CREATIVE PRE PRODUCTION
This is the creative side of the pre production stage for Unit 13. This stage of the project is the skeleton of the visuals of the project. in this section of pre production I will be looking into the things such as Script, Script Markup, Storyboards, Character Design, Floor Plan, Lighting Plan. These things are what help to influence my films visuals, and allow for a smooth process when shooting the visuals. One of the first things that is required to find the story of the film is to create the script.
SCRIPT
With my script, I really wanted to push the boundries with the dialogue and the descriptions of the locations. Since in my last project, Unit 8, I did not have the creative freedom of writing a short film script, there was little room for any conversations between actors, so in this project I wanted to include multiple dialogue scenes, allowing me to include some scene blocking.
SCRIPT MARKUP
With the sript markup for this project, I found it extremely useful when filming, as it allowed me to get an understanding of how I wanted my scene to be layed out. As well as this, I used my script markup to allow me to see how I wanted to film in regards to the post production stage of my project, for example if I wanted any transitions or how the shots will flow within the edit.
CHARACTER DESIGN
THE MIMIC
For this project, one of the biggest struggles I faced was how I was going to represent the cyborg character, the MIMIC. So for this I looked for my inspiration using Pinterest. From this I gained a strong inspiration from one style of mask which used thin lines of orange light, mixed with lots of different levels on the mask. So I decided to choose to attempt to recreate this mask.
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In order to recreate this look, I used an old airsoft mask, with a combination of foam board, duct tape, and led lights. This allowed me to create slits in the mask for the light to show through. One of the creative decisions for this characters style was to make it feel like the character had been made in a workshop. Since this character was built by the charactere Richard in the story, it was meant to look like a scruffy design. By using duct tape and weathering paint, I believe that I was able to recreate this look very well. As well as this, when filming I want to keep as many of my scenes in the dark as possible, so when filming it allows the mask to shine through, creating an eerie effect.
RICHARD
For this project, I really wanted the character of Richard to be the main focus of this story. Since this story takes heavy inspiration from Blade Runner, and noir films from the 60s, I wanted the character of Richard to fit into that convention. To do this one of the main things that had to be present on the character was the trench coat. This was something that I wanted to keep as the forefront of the characters style and costume.
In order to create the character that I was hoping for, I decided to go with a grey trenchcoat. At first I looked into a black leather trench coat, however after looking through pinterest, I decided to go with a more traditional detective trench coat.
This creative choice, pulled the character together, and allowed the character to feel more within the cyberpunk genre.
Another thing I decided to add about this character, was the base layers of the costume. For example, I chose to stick with smart clothes on Richard, as I believe it best matched the college lecturer side of the character.
The popped collar on Richard's coat was done in order to allow me to get some creative shots when filming, for example when filming a side angle it would allow me to get more depth on the character by having the collar up.
FLOOR PLANS
MINIATURES
When creating this floor plan, I really needed to take into consideration leaving gaps inbetween the buildings, this was crucial since if I wanted to create depth between my building I would need lights inbetween. As well as this, I needed to have one main light which covered the whole city, this will be necessary since I will need to complete a moonlight pass. When looking at the location in which I will be filming in, the flats around the set are white, so I need to add black fabric in order to get rid of any reflections, and save me having to use green screen.
BATHROOM
For the bathroom scenes, I knew I would need the most lighting for this, since I really want to experiment with what I can do. One thing I really wanted to try when it came to this set, was the use of a grate for a window. So in order to do this I wanted to have a harsh spotlight shining through a grated cardboard piece in order to create a window effect. As well as this, I needed to have an accent light on the actors face, acting as a monitor screen on the desk. I really wanted to experiment with colours in this set, so I included two tube lights, one in a toilet cubical for a practical light, and one behind the actor for a hair light.
BAR
With the bar scene, I knew this would be a struggle to fit around, since the space was so small, so I wanted to include as much basic lighting as possible. So for this scene, I know I will be shooting day time, so I wanted to include a negative fill over the large front window on the bar. I wanted to have a large softbox with orange gels in order to create a heavy dirty orange tint. One thing that I needed in this floor plan, was to include practicals, since the location is not very cyberpunk looking, the practicals will be used to make the area feel more futuristic.
WAREHOUSE
For this scene, I want to shoot it at night, as there are a lot of windows for natural light, so in order to get the lighting set up I want, I need to shoot at night. When creating this floor pla n, I made it with the consideration of shooting at night, so I know the scene will have two people. This meant that I had to light according to this. One thing I really wanted was a harsh practical light, as I wanted to emphasis the room being like an interigation room. I then wanted the scene to be blue so I have planned to add a flood light with a blue gel over it, to create that cyberpunk night feel. And then for my key I want to use a large softbox, to just contrast the harsh light of the practical.
STORYBOARDS
When creating the storyboards, I didn't find it necessary for me to draw every shot throughout the film, so I only boarded the shots that I wanted to include in the final cut of the film. For example, during the final scene, I am very interested in including an extreme close up on the taser, whilst the MIMIC and Richard are fighting out of focus, so I specifically boarded that shot. In my previous FMP Unit 8, I didn't use storyboards as much when filming, as the shots were straight forward, but this project I believe that it is vital for me to use them to ensure that my shoots run smoothly.
SHOOTING SCRIPT
When creating this shooting script, I knew it would be a vital piece of paper work, so I knew it was very important for me to try and get as much information about the shot as possible. However, I struggled to describe some of the shots as I knew what I was looking for, so there are some areas in which the descriptions are not as strong, but I still believe this paper work was successful and will be extremely useful going forward into my production stage.
AUDIO SCRIPT
So when it came to creating this audio script, at this time I had already created the production schedule so I knew that I would be shooting with very little time in the post production stage, allowing me little to no time to record foley, so I only audio scripted for some of the scenes that I knew I coulnd't record audio for on set.
As well as this, I originally created the audio script with a rough timecode, so after filming I went back into the audio script and edited it in order to make it easier for me when recording foley.