Separation - Time-lapse Changes!

Now that my shoot days are over and done with I knew I needed to start thinking into my Time-Lapse element. According to my schedule I should have already started the time-lapse but due to lots of schedule changes because of limited time and other shoots I was working on changing I never had the chance to prepare or begin these. I wanted to create two time-lapses: One of a Sunflower growing and then dying and one of a bitten apple rotting away. However after revisiting the ideas behind these and discussing them with my DOP and various crew members I realised I didn't want to have these in my piece anymore. This is because:

- Firstly with my post-production schedule now beginning and timing being very tight for me on my own edit as well as peoples I knew I was never going to have the time to time-lapse the growth of the Sunflower. Also it is the wrong time of year to grow a sunflower and many shops and florists told me this so I was very concerned about weather this would be a success anyway.

- Then I realised I could just time-lapse the death of a Sunflower instead as well as the rotting apple. This idea would be feasible for me to do but then I thought into the concept and realised that having both these objects die would be very abrupt. The whole reason of having the growth into death is because it was meant to represent a very sad part of my emotional journey at this time however just having the death of the flower suddenly takes away the meaning and stress ad just seems abrupt and simplistically sad if even. This along with the rotting apple which again seems abrupt and conceptually basic has put me off as I don't think they are adding anything to the journey anymore.

- Lastly thinking visually these time-lapses will be filmed at my own home over a period of time and I don't have many studio tools at my availibility at home. The set up will never look as nice as the infinity table shots we filmed in the shoot and so editing them in amongst them will make these time-lapses stand out too much. I was okay with them standing out when they were a bigger part of the piece but now I only want to simplified time-lapses it seems like there isn't enough of them to warrant them standing out but also I don't have the tools to make them fit in as I can't book a studio for such a large amount of time to achieve this.

Conceptually, Practically and Visually I have defiantly changed my mind about having these Time-Lapses in the piece so I am removing them and not worry about filming them. I am shortly starting my own edit so I will have a much clear idea then if this was the right decision but I feel like at the moment it is.

Fairytale Photoshoot

Chloe approached me last week and asked if I would be able to do a photoshoot of her for her fairytale project as she wanted photos of herself as these fairytale stories to then create her paintings from. I was very excited to be able to do the photography for her as I really liked her ideas and I love portrait photography so this defiantly interested me. She told me in more detail about the themes and she wanted portraits of her as Little Red Riding Hood, Little Mermaid and Alice in Wonderland. She told me about some of the props she was going to source for this such as playing cards for Alice and Fur for Red Riding hood so I had a look online just top get some ideas myself about the kind of thing she wanted. These are what I looked at for inspiration:

I defiantly prefer the more dramatic serious approach to these kind of portraits as it is much more meaningful and intense. This is what I want to try and help chloe achieve. I also spoke to her about lighting and she wants it to be dramatic with shadows but not too much contrast. This led me to plan to use two lights with soft boxes on. One of either side of her but one set to flash brighter to still give her some drama. However I did also want to try one point lighting but I felt like this would give too much contrast which she didn't want. We conducted her photoshoot on Friday 23rd February in the university studios. I managed to get the lighting dramatic but not too contrasted with two lights attached to soft boxes as I said but I had one slightly more powerful and closer than the other. The main challenge was trying to make Chloe feel comfortable in front of the camera but I achieved this by chatting to her and encouraging her to change the way she posed etc to also get a nice variety. I captured a lot of different images for her to have a variety to choose from for each character but here are the favourites so far from this shoot currently unedited but she will edit them as needed when she chooses which to paint:

I am happy with how these images turned out and this has been a very fun side photography project to work on. I would be more than happy to complete more portraits for her project if she needs any.

Separation Shoot Days!

