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The First Shooting Day in Rutland~!!

This is the first day is a group working day. We went to Diana's home and shot the life of two of them. It was really a long day but hopefully things ran well and we have done all of shooting plan of that day.

It's a lovely sunny day. Hollie and I met at bus station on 9:00 and others went with Stephanie's car. Hollie and I spent a long and nervous trip on the bus cuz we don't know where we should get off. Anyway, after passing the traffic jam we arrived Diana's home!

We shoot Eddie's working time in Barnsdale Lodge at first. It's a warm and comfortable place to shoot. Because there is not too much space in kitchen so Hollie and I went out and took some photos. There were some funny chicken and 'black face' sheep in the back yard! l0l

The next sequence was in Diana's home and we spent most of time at there as well. We have shot all things about the life of 'two of a kind'. I played the role of lighting and sound. Anne help me doing lots of recording stuff. Actually, I have made many notes before our shooting, but it was really difficult when I shooting in really location especially in the dark room. During the interview with Eddie in the afternoon, The room is dark so we set three basic light kit. Because they are always sooo 'hot' so I had to cooling them as soon as possible. During the interview, Anne and I had to hold the mic in front of Eddie all the time so we almost can not feel nothing after the interview. But, it's really comfortable when we listen the none-noise sound in earphone!

Because the camear drank battery so we only shoot about 15 mins in sports hall. However, I thought it really enough for our 4 mins documentary. I have edited some of my work so i knew Hitz would have sooo many work to do... It's about 2 hours footgage we've got...so... It was about 11pm when I arrived home. Hitz, really thank you for sending me back!!

It was really an exicting day and the image of Diana's home is fantastic~!! It was really busy day but it worth!! anyway, I enjoy it very well! lol

We took so many photos as the location and as the evidence as well. I put some of them by the Poladriod way!! I really enjoy the 'origianl' colours!! gorgeous, isn't it?!!

Book Reference

'Lighting for Digital Video & Television' ----- by John Jackman

I have read the book before shooting our film and I have made some note on my notebook so I transfer some of them on the blog, although there are some chart and pictures can not post.

---Human vision, the Camera, and Exposure
Relistic lighting is often not good enough for video and televisionNote: the average human eye is the equivalent of an 11,000*11,000 pixel CCD, with pixel only two microns in size.

f/1.4 is one most lenses is wide open
f/2.0 is one-half he area of f/1.4
f/2.8 is one-half the area of f/2.0

F Stop Ratio
1.4 1:1
2.0 2:1
2.8 4:1
4.0 8:1
5.6 16:1
8.0 32:1
11.0 64:1

---The Legal Video Signal
1. Black levels fall in a certain range
2. The eight-bit colour space used by computers displays 0,0,0 as black and 255,255,255 as full-value white
3. For either NTSC or PAL, pure black by RGB of 16,16,16. White is 235,235,235
4. Lower than 16,16,16 will be illegal black.


---Controlling Colour
Energy twice as far from the source is spread over four times the area and thus is 1/4 intensity


---Fluorescent Instruments
1. Soft, difffuse light that radiates in all direction
2. Lowel Rifa---Lite
3. The videssence Baselight B117339BX is a grid hung studio
4. The Gyoury Light System uses light wands that snap into holders
5. CRI: video and film


---Softlights
1. By hanging a sheet of diffusion material from a C-stand arm and positioning it a couple of feet in front of a fresnel
2. matte white reflceter/white umbrella
3. Mole softlight 750W
4. Light rays from a softbank radiate from a large area rather than from a single point


---Diffuse Light
Distance: apparent size of light source is cut to one-quarter the size from the original distance.


---Specialty Instruments
1. GAM makes a large 6000W chicken coop known as toplight
Range up to 15*30 feet in size, by enough for everything
2. Chinese lanterns can be used on mic fishpole as truly portable softlight soft fill and accents in many situation favorite of many DPs
3. Hand-held chinese lantern
4. The best current LEDs are only a bit more effiicient than incandescent lights, take about 1000, 5-mm LEDS to match the light out put of a standard 100W dulb


---Lighting controls and Uses
GELS: thin sheet of transparent colored plastic, dyed polyester.
For film and Video, gels break down into: colour conversion or correction gels and colour effect gels
1. Colour conversion: Change light colour temperature to another
Change yellow and blue range
2. Colour Correction: add or subtract a green component
eg: office and factory cool white fluorescents can't be turned off, need quartz key on the subject. Add green to quartz light to match.


