cleavage.

"Her jet-black hair was worn in a style you only get from expensive salons..."

50 Seconds.

5.5. Two-Shot

Lotta and Mallow are now face to face in the office, they both sit down.

"Lotta Clivage." 

32 Seconds.

5.6. Over The Shoulder Shot

Over Lotta's shoulder facing Mallow.

"So, what can I do for you?"

3 Seconds. 

5.7. Over The Shoulder Shot

Over Mallow's shoulder facing Lotta.

"...I need your help, I..."

8 Seconds.

5.8. Over The Shoulder Shot

Over Lotta's shoulder facing Mallow.

"...No, call me Marsh." 

2 Seconds.

5.9. Over The Shoulder Shot

Over Mallow's shoulder facing Lotta.

"Marsh, I need your..."

5 Seconds.

5.10. Over The Shoulder Shot

Over Lotta's shoulder facing Mallow.

"Mushychops."

4 Seconds. 

5.11. Over The Shoulder Shot

Over Mallow's shoulder facing Lotta.

"Mister Mallow!"

5 Seconds.

5.12. Over The Shoulder Shot

Over Lotta's shoulder facing Mallow. Mallow keeps looking down at Lotta's cleavage.

"...Find my baby."

4 Seconds.

5.13. Over The Shoulder Shot

Over Mallow's shoulder facing Lotta.

"...and the police in this town say..."

7 Seconds. 

5.14. Over The Shoulder Shot

Mallow. Mallow keeps looking down at Lotta's cleavage.

"...because, well blah blah blah..."

12 Seconds.

5.15. POV Shot

Mallows POV facing Lotta's face, then begins to look down towards her cleavage and then it moves into her cleavage. 

25 Seconds.

6.EXT.ACTION MONTAGE. SCENE 4 RUNNING TIME 22 SECONDS 

6.1.Montage 

Train going through a tunnel.

7 Seconds.

6.2.Montage

Side of train.

2 Seconds.

6.3.Montage

Mallow running through a tunnel.

2 Seconds.

6.4.Montage

Mallow fires a Gun.

3 Seconds.

6.5.Montage

Mallow runs through tunnel. Closer to the camera now.

2 Seconds.

6.6.Montage

Mallow after the gun has been shot, surrounded by smoke. 

2 Seconds.

6.7.Montage

Mallow running through tunnel. Much closer to the camera now. His hat falls off. 

3 Seconds.

6.8.Montage

Lotta punches towards the camera. 

1 Second. 

Story Board

1. ONE REHEARSAL IDENT RUNNING TIME 16 SECONDS 

1.1. Medium Shot

Shot of Globe spinning, with the words 'One Rehearsal Pictures' written on it. 

16 Seconds.

2. TITLE SEQUENCE RUNNING TIME 24 SECONDS

2.1. Wide Shot

Still image of Gumshoe, lit from a low angle with harsh lighting, casting a long shadow; clean. Titles and credits will be later put over this.

24 Seconds.

3. INT. MALLOWS OFFICE.SCENE 1 RUNNING TIME 145 SECONDS

3.1. Medium Close Up Shot

Mallow sparks a match and lights a cigarette, the flame revealing his face for the first time, in stark shadows.

"How many private dicks does it take to change a lightbulb?..."

30 Seconds.

3.2. Very Wide Shot

Cut to wide shot of office.

"My office was dark: I liked it that way..."

23 Seconds.

3.3. Cutaway Shot

A cutaway to the door, to show that he's a Private Investigator. 

"...Announcing to the world..."

3 Seconds.

3.4. Very Wise Shot

Cut to wide shot of office.

"...Or any part of it that..."

31 Seconds.

3.5. Close Up Shot 

Mallow at his desk, filmed from the opposite side.

"...as I idly peeled the label from a bottle of cheap whisky."

8 Seconds.

3.6. Very Wide Shot 

Cut to wide shot of office.

"I’d drained its drain-cleaner contents three days earlier..." 

10 Seconds.

3.7. Cutaway Shot 

Cutaway to an non-ringing phone. 

"...unless a case came in..."

3 Seconds.

3.8. Very Wide Shot

Cut to wide shot of office.

"...and soon."

10 Seconds. 

3.9. Cutaway Shot

Cutaway to a Cluedo board. 

"...‘Miss Scarlet’ had done it..."

3 Seconds.

3.10. Very Wide Shot

Cut to wide shot of office. Mallow is walking towards the Camera.

"...by peeking into the envelope while my landlord, Kaplunkski..."

5 Seconds. 

3.11. Medium Close Up Shot

Mallow’s face, lit by the arrhythmic flashing light which casts shadows through the lattice blinds and onto his features.

"...was taking a leak."

19 Seconds.

4. EXT.ALLEYWAY SEEN FROM WINDOW.SCENE 2 RUNNING TIME 22 SECONDS 

4.1. POV Shot

Mallow looking down the window, watching the fem fatale walk through a wet alleyway. 

"Yeah, being a dick way hard..."

22 Seconds.

5. INT. MALLOWS OFFICE.SCENE 3 RUNNING TIME 146 SECONDS

5.1. Very Wide Shot

Cut to wide shot of office, furnished appropriately. Mallow tidies up frantically. 