Leading up to my shoot days I made sure I had all the relevant paperwork completed, most importantly Call Sheets, Shot List and Risk Assessments. I also made sure I had all the correct equipment booked that we know knew from pre-light we needed. Lastly I brought and sourced all the props needed and snacks to have on set for cast and crew. These are the rough outlines of how the shoot days then turned out:

Separation Shoot Day One  - Tuesday 20th February

On Tuesday morning before the shoot began I left my house very early to go pick up the real sunflowers from the flourish and the snacks for the crew. I then arranged to meet the DOP Sugini and the Runner/Gaffer Tash at the equipment hire department at 11am. We then began taking out the equipment and checking all of it over before transporting it to the studio we were working across today and tomorrow. Due to the three of us doing this and the large amount of equipment this did take a lot of time. I then laid out the studio to have two tables at the end of the space. One to have props easily and accessibly laid out and one to have equipment easily and accessibly laid out. We then kept all our personal items out the way underneath the tables and there was chairs available for everyone here as well so on quick breaks the crew were able to rest. We then moved the infinity table into the centre of the space as this was most easily accessible then and safest. We then moved all the overhead photography lights out the way to the opposite end of the space. Now the basics of the space were clean and set up we began to complete the lighting setup now with an hour before the rest of the crew arrived. We began by trying the lighting setup that was suggested to us which we had been working on from last time. This was to have 4 LED panels on small stands under the infinity table with lots of diffusion material on them to disperse the strong light across the whole table. We would still then have our one arri tungsten light with a blue filter on it pointing across the table to light the objects in a contrasted way. This lighting setup didn't work very successfully because the 4 panels still weren't quiet strong enough to light the entire table fully and the stand didn't lower down enough so when they were under the table no matter how much diffusion we added they still spotlighted through the table in 4 areas. We experimented with moving them around but we knew that ideally we needed these lights much lower to the floor however we couldn't put them on the floor due to the cables in the back of them. As we were running out of time we went to seek help from the technician David who we had already had conversations with about the lighting set up and he had given us the ideas for this set up. He came to help and supplied us with very low small microphone stands which worked perfectly for putting the LED lights on to have them low enough and he then supplied us with an extra panel so we ended up working with 5 lights. Having them much lower down on these stands he supplied really helped and we then managed to get the lighting set up exactly how we needed it using two LED tilted to light the back of the table then three underneath on small stands to keep the light even across the table with thick diffusion covers on them all. We then put out feature light in place pointing across the table with a blue gel on it and we were good to go. Here is how our lighting set up ended up looking:

When the rest of the crew arrived at 1:00pm we were still finishing off the lighting set up as due to the complications we were running slightly behind. While we finished this they unpacked and set up all the camera equipment ready for the first shot and chloe prepared the props for the first shots. We then began shooting once we were ready and even though we began behind schedule we soon made up time as we had been over as lot of these type of shots before in pre-light and pre-vis so we were able to work very efficiently. We worked it as I was directing everyone and also time keeping while Chloe was also helping me by calling out the time when asked. She was also clapper as well as runner. Tash was then the had actress in shots so that I was able to stay behind the camera this time to keep on top of how everything was working and looking to achieve what I wanted. Tash was also running between shots to prepare the props etc for the next and she was also Gaffer so was moving the feature light around when needed although all of us also helped with this to keep things moving efficiently. The camera team ere then mainly led by Sugini who would tell them how to set up for the next shot and what they were doing for each shot however I would also step in to make slight changes and preferences when necessary so we could achieve the best shots possible.

As a crew we worked really well together and kept everything moving by all helping with whatever was needed as well as filling our own roles successfully. We only had a few issues arise during this day and that was the camera card stopped working correctly and that the slime prop never arrived. We tackled this quickly though by running the camera card back to stores to swap it for another one and then changing the schedules around so that we filled real sunflowers today as we had them with us and then slime tomorrow as that was guarded to arrive by then.

We conquered problems quickly and this allowed us to film everything we needed and have a really good time while doing so. Here are the schedules with my notes across them which show how everything ended up flowing. Sugini was making detailed notes about shots for me on her cop of the shot list so that when it comes to editing I can use my notes and hers to edit a lot easier.:

We made sure to be backing up the camera card regularly through out the day especially because we were working with such large Ultra HD files in high frame rates that would fill the card very quickly. We then  backed everything up once more at the end of the day so that we had it on two hard drives labelled correctly. After the first day because we were back in here tomorrow we were able to leave our lighting set up and props etc how they were and simply just pack down and take all the camera equipment with us. I was given the key so I was able to lock the door to stop anyone being able to enter till we were shooting again tomorrow at 9am. I made sure to charge the camera batteries over night so we were prepared ready to start very quickly again tomorrow.


