Page 1
Reading through the script, the opening is establishing Tanya but by showing her room and things like her make-up, wigs, outfits, room, etc. I noted having close up shots such as on the make up brushes, her eyes while she's doing make up, behind Tanya as she does her hair. All of these to hit at who Tanya is for a the opening before actually revealing her. Moving over to the GV's of Cornwall, we aren't able to recce the location annoyingly so I noted filming areas which stand out, such as small independent shops, the town centre, fields, signs which show the audience where we are.
Titles need to be planned through with myself and Jemma.
Through the next section we'll need to get plenty of B-Roll of Tanya looking through her outfits, wigs, sorting out her wigs and preparing for an Instagram shoot which involves getting into Drag, doing her make-up setting up lights and camera for the shoot. The main thing to show through the footage is that Tanya does all this on her own. All of this will likely be handheld but I'll add in some footage on tripod for close ups to ensure footage is stable. The actuality interview which has Tanya talking the audience through her Instagram looks, I've noted to have the interview over the shoulder but also moving forward to show the audience her phone but also to get the interview itself.
Page 2
With page 2, I'm given the first interview which is with Tanya, Jemma has listed the questions which allows me to think about which lens to be using, often I'm going with the 24mm-70mm so I can adjust the shot as we shoot the interview, however you can see when the question about negative comments comes here I've noted a lens change. This is down to a technique that Sam Creamer suggested which is that when the question is asked, stop and do a lens change, with this the interviewee has time to really think about their answer and the 50mm goes much closer and adds a bit more drama. The questions here get personal and could lead to some upsetting answers.
Next we see Tanya as Miss Zodi, doing a photo shoot. I've noted that the main thing to get across is that she doesn't have help again. She's doing all this on her own. I noted a mixture of coverage for this and even shooting through her own cameras LCD screen to see the photo.
Page 3
Next part of the script is a small sequence to hint at the performance. Jemma has noted Slow-Motion, on the stage shots and 'arty shots'. I've crossed out the slow motion as the camera isn't ideal for slow motion footage. However, I also crossed out the stage in the script and focused on the arty shots comment. I thought about shooting a small sequence all on my prime lens, focus slightly out and lots of close ups on Tanya's make-up, hands, face, etc. All that could be edited together in a quick sequence in post production.
The next section is the interviews with our Drag Queen experts (still to be confirmed). Jemma explained that she wants them always in the theatre so this is also where we'll be conducting the interview. Although we haven't found a theatre yet, for the breakdown I've noted having each expert (we're planning on having 3) in different parts of the theatre to break them up but also to change up the interviews a little bit. I don't like the idea of visually seeing them all in the same background. So one in a changing room, one at the stage, one sitting in the audience seating, etc. This will all depend on the location we get. I've chosen to stick with the 24mm-70mm lens for these interviews as I want to show the Queens in full drag and also I don't think the 50mm lens is needed with these questions.
I've noted that the section of Tanya's interview will be filmed at the same time as her previous.
Page 4
By these questions in Tanya's interview, I intend to swap back to the 24mm-70mm lens. I've noted adjusting the shot depending on the answers given. In terms of cut aways for this section, I've noted maybe having Tanya talking with her family, packing ready to leave for the trip to the theatre, going through her outfits for the performance, etc. but with the amount of questions being asked I'll need to make sure I get enough coverage for the edit.
Interview with the experts will continue from the previous one, although I have noted a lens change.
Page 5
With the traveling sequence I've noted not only the actual traveling but also shots like closing her bedroom door, saying goodbye to her family, things that'll not only tell the story but make it more personal for Tanya. This is her story. Also walking through this small town to focus on her leaving to go off to do her performance.
Jemma has noted in the script about filming the next interview (day before performance) in Tanya's hotel. I originally noted about having this as a locked off interview but then knowing I'll be going handheld to get the B-Roll footage of Tanya's suitcase and when she's explaining her outfit, I changed to have it as a vox pop style interview. All handheld like Raised by Queers did.
Page 6
We go back over to the experts, where I've noted more lens changes for questions getting either more serious or personal. I've also noted that I'll need to get shots of their clothing, hands, close ups on details around so that if it's needed, we have that to use as cutaways in the edit. As in the script, I haven't seen any cut aways noted in visuals.
From this point forward, all the camera work is handheld. One for ease of set up and operating with the performance going on and the second to build the excitement for Tanya's performance.
Page 7
Last page wasn't a huge amount of breakdown but I did note that the performance by need to be filmed multiple times or on multiple cameras to ensure coverage for the edit and also the choice of lighting for this performance will all depend on what location we end up getting.
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