---Colour Conversion and correction gels primarily break down into 4 types
1. Blue to convert tungsten to daylight---colour temperature blue/LTB
2. Orange to convert daylight to tungsten--- colour temperature orange/LTO
3. Green to correct fluorescent---plus green
4. Magenta to correct fluorescent---minus green


---Diffusion Materials
1. Soft and diffuse the light without changing its colour
Break down into three main categories
2. Grid cloth---a waterproof woven textile that can be sewn or grommeted for attachment to large frames
3. Tough spun---a nonwoven polyester fabric
4. Forest---a sheet polyester material that is frosted to various degrees


---Net and Silks
1. Net, scrims and silks act to slebtly reduce the light level to specific areas. Also some diffusion
2. Usually thin, translucent fabrics stretched over a frame
3. Net frame (very large) 'Butterflies' knock down and diffuse strong sunlight
4. The fabric: white(silk) Black(net)
Net abort light, whereas white fabrics provide diffusion
5. The lighting control are usually graded 1/4, 1/2 and 3/4 stop


---Light Pattern
1. Barn doors mounted to the front instrument avoid flares
2. Mount a flag or gobo on a seperate stand a little distance from ios to cast a sharper, more precisely defined shadow
3. Blackwrap is used on a light to provide precise, custom formed light control. (One of must-have stuff)

---Reflective Light
Extra light which need especially for close-ups
Don't need an extra light

Create our music~!!

We've got a group meeting on Fri and Hits shown our rough edit clips. Diana and Hits satisified with my music especailly the Guitar one. Soooo happy~~~

1. The 'Happy' one
I've made them by Garage Band on Mac. I have tried to fix some piano and drum rythem into the main guitar sound, and it ran well~!! They could feel the happy motion from the relax guitar! however, the first one always not perfect. Because it is little shorter for our film so I have made a new longer one to make it better.

2. The 'Sad' one
The 'sad' one is too depress to fix our film so i should make a new one. I have made a new one this weekend. I also use guitar as the main sound so it could make our film as a 'whole' one. I'm not sure if it ran well. Just have a try!! I can't upload it anyway...i'm not sure why... try again later...

3. The Piano one

I think it's a special one because I played it by myself! lol Although there was some noise in the sound piece, it runs well with our film. I recorded in my home so there is some noise can not avoid... I've tried to play it on my Garage Band by 'click'

Online Edit

I haven't update the journal for a long time because I was busy on updating my Chinese blog and the complicated visa stuff...
Our documentary work is prossessing to the online edit. I have made my own music clips for the film and also the piano one. I played the piano and record it but it wasn't run well because there was some noise anyway. I tried to play it by Gagrageband but it is too difficult to play it by "click" mouse because there are too many key to play---yep, the black and white.
I suppose to edit the film and now i think I could do it, just for fun~I always think there is few things i could do but now...i will have a busy week~~

I will update the journal before the presentation anyway. it's a mass work...

The Shot Analys

I prefer this shot the most. It makes a strong sense of the composition. The two men are sepreted by the table in the middle of the shot. The table seems like a partition line making the picture symmetrical. The two men are smoking and the smoke diffuses in the air. It makes a strong motion of the shot. There is also body language in this shot. The ways of the two men sitting, the knee of the man one left is straight and the man on the right feel nervous.

Regarding to Wong Kar-wai

This film lasted for a long time becasue most of scenes I shot with my friends in London. We did so many research to find many location and then chose some of them as candidate. There are some fantastic pics and scenes we found on Flickr and wrote down the address.

I played the heroine as well and the hero is my best friend Nic~ the whole progress was full of fun. I wrote the script as other little film we shot.

The shooting style is for regarding Wong Kar-wai who the famouse Chinese Director I love the most. the style is similar with his famous film called "2046"

http://www.imdb.com/video/screenplay/vi2813526297/

The element I like the best is he like focusing on details and the plot always seems jumbled but the aftertast is unlimited.

The story of Wong Kar-wai

Born in Shanghai, he moved to Hong Kong with his parents at the age of five. Coming from the Mainland and speaking only Mandarin and Shanghainese, he had a difficult period of adjustment to Cantonese speaking Hong Kong, spending hours in movie theatres with his mother. After graduating from Hong Kong Polytechnic College in graphic design in 1980, he enrolled in the Production Training Course organized by Hong Kong Television Broadcasts Limited (TVB) and became a full-time television scriptwriter. In the mid-1980s, he became a scriptwriter/director at The Wing Scope Co. and In-gear Film Production Company, the production houses owned by renowned Hong Kong actor /movie producer Alan Tang. Wong's current nostalgic artsy style took shape during his apprenticeship with Alan Tang Kwong-Wing, who invested in the first movie Wong directed, "As Tears Go By" (1988). Wong's career took off when he directed the film "Days of Being Wild" (1990), despite losing Alan Tang millions of invested dollars. Wong subsequently graduated to feature film work. He is credited with about ten scripts between 1982 and 1987, covering an array of genres from romantic comedy to action drama, but claims to have worked to some extent or another on about fifty more without official credit. He considers Final Victory (1986), a dark comedy/crime story for director Patrick Tam, his best script.