21 Seconds.

5.2. Wide Shot

Lotta steps into frame behind the door, casting a silhouette on the glass panel.

"I could see her silhouette through the frosted glass..."

21 Seconds.

5.3. Wide Shot

Opposite side, to show Lotta walking into the office. 

"She wore a dress of rich, ruby satin..."

10 Seconds.

5.4. Extreme Close Up Shot

Close up of Lotta as her appearance is narrated by Mallow. Camera zooms into her eyes, then moves down to her lips, then down to her cleavage.

"Her jet-black hair was worn in a style you only get from expensive salons..."

50 Seconds.

5.5. Two-Shot

Lotta and Mallow are now face to face in the office, they both sit down.

"Lotta Clivage." 

32 Seconds.

5.6. Over The Shoulder Shot

Over Lotta's shoulder facing Mallow.

"So, what can I do for you?"

3 Seconds. 

5.7. Over The Shoulder Shot

Over Mallow's shoulder facing Lotta.

"...I need your help, I..."

8 Seconds.

5.8. Over The Shoulder Shot

Over Lotta's shoulder facing Mallow.

"...No, call me Marsh." 

2 Seconds.

5.9. Over The Shoulder Shot

Over Mallow's shoulder facing Lotta.

"Marsh, I need your..."

5 Seconds.

5.10. Over The Shoulder Shot

Over Lotta's shoulder facing Mallow.

"Mushychops."

4 Seconds. 

5.11. Over The Shoulder Shot

Over Mallow's shoulder facing Lotta.

"Mister Mallow!"

5 Seconds.

5.12. Over The Shoulder Shot

Over Lotta's shoulder facing Mallow. Mallow keeps looking down at Lotta's cleavage.

"...Find my baby."

4 Seconds.

5.13. Over The Shoulder Shot

Over Mallow's shoulder facing Lotta.

"...and the police in this town say..."

7 Seconds. 

5.14. Over The Shoulder Shot

Mallow. Mallow keeps looking down at Lotta's cleavage.

"...because, well blah blah blah..."

12 Seconds.

5.15. POV Shot

Mallows POV facing Lotta's face, then begins to look down towards her cleavage and then it moves into her cleavage. 

25 Seconds.

6.EXT.ACTION MONTAGE. SCENE 4 RUNNING TIME 22 SECONDS 

6.1.Montage 

Train going through a tunnel.

7 Seconds.

6.2.Montage

Side of train.

2 Seconds.

6.3.Montage

Mallow running through a tunnel.

2 Seconds.

6.4.Montage

Mallow fires a Gun.

3 Seconds.

6.5.Montage

Mallow runs through tunnel. Closer to the camera now.

2 Seconds.

6.6.Montage

Mallow after the gun has been shot, surrounded by smoke. 

2 Seconds.

6.7.Montage

Mallow running through tunnel. Much closer to the camera now. His hat falls off. 

3 Seconds.

6.8.Montage

Lotta punches towards the camera. 

1 Second.

Filming Schedule

1. ONE REHEARSAL IDENT

• 1.1: I plan to introduce my film with a parody of the 30's-40's Universal Ident in which a plane flew around the Earth, as the Earth rotated to reveal the words 'A Universal Picture'; however in my version the words will be 'A One Rehearsal Picture'. This will also introduce two aspects of the short that exist throughout; it's vintage cinematic style and the fact it is a parody of Film Noir.

2. TITLE SEQUENCE

• 2.1: For the opening sequence, I plan to use a still image of the main protagonist, Marshal Mallow, and put the films title over the top. I might also add in credits during this section. I want to do this in pre-production rather than post as in the 1930's and 40's, film makers would have printed the titles onto transparent plastic sheets and put them over the top of the still image or the footage and then filmed the screen. I will film a computer screen which has the still image of the detective with the text over it and change the slide in time with the music. 

3. INT. MALLOWS OFFICE

• 3.1: For the establishing shot of Mallow himself, I want the shot to begin completely black and then Mallow strikes a match to light a cigarette, and the flare created from the match light sup his face as he says "The name's Mallow...Marshal Mallow". This links the Mise-en-scene to the narration by establishing the character. 

• 3.2: In the next shot I plan to have Marshal walking through his office with his arms out stretched to play on the joke that the lighting in Film Noir is always very minimal to represent the dark narratives. I want Marshal to hit his leg against the cabinet in his office and hobble to his chair in pain to again play on this joke. The only lighting I will have in his office will be a light coming through lattice blinds to create an interesting effect on the wall; as using lattice blinds to create shadow effects is very conventional of Film Noir. 

• 3.3: I should probably involve a cut-away here to the detectives door. The door will have the words "Marshal Mallow Private Dick" with "Inspector" written underneath "Dick". As well as being another comic moment that adds to the parody of Film Noir, it also adds to Mallows character, and helps to introduce him, as it helps to establish that he's a detective. 

