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16BTH - Jogging

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Mana Handel

on 5 December 2014

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Transcript of 16BTH - Jogging

16BTH - Jogging
Director
Film title: Jogging
Genre: Comedy / Road Movie
Production Design
Cinematography
Director's Vision
Production Concerns
The Good
Locked Beds Beds Beds, Beer Kegs, and Behind Bread and Roses
Almost have Lake Henrietta, Matt's Apartment, and Spring Hill Rd (backup)
In conversation with FSU PD about shooting in the tunnel and the campus trail
In communication with The City of Tallahassee about shooting on Ocala and Tennessee sidewalks and the area around Mabry
In Communication with Earth Fare, New Leaf, Winn Dixie, and Publix
Actors are all locked!
The ATL
INT. LIVING ROOM - DAY/LATE DAY
Billy arrives home from work and goes to the fridge for some water.
The light for this is motivated by the sun coming in through the windows and practicals.
The way the light fills the room will define the amount of contrast Billy has on his face but it will be more than the grocery store. The light here is softer, more inviting, and relaxing.
ISO: 640
Color Temp: 5600K
F Stop: 4.0/5.6
This scene is accomplished in a panning wide, a shot from inside the fridge, and an OTS onto the Britta Filter.
Billy's home is filled with neutral colors and warm colors including the brown, packing boxes.
Later in the day, Julian comes over and they drink and talk and decide to go blow something up. The lighting motivations are the same for this scene but the guys are in a two shot sitting on the couch with a window on their right side so we'll have sunlight lighting the right sides of their faces and possible a tungsten glow on the left.
The two shot is static but the inserts of their hands and the stuff on the table can have some movement.
ISO: 640
Color Temp: 5600K
F Stop: 4.0/5,6

EXT. FACTORY - LATE DAY
We're shooting this scene as late day and not as night because this location lacks power and looks beautiful at sunset/late day. There's a beautiful view of the sky and we want to capture that while showing the destruction these humans do for fun. The sun will be the lighting motivation. We're going for a realistic feel throughout most of the movie to contrast with the game show so fairly low contrast, but a softer light than midday.
Again, in this scene we accomplish the action in objective wides where the characters are allowed to move around the frame. They're mostly static with the possibility for panning. With two closer shots we illustrate the character's reactions to their settings and the situation.
The color palette is warm with a big red building as the backdrop, the fire, the sun and a big brown fence. But the trees and blue sky add a cooler contrast, which Billy will be surrounded by while Julian frolicks in the warmth.
ISO: 640
Color Temp: 5600K
F Stop: 5.6/8
ND if necessary and polarizer.

RUNNING SCENE ONE
EXT. FACTORY - DAY
EXT. STADIUM TUNNEL - DAY
EXT. BEHIND BREAD AND ROSES - DAY
EXT. WINN DIXIE - DAY



All of the running scenes are day exteriors accomplished in either extreme static wides or panning wides to show Billy as a lone wolf, a small character in a big world. The factory is the only scene in which we dolly with him as well. These are all harshly lit by the sun, top down lighting. Each location is a taste of Tallahassee so they have their own color palette. the factory is red. The stadium tunnel is cement. Behind Bread and Roses is a bright yellow wall. The Winn Dixie wall is off white.
ISO: 640
F Stop: 16
Color Temp: 5600K
ND and polarizer
RUNNING SCENE ONE ENDS
EXT. BEDS BEDS BEDS - DAY
Billy is running and receives a phone call from his mother telling him that he's a movie character. Like all the previous running shots, this one is lit by the harsh sun. Beds Beds Beds is bright yellow and red and in the windows are a ton of stark white beds. This is covered in an extreme wide but also a medium dolly shot that turns into a static single when Billy stops to be baffled.
ISO: 640
Color Temp: 5600K
F Stop: 8.0
ND and polarizer.
INT. GAME SHOW -SOUND STAGE
The game show is a complete departure from reality. Billy is transported to a Price is Right,
Hunger Games
-esque talk show situation. There's a stage with a low budget backdrop, podiums for the contestants, a full audience and a flamboyant host. The show is lit by par cans with party gels that hang on pods. There are tons of practicals throughout the set like string lights and flashy adornments. The color scheme is tacky primary colors: red, yellow and blue. We want to backlight with orange and rack one side of their faces with purple. We want the host to have a pink spot light that also falls on the contestant when he or she is put on the spot at their personal podium. When the host welcomes the guests or says something crazy, we will have grips waving tweenies and inkies around as light cues. The lights also paint the audience when the camera is on them. We want the background to be two to three stops below the contestants and host. The stage is the main attraction and that's where all the light will hit. The audience will be a stop or two below the contestants, lit more softly and highlighted by the light cues.
When the host welcomes the audience back to the show, there will be a sweeping dolly move and quick cuts around to different camera positions.
The shot design will reflect that of a typical game show. It'll be very composed, following the host around the stage. We'll get all the action from every camera angle. Our main character is struggling in this absurd situation, but the camera remains objective. The audience, however, will be right there with him being confused and pissed off.
ISO: 640
Color Temp: 3200K
F Stop: 5.6/8.0
Possible half black magic filter.
EXT. BUS STOP – EVENING
EXT. STADIUM CANAL – EVENING