Separation Shoot Day Two - Wednesday 21st February

We began the second day of shooting by all meeting at the cars to unload the camera equipment back into our studio at by 9:15am. We then set all the camera equipment back up ready to begin and turned all the lights back on and got props ready. We worked within the same roles again as this worked successfully yesterday and made us have a very good flow. Today we had to mark a safety line on the floor round the table as we had the tank of water in the studio today for all the water shots.

We had to keep the camera a certain distance away from the tank to ensure its safety and our own safety. We again had done a lot of these water shots previously in pre-vis and pre-light so we knew how to execute them safely, efficiently and effectively. We started slightly behind schedule today because we were taking our safety precautions but this was worth the time and also we knew we had contingency time if we needed it. We then began and again as we worked so well we were able to catch back up on time with the schedule. Everyone was a lot more confident in themselves it being no longer the first day so this allowed us to really push ourselves with the quality of shots we were getting. We had to begin with the slime shots as we had moved these from yesterday and switched them with some of the sunflower shots as we didn't have slime yesterday. The slime did arrive fro today thankfully! When we then moved onto water shots we had to be careful with certain objects due to not wanting the water to dirty too much however when I was scheduling I took this into account and scheduled in tank water cleans and changes after object I knew would mess up the look of the water. The main setback we had today was that the water did get a lot dirtier after some objects we didn't expect it to get dirty from like the dress. This meant we had to change the water more frequently but this also gave us time to back up the camera card often again due to the large files. We also knew because I had allowed contingency time that we were able to change the water to achieve a high quality look that we wanted.

Today with the water tank lighting was slightly more difficult to get perfect but this just meant we had to move the feature light round a lot more to light the tank and each object that went into it a lot more effectively. The object we found most difficult to film today was the ink because we were limited in how much ink we had and also the ink was so dark that it caused reflections on the tank front no matter how much we moved the lighting and the tank around on the table. We persevered and managed to get a shot we were happy with but this took a bit longer however we still managed to get out the studio by 4:30pm which was the latest we were allowed to be in there today. We packed up everything this time as we were finished in this studio and loaded it into my car and left the studio clean and tidy. I again made sure all the footage was backed up twice at the end of the day and that the camera batteries were all charged over night ready for tomorrow. Today we pulled together really well and all helped overcome problems that arise. This day felt a lot more intense then the first day because we had harder shots and more challenges arise but I felt inspire of this it still went very successfully and we all fulfilled our roles well. Here s the call sheet for this day with all my notes on it of how the day flowed etc:

Separation Shoot Day Three - Thursday 22nd February 

We knew before hand that this last day of shooting would be our most intense as it was the longest day out of the three because we had all the body movement shots to film and also because we had the dancer with us today. Again we had a very similarly structured call sheet to work from to keep us on track however due to having the dancer with us I made sure to have more breaks for her benefit today.  We got to university at 9:00am to unload equipment into the studio for today and set up. We were in B32 which is the same studio we had our rehearsal and pre-light in so we already knew how we were going to lay it out. We split in into 3 sections, one at the front by the doors where we kept our personal items and anything uneasy for our shoot. We had the curtains pulled across to keep this space where people could walk in unable to see the shooting space because our dancer would be partially nude. We then had a shooting space we were actually conducting the shoot and then a third space were all the props and spare equipment were kept safely on tables ready to be used at any moment. This layout worked well because it allowed us space to move around efficiently and safely.We then set up our equipment, we went with the same lighting set up we achieved in pre-light which was very dramatic but very simple. We used one large arri tungsten light with a Full ND filter over it pointing diagonally across the dancer to cast really beautifully interesting shapes. We also had her far away from the background so to avoid casting any disrupting shadows on the background. While this was being sorted the camera team was setting up the camera ready for the first shot and the dancer was warming up and preparing herself. We kept very similar roles today with the same crew as again we knew this work effectively. I was directing but my focus wasn't only on the camera today but also heavily on the dancer getting her to achieve the best moments possible for each shot. I was also time keeping myself with Chloe's help as she called time when asked. Chloe was also a runner and Clapper again today. Tash was again runner but also Gaffer and was mainly moved around our light to get the best look for different shots. Then Sugini was instructing the cameraa crew on what to do but again I would be overseeing this and adding to her instructions when needed to try and achieve the best shot we could. Molly our dancer really threw herself into today and this made it such a nice to set to be on because everyone was focused but also we were able to have fun together while filming. We didn't have any major problems today and it ran very smoothly. We also had contingency time today so were able to take our time on shots we wanted to explore more as we all came up with ideas while filming as well which helped us achieve some really nice footage.

