DISCLOSURE

Test Shoot - Video and Photographs

Here is the test footage from the studio.

http://vimeo.com/19145719

Password is: testshoot

James
DOP 

Auditions And Bookings

Hello everyone, 

Please forward this to anyone I may have missed and read it all :)

Auditions

Here is the link to the audition tape
Please ask me for the password

http://vimeo.com/18536801 

Bookings

Obviously booking stuff is ridiculous at the moment so I’ve got everything I could manage. Let me know if I have missed anything 

Anything which is due back at the same time it is booked out we can just keep (obviously). But I will need some help keeping on top of this…. cos its expensive otherwise.

14th @ 9.30 -21st Feb @ 9.30

Monitor

Card Reader

Dedo Collection

Diva 

Gels

Red Head x3

Reflector

Tripod

21st @ 9.30 - 24th @ 9.30

Monitor

Gels

Red Head x 3

Tripod

2KW Blonde

24th @ 9.30 - 28th @ 9.30

Monitor

Gels

Red Head x 3

Tripod

Reflector

2KW Blonde

21st @ 9.30 - 28th @ 9.30

Key Track And Dolly (Spider Not Available!!)

Someone else needs to try and book the following as it won’t let me at the moment….

Reflector - 21st-24th

Gels 24th-28th

Also the Go Pro is booked for all days… so I suggest we try and book or borrow one? It won’t cost much.

I have a car so can do some equipment missioning.

When are we shooting at Viral? I will book out for that asap.

Let me know what everyone is thinking!

Merci,

James
DOP 

Disclosure Lighting Plan V1, a working document.

Click to link to view/download:

http://goo.gl/zgDs3

(updated 29/12)

Shoot Script - DOP

Disclosure Shooting Script

Hope this is all clear enough to understand. 

Camera
Canon 550d DSLR

Style
Keep the Documentary / Action / Cinematic Mix

Wide use of Handheld Camera Work and Long Tracking Shots.

Where I have written over that shoulder, that can be adapted to a wider, following shot.

Shoot for 2:35:1 widescreen matte setting on FCP – Keep cinematic feel while camera work demonstrates the documentary style.

Shot Plan
Scene 1
Ext. Woodland Area, Night

Handheld - over the shoulder of woman as she walks through woods.
POV handheld -  shot from chest height.
Shot as if it is a hidden camera attached at the chest. Possibly use Go Pro camera – Full HD/Fisheye style – good combination for this.
All one shot.

Scene 2
Ext. London Southbank, Evening

- Raw Feel - Cool Colours – High Contrast –
Use as much Natural Light as available.

Nick Jones Running
-Handheld from straight on, camera op. running backwards
-Handheld from the side punched in on Nick’s face.
- Over the shoulder – Handheld – running behind Nick
- Tripod –Wide - in front of Nick as he runs towards the camera. Busy streets.
- Extreme Down Shot – ‘sniper camera’ style. Contrast with next shot.
- Tripod/On Floor – Close Up – Focus on Nicks scuffed shoes – Shallow D.O.F
- Handheld – over the shoulder as Nick reaches the restaurant.

In. Restaurant, Evening

-Soft Light – Warm Colours - Contrasting to previous Scene
- Use Candles or Lamps where possible – keep the light
* Orange Gels Convert Daylight to Tungsten
*Use Diva Light + 350 Arri Box + Reflectors

-Handheld- Medium -Focus Pull from Beth to Nick through window as he approaches restaurant outside.
- Handheld – head height – in front of Nick as he enters the restaurant and walks towards the table. Follow until he reaches Beth and sits down.

- Over The Shoulder of Nick as Beth stands and kisses him. Continue on Beth’s face as she laughs and sits back down.

Conversation
*Do full scene from each angle for edit.

- Over the Shoulder of Beth – handheld – camera has subtle visible movement
- half of Nick in the frame

- Over the Shoulder of Nick – handheld – visible movement
-  half of Beth in the frame

- Medium Wide as the waiter approaches and offers the wine menu

Scene 4

- Same Lighting as Scene 5.

