DAY1 The Plane was now on the runway for us to Shoot. Storm Clouds were gathering and I wanted to Shoot while it was sunny to Burn out the Windows...

Patrice could not work out why Naomi was taking so many stills and not doing Makeup ..........

Then he found out she was just trying to get a photo of Michael on SOUND ,,,..... But he was Hiding ,,, She Did get just ONE shot ,, But it was quite Small ............

DAY1]

DAY1 The Plane interior was interesting ,, Its a Pity the Owner Blew a Gasket and Refused to start the engine again

Looking Forward was easy as it pointed up to the sky ... But to do it properly you need a Light on a crane and have it coordinated with a camera move ,,, We only had a Short line of Richards and one of the other Guys  to shoot ,,, So no need , time or Money to do it that way .

DAY1 Moving to the Front of the Beachcraft for the Reverse on 7 people was interesting.. Just getting the camera in was hard. Boris&Bren Worked it out

We all really needed COFFEe at this Point as You can see ::::::::. Is anybody going to Bring the Director Coffee PLEASE . 

And Dont forget the Gaffer the First Ad and Operator as well .

THEN CRAIG GOT COFFEE

 We all Stopped Wondering how the camera was going to Fit When He got Coffee ,,, But Is was as Hot as an Oven in there sitting out on the Runway in Full sun.                         

                                      I had to Jiggle

 the camera and Do the Clapper Board and Make Engine Flying noises with my Mouth ,,, So no Photos of the Reverse Angle . 

DAY1 We packed up at the Airport and arrived to shoot 3 scenes at one of the back verandah rooms of a house at Caboolture Historical Village.

The Room is a Verandah  Room with a low White sloping ceiling and Light walls ,,, We can only see 2 walls as the rest have displays or Wire or Glass doors .. SO lining it up is easy .. only one real choice with the ext doorway in the Background . I try to move the action away from the walls and then cut as much light off them as possible ... It is a 1 light situation ,,, through a 4x4 frame with large cutters to control the light ... It looks Ok . We do a wide and then Coverage ,, On the CU 's I use a Kino for a liner on the faces . We are using the RED 18mm to 50mm Zoom .

DAY1 We had 2 scenes to complete the Call sheet and everyone had been on deck for a long time. Not wanting to burn everyone out we Shot a Simple one..

We Had 2 scenes to go and not enough time ,,,, so we Did the Judy side of the short scene in a mid size and a CU ,,, Her lines were important for the cut and it was all we had time to do ,,, She was Good ,,, We were even able to unscrew a bit of the Wire doors in the BG to see a bit more Set . I use a 2K bondie through a 216 frame and Nothing else ,, The camera takes the Mix of Daylight and Tungsten well ,,, I have changed the REd to the equivalent of a 81EF filter or close to .

  Her line about HAVING NO MORE  MONEY ,,, Is a Bit tough to hear on your First day on a NO BUDGET Short FILM 

DAY2 Has 7 locations ( One scene from Yesterday) The last Scene is a Gear pack up & drive to Town . We SHOOT 20 set ups Today

The memory of the Motel in Caboolture still in my mind .. I wonder who does the lighting for Motels ,,, The Answer is ,,, NOBODY .

DAY2,, Scene 35 ,,,, Judy's leaving Richard . The Left over scene from Yesterday .,,,,,, And the Room hasn't gotten any better after a Nights sleep

        This room is not the smallest Room we have to shoot in but with the almost white walls and the sloping white ceiling It is one of the worst . 

           Actor Positioning this time is even closer to those light walls . It makes it hard to keep the Light off them ( walls ) We can only stage in one Direction because the other doorways have Wire mesh screwed to them and can not be  entered . But the Beauty of the Caboolture Historical Village is that we are able to shoot so many scenes there in sets or in existing Rooms . Less Packing gear and Moving Vehicles = more shots in the Finished Trailer .

DAY2 Scene 22 The Loan Office set was in the Smallest Room we Shot in ,,, and that is saying something.The only way to do a wide shot is outside ...

This Room was SMALL ,,, You can see by the line up shot below ( I often use my 16:9 Leica as a Lineup tool to show Directors ) We could have gone into the Room opposite  for some sort of Wide ,,,,,, Craig thought we should move on instead of trying to get it and I agreed ,,, That was why it was left until we completed the coverage . In a trailer it was a little unnecessary I think . It could have looked nice by keeping the light off the walls either side of the office , But there was a very heavy book case that needed moving just to get a light in the  Right of the Room ,,,,,,,,,,,,,,,,,,,,,,,,,, Another time perhaps. .