We finished on time and managed to get everything packed away and all footage again back up so that we were able to leave the studio with all our equipment in plenty of time. I really enjoyed today a lot as it was lovely working with Molly the dancer again and she worked so hard as did all the crew yet we were able to really enjoy ourselves too. Here again is my call sheet of the notes I made during the day to show how it flowed:

I have had a lot of fun shooting my grad film this week and it has gone very successfully despite the problems that have arisen. I have had a great time with my crew and I feel like we all worked really well together as well as with the dancer too. I cant wait to start editing my footage together now.

Call Sheets and Schedule - Separation

As the Producer and Director of my own piece 'Separation' I prepared Call Sheets/ Schedules leading up to the shoot days which were planned on the 20th, 21st and 22nd February 2018. These were based on my original call sheets however have been updated to match the new revised shot list and schedule. Monday was cancelled as it was no longer needed because we managed to film the footage of the bathroom facial submerged shots during pre-light as this shoot was the most hazardous and we didn't want to repeat it unnecessarily. Also we managed to get perfect natural lighting on this day so we utilised this as we couldn't guarantee we would get this same lighting during the shoot week. We also eliminated Friday as this was a back up day for movement shots but now with a refined shortlist we knew we could get them all done on Thursday. Also the Dancers availability only limited us to Thursday anyway. After working out all the logistics of the new three shoot days  I then uploaded these  new call sheets onto our group page before the shoot and printed them out for the crew members to have on each day so we were able to follow them. Here are the three call sheets I made:

Call Sheet 1

Tuesday 20^th February 2018

‘Separation’ Shoot Day 1

Infinity Table Symbolic Imagery

Team Member:

Billie Williams – Director

Sugini Nageswaran – DOP

Ethan Salley – Camera Operator

Umor Hussain – Camera Assistant

Chloe Debonnaire – Runner/Clapper

Natasha O’Neill – Runner/Hand Actress

Location:

Studio G28A,

University for Creative Arts,

Farnham,

Surrey,

GU9 7DS.

Shot List 1

Camera:

URSA

Unit Call: 12:45pm

On Location: 1:00pm

1:00pm – Meet in Studio and Finish Set Up (Lighting will be done).

1:15pm – Set up complete. Prepare for shot – A1. (Ring)

1:18pm - Shoot A1. (Ring)

1:25pm – Prepare for next shot – A2. (Ring)

1:28pm – Shoot A2. (Ring)

1:35pm – Prepare for next shot – A3. (Ring)

1:38pm – Shoot A3. (Ring)

1:45pm – Prepare for next shot – B1. (Feather)

1:48pm – Shoot B1. (Feather)

1:55pm – Prepare for next shot – B2. (Feather)

1:58pm – Shoot B2. (Feather)

2:05pm – Prepare for next shot – B3. (Feather)

2:08pm – Shoot B3. (Feather)

2:15pm – Prepare for next shot – B4. (Feather)

2:18pm – Shoot B4. (Feather)

2:25pm - Prepare for next shot – F1. (Apple)

2:28pm - Shoot F1. (Apple)

2:35pm - Prepare for next shot – F2. (Apple)

2:38pm - Shoot F2. (Apple)

2:45pm - Prepare for next shot – F3. (Apple)

2:48pm - Shoot F3. (Apple)

2:55pm – Prepare for next shot – C5. (Stress Ball)

2:58pm – Shoot C5. (Stress Ball)

3:05pm – Prepare for next shot – C1. (Stress Ball)

3:08pm – Shoot C1. (Stress Ball)

3:15pm – Prepare for next shot – C2. (Stress Ball)

3:18pm – Shoot C2. (Stress Ball)

3:25pm - Prepare for next shot – C3. (Stress Ball)

3:28pm – Shoot C3. (Stress Ball)

3:35pm – Prepare for next shot – C4. (Stress Ball)

3:38pm – Shoot C4. (Stress Ball)

3:45pm - Prepare for next shot – D1. (Dress)

3:48pm - Shoot D1. (Dress)

3:55pm - Prepare for next shot – D3. (Dress & Headband)

3:58pm - Shoot D3. (Dress & Headband)

4:05pm - Prepare for next shot – D4. (Dress)

4:08pm - Shoot D4. (Dress)

4:15pm - Prepare for next shot – D9. (Dress & Headband)

4:18pm - Shoot D9. (Dress & Headband)

4:25pm – Break for 1hour.