After the game show, Billy goes for a run to recover mentally. It's later in the day and the light is subject to change. Both of these are extreme, static, wides. The bus stop is in front of a big, deep green forest area. There's a bright stop light near it and the bus stop awning is lit as well. Other than the sun, those are the motivations. The stadium canal gets a lot of sunlight but there are a series of lights lining the top of it, as well as street lights nearby as well and a pink safety lights at the end of it.
The light should be softer now, more forgiving, cooler and losing intensity. We're losing light as we lose our main character, Billy, in his surroundings.
ISO: 640
Color Temp: 5600K
Possible ND and polarizer
F Stop: 5.6/8.0
EXT. LAKE HENRIETTA – EVENING
EXT. WAKULLA FOREST – EVENING
These are the last two scenes that we see Billy. They are wide expanses of pure nature featuring Billy. Everything is very green but warm due to the sun which is lighting Billy through the trees. There's more varied contrast due to the variance in shade. The light is softer but intensely concentrated as it is setting. In both places we have dolly moves following Billy looking at him in profile. He is now running away.
ISO: 640
Color Temp: 5600K
Possible ND and polarizer
F Stop: 4.0/5.6
EXT. BUS STOP – NIGHT
EXT. BACK OF COLISEUM – NIGHT
EXT. STADIUM TUNNEL – NIGHT
EXT. FORK IN THE ROAD – NIGHT
EXT. FACTORY – NIGHT
These are extreme wide, symmetrical, static shots where Billy is absent. The audience looks for their main character, but he has abandoned the story. They are dark, desolate and lonesome. The motivations for light all come from practicals that are already present in the locations. We look for him in two locations we know he has been before. The bus stop is lit by a big street light and lights on the awning. The back of Coliseum has two street lights that illuminate the whole area. One is pink and the other casts a green glow. The stadium tunnel is lit by traffic lights and the lights lining the top of the tunnel. The fork in the road is lit by a big street light, but everything around it falls to darkness. Then we return to the factory, the scene of the bomb and a place Billy has run before. The motivations for light here are also street lights. These are very high contrast images because they're captured at night. We don't want to add any artificial light if possible. The color palette is black and white with the colors of the lights washing over the locations.
ISO: 800
Color Temp: 5600K or varied.
No filters.
F Stop: 2.0/2.8
"Jogging" is an expression of Matt's own lyrical and poetic outlook of the world. It's an ode to landscapes and the lone wolf who explores them. Billy is at a mental crossroads in his life and we show him physically interacting with several crossroads on his run. He feels at odds with his place in life and within the framework of society. He feels most comfortable in wide open spaces where there's room to escape.
Billy begins the film in his routine at the grocery store and then continues his routine with his best friend, blowing up a homemade bomb. We observe them in wide master shots reflecting classic realism, giving the audience time to observe objectively until the character sinks in and everything feels subjective. He runs in extreme wides, a small man in the scheme of the big world. Then we dolly in a medium shot, running with him as he gets the call and is told he is a movie character.
The game show is stylized to match the absurd nature of the situation like in
The Hunger Games, The Colbert Report, The Price Is Right, and Who Wants To Be A Millionaire.
Sweeping dolly movements and quick cuts express Billy's swimming, confused head space. Billy rejects this break in his routine, this forced existential crisis. He just wants to return to his comfort zone, the routine of his run.
So we go back there with him. Now it's late day and we're back running with him in wides. With each landscape, we delve further into nature, until it's night time and there's no sign of Billy at all. He's no longer then main character. He rejects his own role and leaves. We return to the factory to look for him but he's gone. Different people will find different meanings in "Jogging" and Matt welcomes that. I do as well, but for me it's a way to express man's insignificance in the face of nature. The world is humongous and we forget that when we're wrapped up in trying to be the main characters in our own lives.
INT./EXT. WINN DIXIE - DAY
RUNNING SCENE TWO
RUNNING SCENE TWO ENDS
ABSENCE
Aspect Ratio - 1.85: 1
In this scene, Billy sorts apples into the incorrect bins.
His manager corrects his behavior.
ISO: 640
Color Temp: 4700K
F Stop: 4.0/5.6
The lighting for this scene is motivated by the overhead fluorescent lights that are already present in the grocery store.
It's low contrast with a deep depth of field with a commercial, perfect feel to it.
The color palette is primary colors to foreshadow the game show.
The camera movement will be classical (a push in) or static to allow the audience to observe objectively.
For the shot of Billy leaving Winn Dixie, it's an extreme wide lit by the sun.
ISO: 640
ND 9 probably and a polarizer.
Color Temp: 5600K

Video: 1:25

Our main character is Billy, a Publix employee
that's about to graduate college. He wants to "switch things up" a bit, but he's not exactly sure what those "things" are, and every time he tries, he is foiled by someone or something~ his boss, his roommate, his mother, and, finally the game show he is a contestant on. The stakes are as vague as Billy's desires but it seems as though it may have something to do with conformity. In the end, Billy becomes so overwhelmed, that he runs away.
The Director
Matt Voor
Production Designer
Brittney Rothal
Art Director
Hunter Truman
1st AD
Rafi Lorie
Cinematographer
Melisse Sporn
2nd AD
Jake Hammond
UPM
Aileen Carpenter
Producer
Mana Handel
Brandon Vargas as Billy
Infinitely chill, super nice guy
Keeps you on your toes, always switching it up
Very close friend of mine
Wide acting range (every man)
Not a trained actor
Julian Cano as Julian
The role he was born to play
Julian loves to run around and do mischievous shit
Very close friend of mine
Not a trained actor
Milo Pfeffer as Milo
Awesome game show host voice
Stage mannerism
Very close friend of mine
Trained actor
The Bad
Locking the preferred grocery store (Winn Dixie or Publix) is looking iffy
Safety of the bomb prop - Need clearance from Tony about the bomb - he's on vacation - and then need to notify Tallahassee PD about the logistics
The Ugly
The landlord of the property that owns the fence the characters will be hopping does not seem on board - no alternatives, exept maybe running around fence
Full transcript