• 3.4: Here I will have Mallow spin around in his chair and turn the lamp on which will light up the office significantly, however will not take away from the stylistic, Film Noir look. The room will still be quite dark to distinguish the style as being Film Noir and not just in black and white, but the visibility will be clear enough to see everything in the room. In this scene Marshal is peeling the label from a bottle of whisky to highlight boredom, from his lack of cases, as well as him not being able to afford to get a replacement because he hasn't been paid as he hasn't had a case in so long. 

• 3.5: This shot will be of the same but from the opposite angle, so the camera will actually be on the desk facing Marshal as his feet will be in the foreground, up on the desk, with gum on his shoe (Gumshoes were given this name as they used to fix the holes in their shoes with chewing gum). 

• 3.6: The next shot returns to the same wide shot as seen in 3.3. Here, he throws the empty bottle into a bin and spins his chair around towards the camera. He does with a bored expression on his face. 

• 3.7: Cut to a cutaway of a non-ringing phone when he says "...Unless a case comes in, and soon." This whole set up helps to illustrate the helplessness of the detective, as well as the economical struggle of the 1930's in which the film is set. These are conventional traits of a detective of Film Noir. 

• 3.8: Then cuts back to the wide shot as Marshal stands up and puts his jacket on. 

• 3.9: Cutaway to a Cluedo Board in which the cards have been pinned to it with red ribbon going between each card, as if it's a detective's cork board; which is said when Marshal says "...‘Miss Scarlet’ had done it..." when talking about the last case he'd been in, which was just a game of Cluedo.

• 3.10: In this shot, Marshal has now put his jacket on and walks towards the camera until his tie is right up against the camera. 

• 3.11: In this scene Marshal is peering through a slit in the lattice blinds, just looking around, until he notices the Fem Fatale, Lotta Clivage, walking down the alleyway of which the building he is in is on. He notices her as the narration says "Dames equal Danger" which is followed by a dramatic chord to establish that the fem fatale will end up causing the downfall of the gumshoe, as conventional of Film Noir. 

4. EXT.ALLEYWAY SEEN FROM WINDOW

• 4.1: This shot consists of Lotta walking through an alleyway, looking for a certain address. She walks around looking puzzled for a while, until she finally realises and walks off towards the office in which Marshal is in. This is supposed to represent Marshal's POV. 

5. INT. MALLOWS OFFICE

• 5.1: Cut back to the long shot of Marshal in his office. In this shot he walks away from the window and he quickly tidies up his room, i.e. putting cups away, hiding the bottle that he put in the bin, putting his laundry away etc. This will later be sped up in a Benny Hill-esque manner and will be accompanied by a sped-up royalty free version of "We're in the Money".

• 5.2: The next shot is of the door again, which will have a light behind it so that when Lotta walks in front of the light, her silhouette will be casted against the window of the door. During this, Marshal describes the way she looks. At the end, she begins to open the door.

• 5.3: The following shot is from the opposite side of the door, showing Lotta opening the door and walking from the corridor into the office. The way she walks is going to be quite seductive. 

• 5.4: This is a close up shot of Lotta. Her appearance is narrated by Marshal as the camera zooms into her eyes, then moves down to her lips, then down to her cleavage.

• 5.5: This is a two shot which opens with Marshal's face right up to Lotta's breasts. She waggles her finger to suggest to him that she doesn't like what he's doing so he jumps back up. This is the shot in which actual dialogue, rather than narrations, are introduced. 

• 5.6-5.14: The next few shots consist of shot reverse-shots filmed over the shoulder of each camera, facing the other character as they speak. In this, Lotta tells Marshal that "Her baby is missing" and that she "Needs (Marshals's) help", however Marshal just nods and pretends to pay attention when really he keeps staring at her breasts. Eventually Lotta's dialogue changed from actual sentences to her saying "Blah blah blah boobies blah blah bank account". Her voice then fades out till she can no longer be heard. 

• 5.15: This shot is a POV shot from Marshal's perspective facing Lotta. The camera moves down to stare at her breasts and then moves into her breasts until the screen goes black. 

6.EXT.ACTION MONTAGE

• 6.1: The next shot is of a train going through a tunnel. Marshal's head is out of the window so as the train gets closer to the end of the tunnel the hole gets larger so more of Marshal's silhouette is visible until the train is in full light and he is no longer a silhouette. As the scene begins with the light at the end of the tunnel not being visible, the transition between this shot and the last will not be scene and it will appear natural. 

• 6.2: The next shot would be of the side of the steam train as it drives past quickly.

• 6.3: This shot is of Marshal running through a tunnel towards the camera. 

• 6.4: The next shot is of Marshal firing a gun. The light will be behind him to cause a silhouette so that the flash of the gun will light his face up briefly.

• 6.5: Back to the shot of Marshal running towards the camera but this time he is closer to it. 

• 6.6: A shot of Marshal standing there in silhouette after the gun has been fires, surrounded by the smoke from the gun. 

• 6.7: Another shot of Marshal running through the tunnel, but this time he runs right past the camera. His hat will fall off to add comedy to the scene.

• 6.8: The final shot is of Lotta punching towards the camera. As her fist makes contact the shot cuts to a black screen as if she punches the camera out. This represents Marshal's POV illustrating that Lotta knocks him out.