Int. HM Treasury Office, Westminster, Early Morning

*Establishing Shots of Westminster Area from Waterloo Bridge/Parliament Square? Shoot at 5am for sunrise?

*Test footage before – screen roll problems on DSLR when filming laptop/TV

ALL ONE TAKE

POV - Handheld Close up of laptop (Windows – essential)

POV – Handheld - Extreme close up of USB stick being plugged into PC

POV – Handheld - Close up – file appears on desktop

POV – Handheld - show file uploading to Youtube / minimized to show Word Doc.

Scene 5

Int. HM Treasury Office, Nick Jones’s Office, Early Morning

Lighting – Bright, Cool, White Light, Clean, Natural, Sunlight,

*Blue Gels Convert Tungsten to Daylight

Wide - Centrally framed establishing shot of the room with Nick at his desk.  

Long Tracking Shot- follow Beth in to the room through the door – as her hand turns the doorknob. - Handheld – Medium Wide – follow as she  walks in and brings in papers / coffee and speaks. Pan to Nick as he replies and looks back down at his work. Follow Beth to the USB stick, with Nick still in shot – showing him looking down at papers. Move in close as Beth exchanges the USB’s, then move backwards towards the door as she exits. Show door closing in frame.

*One Take*
Over the shoulder of Nick – handheld – medium/close up – right hand shoulder as he highlights some of the paperwork. Focus pull from Nick to the paper showing the figures/number (X2ZR). Camera pulls round to in front of desk as Nick shuffles through papers and continue round to the other side of him (left hand over the shoulder) as he opens up google and types in ‘M.O.D’ etc. Stay on the screen with part of Nick in shot as he watches the Youtube video. Ensure that the X2ZR is visable. Pull round to the left on to Nicks face as he shouts through to Beth. Stay on him as you hear the reply and he ask’s about the number. Long Pause on Nick until you hear a ‘No’ from Beth.

Scene 5

London Kensington, Residential House, Afternoon,

Ext – Wide Establishing Shot looking down street of Residential Street in Kensington.

*Use as much natural light as possible to allow for long tracking shot. Only place the shot can really be lit is from behind the camera in two of the far corners.

*Shot to stay fairly tight to allow room for lighting / allow documentary and intense feel.

ONE TAKE - Int. – handheld - unevenly angled mid shot of couple at dining table. 30% Beth, 60% Nick. D.O.F focus on Nick. After he speaks camera should show Beth leaving but stay on Nick.

As Nick turns around Beth’s laptop and plugs in the USB the camera should move behind Nick to an Over The Shoulder shot of the screen as the OMEGA page comes up.

Camera tracks back to a side profile of Nick as he shouts up to Beth – confusion and anger shown on his face.

Camera track back to behind Nick as Beth re-enters the room and speaks.

Camera track back to corner of the room to show a wide of the conversation and the exit of both characters out of the room – camera tracks behind couple to the front door as she whispers to Nick.

Scene 5

Ext. London Kensington, Residential Area, Park – Afternoon

*Natural lighting, Afternoon – consider how long we will get to shoot this – all in one day? Light will start to lesson at about 5pm – 12-5 should be ok?

*Unsure of the transition between house and London streets as don’t know where we are filming the house. Door could close on the camera from inside the house and then cut to them jogging down residential street? Or camera could follow in front, walking backwards, facing them, as they leave the house and cut to them walking down some steps of a Kensington house onto the street after they have closed the door behind them?

One full take (or as close to) needed from each angle. Be able to quickly cut in between each of them.

(would work perfectly over Chelsea Bridge / into Battersea Park)

Handheld – Mid/close up – camera running backwards in front of couple as they run down the street.

Wide – ‘sniper cam’ shot – showing they are being followed.

Handheld – Close Up – Side profile of couple as they run / talk.

Handheld – mid/close up from behind the couple as they run.

