To make sure I had a clear plan of the set up for this, I drew a separate layout for the cameras and the lighting.
This is the camera setup. On this page I decided which cameras would go where and made any notes that I’d need to remind myself of on the day.
Camera 1 will be my safety shot that can always be cut back to in case there is no usable footage on any of the other cameras. The backwards/forwards movement was inspired by a Mumford and Sons music video I found. Their shot was probably achieved using a jib, or at the very least a slider far larger than the one we have at college, so the movement is greater and more exaggerated than ours will be. The way I plan to do this shot is to turn the slider through 90 degrees so that one end of it is pointing towards Gyasi and the camera can move loser or further away. The effect will be more subtle than that music video, but I like the idea of having a little movement in the shot rather than it being still the whole time. One thing I need to consider, is whether the front of the slider will be in shot when the camera is further away. As the slider is not free at the moment I can’t do a test to find out whether this will happen which is unfortunate, it’s always important to do a test run of any shots you’re not sure of. If it does end up getting in the way of the shot, I might have to swap the 35mm lens out for a closer lens, which will be closer to the singer and will cut out that bottom part o the shot. It does mean I might lose my wide shot, but I prefer this idea to cutting the slider out all together, as otherwise I’ll be relying on my steadicam to provide all the movement.
The steadicam is camera 2. I am a little apprehensive about this shot, I’m not confident that it’ll work. I talked a lot about steadicam work in this blog post, how impactful it could be and how I thought it fit well into our multicam idea, but now that i put it down on paper I’m less sure. The camera operator will have limited space to move about in and I’ve realised that the ‘pan around left side’ I put on the plan above would mean them invading the space of the wide shot. However, I’m going to keep it where it is and tell them to simply pan up and down, keeping the camera moving constantly. The other issue I’ve had with this shot is finding someone who’s confident enough to use the steadicam. Holding it up and still for anything over a minute is something i find tricky and it seems that so does everyone else. The people I’ve approached to ask them if they wanted to do it have sounded unsure and told me they don’t really know how to use a steadicam. I’ve managed to get Edan to operate it, who has told me that he’ll “try his best”. It doesn’t matter if parts of the shot are shaky, as Tucker can simply cut away to a different shot, so I just need a few moments of well framed and steady filming.
Camera 3 is a shot I found in my research and talk a lot about in this post. I will be on this camera and need to make sure I have it on a very shallow depth of field so the I can be continuously changing the focal point throughout. The only other thing I need to consider with this shot is the fact the the steadicam is essentially opposite e, so I need to try and angle it in such a way that the steadicam operator is able to move around without being in this shot too much.
I’ve opted for an incredibly simple 3 point lighting setup. I don’t feel like anything complicated would add to it in any way, as the song is quite simple and the singer will remain in the centre of the stage for the entire thing.
The most important light in this setup is the backlight. It is very important that Gyasi is clearly defined from the background, as the background is completely black and it’s very easy to lose someone in the shadows. I learnt this from a test shoot I did from a previous project that was filmed on the same stage. The idea is for the halo-like light to give the singer a dreamy appearance.
I am aware that lighting is one of my weaknesses in film, as I’m never really able to picture what kind of lighting will work and what won’t and because of this I’m going to have to dedicate most of my setting up time to getting the lights ready. I anticipate that there will be a bit of faffing around as I try to get the lighting looking how I want, so I need to make sure I’m fast in setting up the cameras.