Feature films
He made his directing debut in 1988 with As Tears Go By, also produced by Alan Tang. A crime melodrama of the kind then hugely popular, it heavily borrowed from Martin Scorsese's Mean Streets (1974), but already displayed one of Wong's principal trademarks in its atmospheric and sometimes expressionistic color palette. It is his only box office hit to date.
His next film, Days of Being Wild (1991), produced by Alan Tang, a drama about aimless youth set in the early 1960s, established his trademark form: elliptically plotted mood pieces, with lush visuals and music, about the burden of memory on melancholy, misfit characters. Days was a box office failure but now regularly tops Hong Kong critics' polls of the best local films ever made. It has been described as a sort of Cantonese Rebel Without a Cause.
He also established his own independent production company, called Jet Tone Films Ltd. in English. His partner in the company is Jeffrey Lau, a director and producer who tends to work closer to the populist vein of mainstream Hong Kong film.
Wong went on to direct several more feature films in the 1990s produced by Jet Tone, which allowed him to work at his own pace. Among these were Chungking Express (1994), which follows the lives of two love-struck cops in Hong Kong and the mysterious women they meet and fall in love with. Originally intended to be a distraction piece for him to get his mind off of the heavily delayed Ashes of Time, it ended up being one of his most popular films, if not the most popular. Fallen Angels (1995), was originally intended to be the third act of Chungking Express, but when the tone didn't fit with the other two parts, he cut it out and made it a standalone movie instead; it is seen as a semi-sequel to Chungking Express as is a neo-noir film about on a disillusioned killer trying to overcome the affections of his partner, a strange drifter looking for her ex-boyfriend, and a mute trying to get the world's attention in his own ways, all set against a sordid and surreal urban nightscape.
Wong's fourth movie, Ashes of Time (1994), released between Chungking Express and Fallen Angels, applied his approach to a star-studded wuxia (martial arts swordplay) story; the desert shoot in Mainland China dragged on for over a year and resulted in one of contemporary Hong Kong cinema's most notorious commercial disasters.
His first major international recognition was at the 1997 Cannes Film Festival where he won the Best Director prize for Happy Together (1997). A film that "uses gorgeous, saturated images set to an eclectic soundtrack of tango by Argentinian maestro Astor Piazolla, Brazilian singer Caetano Veloso and Frank Zappa instrumentals to chronicle the stormy affair of a gay couple living as expatriates in Buenos Aires."[2] In fact, tracing back to his early career, Wong did celebrate his success without being grateful to his mentor, Alan Tang Kwong-Wing.[citation needed] Wong mentioned Tang's name in his thank you speech at the award ceremony.
Despite his background as a scriptwriter, one of Wong's trademarks as a director is that he works largely through improvisation and experimentation involving the actors and crew rather than adhering to a fixed screenplay. This has been a frequent source of trouble for his actors, his financial backers and many other people connected with his films, including sometimes himself.
The filming of In the Mood for Love (2000) had to be shifted from Beijing to Macau after the China Film Bureau demanded to see the completed script. This was all in all a minor setback in the "very complicated evolution" of the project which goes as far back as 1997. It was Wong's intention to make two films, one of which would be titled Beijing Summer, the plot unclear at the time, but eventually taking form in Macau. Here Wong planned to call it Three Stories About Food, but saw it better to settle for only one story, A Story About Food, that centers on a writer. Together with scenes shot in Bangkok and Angkor Wat, the filming took as long as 15 months. This was an especially arduous time for lead actress Maggie Cheung whose hair and makeup reportedly took a daily five hours, and who appeared in different cheongsams in each scene. She famously compared the lengthy shoot to a cold she couldn't get rid of. Working without deadlines, the film's upcoming premier at Cannes nonetheless put some pressure on Wong to finish editing. Intending to name the film Secrets he was dissuaded by Cannes, and finally named it In the Mood for Love after Bryan Ferry's cover of the song "I'm in the Mood for Love" he was listening to.[3][4]
Wong's 2046 (2004), a film about capturing lost memories, was the third chapter of a shared story that began with Days of Being Wild and continued with In the Mood for Love. Infamous for long drawn out shoots without any real regards to deadlines, a running joke amongst the crew was that he would finish in the year 2046.
In 2006, he became the first Chinese director to preside the jury at the Cannes Film Festival.
Wong Kar-wai's first full English-language film, My Blueberry Nights, opened the 2007 Cannes Film Festival as one of 22 films in competition. The lead, American singer-songwriter Norah Jones, made her acting debut in the film.