5:25pm – Return from break, Prepare for next shot – D2. (Dress & Flour)

5:28pm – Shoot D2. (Dress & Flour)

5:35pm – Prepare for next shot – D5. (Dress & Flour)

5:38pm – Shoot D5. (Dress & Flour)

5:45pm – Prepare for next shot – D6. (Dress & Flour)

5:48pm – Shoot D6. (Dress & Flour)

5:55pm – Prepare for next shot – D7. (Dress & Water)

5:58pm – Shoot D7. (Dress & Water)

6:05pm – Prepare for next shot – D8. (Dress & Water)

6:08pm – Shoot D8. (Dress & Water)

6:15pm – Prepare for next shot – E4. (Fake Sunflower & Ink)

6:18pm – Shoot E4. (Fake Sunflower & Ink)

6:25pm – Prepare for next shot – G1. (Slime)

6:28pm – Shoot G1. (Slime)

6:35pm – Prepare for next shot – G2. (Slime)

6:38pm – Shoot G2. (Slime)

6:45pm – Prepare for next shot – G3. (Slime)

6:48pm – Shoot G3. (Slime)

6:55pm - Prepare for next shot – G4. (Slime)

6:58pm - Shoot G4. (Slime)

7:05pm – Contingency Time! (If needed)

7:30pm – Finish Shooting, back up Files and pack away.

8:00pm - Pack up finished, leave location.

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Call Sheet 2

Wednesday 21^st February 2018

‘Separation’ Shoot Day 2

Infinity Table Symbolic Imagery

Team Member:

Billie Williams – Director

Sugini Nageswaran – DOP

Ethan Salley – Camera Operator/Assistant

Umor Hussain – Camera Operator/Assistant

Chloe Debonnaire – Runner/Clapper

Natasha O’Neill – Runner/Hand Actress

Location:

Studio G28A,

University for Creative Arts,

Farnham,

Surrey,

GU9 7DS.

Shot List 1

Camera:

URSA

Unit Call: 9:00am

On Location: 9:15am

9:15am – Meet at location, turn everything back on and set everything back up ready to continue.

9:30am – Prepare for next shot – E1. (Real Sunflower)

9:33am – Shoot E1. (Real Sunflower)

9:40am - Prepare for next shot – E2. (Real Sunflower & Water Spray)

9:43am - Shoot E2. (Real Sunflower & Water Spray)

9:50am - Prepare for next shot – E3. (Real Sunflower & Water Spray)

9:53am - Shoot E3. (Real Sunflower & Water Spray)

10:00am – Prepare for next shot – H. (Water tank being filled)

10:05am - Shoot H. (Water tank being filled)

10:15am – Prepare for next shot – H1. (Water & Pump)

10:18am – Shoot H1. (Water & Pump)

10:25am - Prepare for next shot – H2. (Water & Pump)

10:28am - Shoot H2. (Water & Pump)

10:35am – Prepare for next shot – H3. (Water & Pump)

10:38am – Shoot H3. (Water & Pump)

10:45am – Prepare for next shot – H4. (Hand & Water)

10:48am – Shoot H4. (Hand & Water)

10:55am – Prepare for next shot – N1. (Face in Tank)

10:58am – Shoot N1. (Face in Tank)

11:05am – Prepare for next shot – N2. (Face in Tank)

11:08am – Shoot N2. (Face in Tank)

11:15am – Prepare for next shot – N3. (Face in Tank)

11:18am – Shoot N3. (Face in Tank)

11:25am – Prepare for next shot – N4 (Face in Tank).

