I had three main points to discuss with her: 1) The New Dance and Movement Element to my Piece. 2) The Shot List. 3) Experimentations that need to be done.
1. Dance Element
I briefed her on my new dance and movement element showing her the new synopsis and also the inspirational dance videos I uncovered when researching. We discussed visual shots I would want to add into my piece of expressive contemporary dance moments but only focusing on one feature at a time. Here are some screen shots from our favourite dance video which really helped to demonstrate what I wanted to achieve visually through the shot:
We then moved on to discuss the lighting style I would then use for the movement shots. We had previously discussed how my symbolic object shots would all be against a white plan background and majority would be really highly lit on an infinity table to show all the small details. However these movements are against a black background. We discussed the idea of not changing the colour of background within my piece at all so as to not cause any jarring. I showed her some of my favourite lighting techniques I had again discovered in my dance video inspiration research to try and find a way to light it which will work with a white background:
My favourite lighting is the most dramatic lighting with a lot of contrast between light and shadow to really make the body more abstract and within shape and form. Sugini and myself feel like this will be harder to pull off on a white back ground but we feel like its possible, as you can see from some of the screen shots above. We spoke about possibly set ups. One of those being having a light behind the dancer lighting up the background to keep it clear white and then having less intense lights in front of the dancer from either side lighting her up in a contrasted manor to give depth as desired.
2. Shot List
We then started getting into the shot list and we spoke about the kind of shots needed. As I have discovered form the Pre-Vis experiment I can do a lot of movement with the camera in post to complete any movements which will be hard to do with the URSA so Sugini knows to keep this in mind. This means the shot list can be much more efficient because we won't need to worry with complex movements too much. We then discussed the new shots that I have added in since doing the pre-vis experiment like the movements shots with my main body features being arms, hands, torso, legs and feet all as close up and mid shots. I have also added in a time-lapse of an apple going mouldy and also my face coming out of the water and my eyes opening at the very end. We agreed that I would complete the time-lapse photography/videos myself at home during the whole next term however she will help me set up so these don't need to go on the shot list. The rest of the shots will take place in the studio though apart from my facial submerged shots which will be much easier and safer to capture in my bath at home so these will need to go on a separate shot list and will be filmed with a different camera at a different time. She is now going to go away and start making a brief shot list with the camera crew and we will finalise it together at a later date after experimenting.
3. Experimentation
Lastly we discussed the experimentation that we would like to work on in the next couple of weeks. We went through he shots and singled out he ones which we felt could be much better improved with experimentation the studio to see how best to achieve them. These shots are:
- The fish tank filling up with water, we want to check the best way to position and light the fish tank to get the water to show up effectively.
- The ring landing and spinning, we want to find out how best to film this and in what frame rate to achieve the most dramatic but emotional response. We may get some hands involved in this shot too.
- The feather floating, we want to see if we will be able to get the feather to float across screen effectively and film it in the most detailed way.
- The Apple falling, we want to see how best to film this fall to get the dramatic movement in this shot and also the dramatic hit when it enters the water. Will the tank be sufficient enough to a achieve what we want.
- Ballon Popping, we need to see if it will be achievable with the frame rate available on the camera to achieve a high quality slow motion balloon pop. We also need to distinguish if air filled balloons or water balloons work better for this shot.
- Water Disturbances, We want to get some really nice textured shots of water disturbances so we are going to try these out in the fish tank while in the studio to see if we can achieve it here with the URSA. If not the next plan is to try it in the bath shots where I will also be submerging my face, there is even the possibility to use a go-pro actually under the water to capture these.
- Face Submerged, we want to trial this shot in my bathroom at home to make sure we will achieve abstract enough effect from it but also to see how best to light and film this facial submerged in this different location so that it still flows within the piece.
- Ink, we also want to check that the ink in water techniques work within the fish tank and that we can achieve a high enough detail with the camera and the set up.
We have planned out that in order to test these shots and experiment we will need to book a full day in the studio with the URSA and other equipment needed so we can trial these. We will then have a separate afternoon or evening session at my home within the bathroom to trial the water and submerged shots. I don't want to risk taking the URSA into this environment so I will film this with my DSLR and Go-Pro and see how those results turn out in comparison. My next task is for Sugini to prepare herself and her camera crew for these experiments while I purchase the items needed, book the space and book the equipment.
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