DAY2 Scene 13 . At first I thought the Transmitter was buried to deep to do our scene without heaps of coverage & reverses angles .

               We then devised a ONER as they say a bit like TV shooting ,,, We see a wide shot of something covered up , we move in and as we get close a hand comes in from left of screen and pulls the dusty blanket down as we track back FAST to hold the guy talking to someone close to camera left ,,, That person then dives into frame left and looks back at the guy and says his lines  ( both lines delivered to camera ) They then embrace in profile in front of camera ,,,,,,,, It worked just , it needed a few more takes to get perfect  but as usual there is pressure for us to move on ,,, So no CU  coverage , We have done our First Oner .. It is so tempting just to do one CU so you can use bits of different takes ,,,,,,, But I figure If we want it perfect we would be shooting the FILM not the trailer , and to drop a scene out of the trailer just to fine tune a setup is counter productive for project  

 The Lighting was 2 soft backlight ( through 4x4 frame ) keys to appear to come from a window on each side of the wide frame

DAY2 Scene 6 The newspaper Office was a Difficult set , low Flats , long narrow set , Things stacked behind and in half of the Front of the set .

The Actor who played Richard's boss was extremely tall ,,, His head close to the top of the set at Normal camera height ... we couldnrt get back on a long lens and track the length of the set as there were heavy things stacked close in . We did track back a little but at quite a height to stop seeing off the top of the set ,, A CU of the Boss had to be done with a high camera position to avoid shooting off the top and  the Reverse on Richard was a hell of a cheat but I think it worked ,,, was Glad to get out of this set and move onto the Jail set .

DAY2 Scene 24 In JAIL. A Small Fresnel Back light , a Kino close to the inside& outside of the Bars, a bare bulb out the small window for depth.

This was a Nice little set ,,, the bare globe out the window gave it some depth and the leaking light all around the shed gave the Fill ..... The reverse was easy ,,, Take the back wall and put it behind John ,,, Keep the 2 Fluros on , Move Lindsay's fresnel back light to work on John ... Needed a Bit of controllable fill by bouncing a Half blued  Blondie of the wall of the tin shed  ,,, This was where I loved working with the REd ,,, I light by eye anyway but to have a REAL picture there as it will be means you can move a lot faster .

DAY2 With a' Get Out of Jail Free Card' we Move to a Antique Machinery Shed for Scene 8 . Because of the leftover scene from yesterday we are behind .

There was a Late Sun coming straight in behind camera . I did wish to keep this set up simple but not that simple ,,, Patrice built a 12x12 Black to block the sun out while I  place a Blondie ,,, Raw . One to Back light the Group as they come from behind some machinery and Partrice placed another one to slash the Bg . We turned on the Fluros but removed the tubes in the Foreground , What a lovely mixture of light it was LOL,,, We Started in Close and Tracked back fast to reveal the Large engine and  then did coverage straight down the line as they were looking towards camera at the Motor ,,, A plan to get us out of there that worked . Didnt even get time to take a shot ,,, So here are 2 actor  empty scenes ,,,

DAY2 We Have Moved to a Art Gallery in Caboolture ,,, No generator & no access to the Power box for Fuse replacement ,, So the Lighting is minimal .

There would be nothing worse than tripping a Fuse breaker and then not be able to Film anymore ,,, So I used the available Painting spotlights to light the walls , then lit Richard  the ( FREE)  crowd with a couple of Redheads through 4x4 diffusion Frames . Trying to keep it simple because the lenth of the day so far ,,, Chrissie looked good as an extra in the 60's dress along with a whole lot of the crew to make up for the lack of Crowd .

Andy and Bren Thought they looked very 60's I think they were trying to get in the scene ,,, But there were only Green Dresses available and they Both didnt Like Green 

DAY3 We shoot a Great (FREE)Location the QLD Parliament House. We Shoot 7 areas. Get 27 setups then 4 car night setups on the Story Bridge A 14 hr DAY

There are some very good locations in the Parliament Building but we have heaps to shoot and quite a few moves and time hungry set ups to do ,, As we are shooting for a concept trailer and not a full feature Film we dont do normal coverage ,,, Some times we just do an important line here and there ,,, Or sometimes we have a long opening into a scene to put a Bit of Rock & Roll in there ,,, A bit like a music Video ,,, and of Course I would have loved a second camera in some of the Scenes for extra pick up shots ,

DAY3 Scene 2 Richard walks past and sees the Ministers car

On the Recce we had planned to do the Exterior first while the Art Department dressed the Long Narrow room as a set ,,, I had not seen exactly where the sun would be and was a bit apprehensive until i saw the great angle of the morning light .. 