11:28am – Shoot N4. (Face in Tank)

11:35am – Prepare for next shot – J1. (Dress in Tank)

11:38am – Shoot J1. (Dress in Tank)

11:45am – Prepare for next shot – J2. (Dress in Tank)

11:48am – Shoot J2. (Dress in Tank)

11:55am – Prepare for next shot – J3. (Dress in Tank)

11:58am – Shoot J3. (Dress in Tank)

12:05pm – Break for 30mins. (Clean and Change Water in Tank)

12:35pm – Return from Break. Prepare for next shot – L1. (Feather in Tank)

12:38pm – Shoot L1. (Feather in Tank)

12:45pm – Prepare for next shot – I1. (Apple in Tank)

12:48pm – Shoot I1. (Apple in Tank)

12:55pm – Prepare for next shot – I2. (Apple in Tank)

12:58pm – Shoot I2. (Apple in Tank)

1:05pm – Prepare for next shot – I3. (Apple in Tank)

1:08pm – Shoot I3. (Apple in Tank)

1:15pm – Prepare for next shot – K2. (Real Sunflower in Tank) CHANGE TANK WATER!

1:23pm – Shoot K2. (Real Sunflower in Tank)

1:30pm – Prepare for next shot – K3. (Real Sunflower in Tank)

1:33pm – Shoot K3. (Real Sunflower in Tank)

1:40pm – Prepare for next shot – K4. (Real Sunflower in Tank)

1:43pm – Shoot K4. (Real Sunflower in Tank)

1:50pm – Prepare for next shot – K5. (Real Sunflower in Tank)

1:53pm – Shoot K5. (Real Sunflower in Tank)

2:00pm – Prepare for next shot – M1. (Ink in Tank) CHANGE TANK WATER!

2:10pm – Shoot M1. (Ink in Tank)

2:15pm – Prepare for next shot – M3. (Ink in Tank)

2:18pm – Shoot M3. (Ink in Tank)

2:23pm – Prepare for next shot – M2. (Ink in Tank) CHANGE TANK WATER!

2:33pm – Shoot M2. (Ink in Tank)

2:38pm – Prepare for next shot – M4. (Ink in Tank)

2:41pm – Shoot M4. (Ink in Tank)

2:45pm – Contingency Time! (If needed)

3:15pm – Finish Shooting, back up Files and pack away.

4:00 pm - Pack up finished, leave location.

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Call Sheet 3

Thursday 22nd February 2018

‘Separation’ Shoot Day 3

Movement Elements

Team Member:

Billie Williams – Director

Sugini Nageswaran – DOP

Ethan Salley – Camera Operator

Umor Hussain – Camera Assistant

Natasha O’Neill – Runner/Note Taker

Chloe Debonair – Runner/Clapper

Molly Gordon – Dancer

Location:

Studio B32,

University for Creative Arts,

Farnham,

Surrey,

GU9 7DS.

Shot List 2

Camera:

URSA & GH4

Unit Call: 9:00am

On Location: 9:15am

9:00am – Meet at university side road entrance to unload equipment from cars. (Near B32)

9:10am – Arrive in studio and begin set up.

9:30am – Dancer arrives, brief dancer and allow warm up.

9:35am – Prepare for first shot – A1. (Torso)

9:38am - Shoot A1. (Torso)

9:45am – Prepare for next shot – B1. (Stomach)

9:48am – Shoot B1. (Stomach)

9:55am – Prepare for next shot – B2. (Stomach)

9:58am – Shoot B2. (Stomach)

10:05am – Prepare for next shot – B3. (Stomach)

10:08am – Shoot B3. (Stomach)

10:15am – Prepare for next shot – B4. (Stomach)

10:18am – Shoot B4. (Stomach)

10:25am – Prepare for next shot – B5. (Stomach)

10:28am – Shoot B6. (Stomach)

10:35am - Prepare for next shot – B7. (Stomach)

10:38am - Shoot B7. (Stomach)

10:45am - Prepare for next shot – C1. (Lower Back)

10:48am - Shoot C1. (Lower Back)

10:55am - Prepare for next shot – C2. (Lower Back)

10:58am - Shoot C2. (Lower Back)

11:05am – Prepare for next shot – C3. (Lower Back)

11:08am - Shoot C3. (Lower Back)

11:15am - Prepare for next shot – C4. (Lower Back)

11:18am - Shoot C4. (Lower Back)

11:25am – 10 min break

 11:35am – Prepare for next shot – D1. (Upper Back)

11:38am – Shoot D1. (Upper Back)

11:45am – Prepare for next shot – D2.

11:48am – Shoot D2. (Upper Back)

11:55am – Prepare for next shot – D3. (Upper Back)

11:58am – Shoot D3. (Upper Back)

12:05pm – Prepare for next shot – D4. (Upper Back)

12:08pm – Shoot D4. (Upper Back)

12:15pm – Prepare for next shot – D5. (Upper Back)

12:18pm – Shoot D5. (Upper Back)

12:25pm – Prepare for next shot – D6. (Upper Back)

12:28pm – Shoot D6. (Upper Back)

12:35pm – Prepare for next shot – D7. (Upper Back)

12:38pm – Shoot D7. (Upper Back)

12:45pm – Prepare for next shot – D8. (Upper Back)

12:48pm – Shoot D8. (Upper Back)

12:55 – Lunch Break (1 Hour)

1:55pm – Prepare for next shot – E1. (Chest) Molly Warm up!

1:58pm – Shoot E1. (Chest)

2:05pm – Prepare for next shot – E2. (Chest)

2:08pm – Shoot E2. (Chest)

2:15pm – Prepare for next shot – E3. (Chest)

2:18pm – Shoot E3. (Chest)

2:25pm – Prepare for next shot – E4. (Chest)

2:28pm – Shoot E4. (Chest)

2:35pm – Prepare for next shot – F1. (Side)

2:38pm – Shoot F1. (Side)

2:45pm – Prepare for next shot – F2. (Side)

2:48pm – Shoot F2. (Side)

2:55pm – Prepare for next shot – F3. (Side)

2:58pm – Shoot F3. (Side)

3:05pm – Prepare for next shot – F4. (Side)

3:08pm – Shoot F4. (Side)

3:15pm – Prepare for next shot – F5. (Side)

3:18pm – Shoot F5. (Side)

3:25 – 10 min Break

3:35pm – Prepare for next shot – G1. (Front)

3:38pm – Shoot G1. (Front)

3:45pm – Prepare for next shot – G2. (Front)

3:48pm – Shoot G2. (Front)

3:55pm – Prepare for next shot – G3. (Front)

3:58pm – Shoot G3. (Front)

4:05pm – Prepare for next shot – H1. (Back)

4:08pm – Shoot H1. (Back)

4:15pm – Prepare for next shot – H2. (Back)

4:18pm – Shoot H2. (Back)

4:25pm – Prepare for next shot – I1. (Stomach & Sunflower)

4:28pm – Shoot I1. (Stomach & Sunflower)

4:35pm – Prepare for next shot – I2. (Stomach & Sunflower)

4:38pm – Shoot I2. (Stomach & Sunflower)

4:45pm – Prepare for next shot – I3. (Stomach & Sunflower)

4:48pm – Shoot I3. (Stomach & Sunflower)

4:55pm – Prepare for next shot – J1. (Back & Ink)

4:58pm – Shoot J1. (Back & Ink)

5:05pm – Prepare for next shot – J2. (Back & Ink)

5:08pm – Shoot J2. (Back & Ink)

5:15pm – Prepare for next shot – J3. (Back & Ink)

5:18pm – Shoot J3. (Back & Ink)

5:25pm – Contingency Time! (If needed)

5:55pm - Finish Filming. Dancer to cool down. Crew to tidy up and back up footage.

6:25pm – Leave Studio.

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When planning these call sheets I made sure to allow plenty of time for set up and pack down. Myself, Sugini (DOP) and Natasha (Gaffer/Runner) even planned to enter the studio at 11am on the first day of shooting to allow plenty of time to get the lighting set up correct as we had our pre-light  second cancelled due to the university being suddenly shut. I also made sure to allow breaks and lunches that gave the crew time to relax but didn't eat into our shoot time too much! I then on every day made sure to always at least have half hour contingency time at the end of each day to allow for slight run overs in time or if any issues arose it would allow us extra time to fix these. The call sheets relate to the shot lists so I also made sure to print the revised shot lists for the shoot days as well again so everyone could follow what was happening. With all the preparation and planning that went into this shoot and now with finalised call sheet as well I was very confident to begin my shoot.