 And the Bad storms of Brisbane had abated for me on my return to Filming there . Right next door to where I got my first Photography lessons at the Brisbane Tech .

DAY3 The set for Sc2pt1 was not ready we moved to the 2pt2 in the hall. We tracked forward to meet Richard he stops and looks left at the Announcer.

The hallway was a weird mixture of light ,,, I planned to us my 2 fast lenses to shoot there using no additional lights ,,, We couldnt open any doorways anyhow to put additional light in .

  In this SHOT Craig gives Lindsay some Direction for his reaction.

DAY3 It was decided to do a CU of Richard looking in the room to help the cheated cut of the announcer we were to do elswhere.

Up until now I had not needed to add any light ,,, So now we were doing a Cu I needed to fill his eyes a little ,,, So I called for a hand reflector to reflect the available weird mixture of light , and to grade it  later ,, There was little room to shoot across the hall ,,, so we had to settle for a slightly wider lens than needed ,,, We were not able to open any doors in the hall way to get back and use a longer lens .

Day3 Scene 2pt2 Tony took the time to Check for any Dirt on the sensor while I found a Friendly Dining room upstairs and some confusing Windows.

DAY3 There was a little confusion about what we had planned . Boris had a Weston Dolly rigged for a Richard Traveling shot to proceed the last setup

It was agreed to give it one take as it was ready to go ,,,,,, So we gave it 2 ... Tony tried to pull focus while walking with the dolly ,, leaving him behind in Shot ,,, Take 2 with him onboard was a success ... I just wish Michael on sound had made a mental note about this for when we tried it later on .. It was a Nice shot to use in some of the music tracks that would be included in the Concept Trailer ,,, Could cut it in anywhere you needed energy . 

DAY3 Scene 34 A break in the middle of the long Hallway with wide doors & a staircase was where we staged Willis & Richards Dialogue .

No Dolly this time a wider two and single coverage on each ,,, Then we moved onto the Tracking shot of John with extra dialogue as described below . 

DAY3 Craig wanted an extra line from John Gregg. I suggested we do it on the 16mm very close & Dolly back giving it good energy for a Trailer shot

So We mounted the Camera on a Western dolly again & put the Wide 16mm on and planned to Dolly back as John Strode down the hallway at a Fast pace ,, It would be different to the Shot with Lindsay we had done earlier as it would be Close and wide giving John a Slightly distorted appearance . With Lack of time we were only going to get one take at it ,,,,,, Most of it was ruined by the Mike nearly hitting John and remaining in shot after that . So we will only get to use the first bit where he  is not close enough to get the desired distorted effect ,,, How David thought he was going to Run backwards with the Boom on extra long and Fit through the doorway that barely fits the Dolly still beats me. Instead of taking the offer of putting the mike on the top of the camera within 2 ft of Johns face ... But one can not complain when people go out of their way to do Short Films like this and Give their time for FREE .

DAY3 Scene 2pt2. We line up a shot past Richard to a Announcer in a Sound Booth with the help of a piece of Glass & a ONAIR lit up sign. No Photo.

This was Quite Hard to do in Quick time ,,, But we managed quite well . At least we knew what we were matching to now ,,,We did 2 sizes and Moved onto the Next scene .

DAY3 Scene4. We shoot a Wide Shoot and then 2 singles of Richard's Confrontation with the Programer

         I always use my 16:9 Leica Digital camera on the Recce to Line up a Proposed shot to show the Director ,, Particularly useful if he is new to the Job . Here is a Shot I used with the Gaffer ( Patrice ) and the 1st Assistant Director ( Andy ) to demonstrate a possible use of the room for this scene 
This Room  is Truly the Worst Type of Room to Shoot in , Long and..... Narrow ,, we just manage to so a Two shot and CU coverage using the Window as a Background for the Programer .. Must have been SOOOO cramped I didn't get a Shot of the Programer ,,, Only Richards Reverse