Handheld – Close up – running side profile from across the road – traffic going in between the couple.
(*possible use the dolly alongside to get a smooth shot that will still look rough*)

One Take - Long Tracking - Handheld – mid following couple to where they sit down. Focus onto Beth as she speaks to Nick. Keep Nick in shot for his reaction.

As he is told to run camera steps backwards to widen the frame. Keep both characters in shot. Camera - jog backwards facing Nick. See Beth go down in the frame but out of focus. As Nick turns back to look – cut.

Cut to an over the shoulder shot of Nick as he turns and looks back at Beth. 50fps? Slow Motion? Camera moves round Nick as he hesitates and figures in black come in to frame (out of focus). Nick turns to face the camera and runs – camera runs backwards keeping Nick in front.

Cut to Extreme Close Up on Nick’s face as he runs, shallow D.O.F – shoot 25fps and 50fps.

Cut to Handheld POV of the Omega men as they run behind Nick and see him round a corner. (Very documentary style, very rough filming, running is obvious)

Scene 6
Ext. London Busy Shopping District/Alleyway

Natural Lighting - Afternoon

Medium - Handheld Running Tracking shot of Nick’s profile as he rounds a corner into an Alleyway.

Cut to medium/wide dolly shot rolling backward – deep D.O.F – front of Nick as you see the Omega round the corner and fire at Nick. Camera stays in front of Nick as you see him get hit.

Cut to Handheld Wide POV of OMEGA team as Nick grabs his arm and cuts down a corner into the busy street.

Ext London, Busy Market, Residential Street

Natural Lighting - Afternoon

Cut to handheld- Wide – facing Nick in busy area. Nick runs through market. Focus on Nick with crowd obstructing view. Cut in with Over The Shoulder close up of Nick as he runs. Cut in with POV of Omega chasing Nick and losing sight of him – wide handheld with  the correct distance between Nick and the Omega.

Cut to medium handheld front shot through crowd - Omega team looking around for Nick – Focus on Omega team with people walking around in front of them.

One Take (if possible) - Handheld – Running - Over the shoulder of Nick as he falls into a market stall. Camera should seem like it falls and gets back up with him. Crowd setup so it looks like Nick is dodging his way through them. Camera follows Nick from behind and comes round to his front as he stops and grabs a cap and shirt. After putting the clothes on camera shows Nick give the market owner some money.

Cut to wide POV shot from Omega perspective as they spot Nick through crowd. See Nick speaking to the stall owner.

Over the shoulder of Nick as he turns and spots Omega (camera turns with him). Camera turns away with Nick and follows him as he exits the market.

Handheld medium close up – facing Nick – as he enters a residential street and trips over. Camera follows him until he hits the floor.

*Using Go Pro* - As Nick hits to the floor, cut to the camera hitting the floor and spinning to face Nick as he lays on the floor. Shot stays fixed on Nick until you see the Omega group grab him and search him. Shot stays on him until they hit him over the head. Cut to black.

Scene 7

Int Hospital, Morning

Lighting – Bright, Over Exposed (reflect Nicks vision), White, Blue-ish, Clinical,

Fade in from Black – Wide handheld shot of hospital room.

ONE TAKE - Cut to handheld medium close up profile view of Nick as he questions Nurse.  Focus on Nick as he speaks, Nurse in blurred. Follow Nicks hand has as he reaches and picks up the TV remote. Follow his hand as he picks up the remote and turns on the TV. Focus pull to the TV as it turns on. (*Green Screen / Motion Track News Piece onto footage?*). The camera stays on the TV until the news report finishes. It tracks back to where Nick had been but he is gone.

Cut to central wide of Nurse coming back through the door and Nick not being there.

Scene 8

Ext Hospital Entrance – Morning

Natural Lighting, Cool Colours, High Contrast

ALL ONE SHOT - Over The Shoulder walking - Close Up - Nick as he exits the Hospital and he pushes through the group of reporters. Track round Nick as he stops and speaks to the reporters. Camera faces Nick as he speaks- Camera could now easily be one of the reporter cameras. Camera moves back to behind him to over the shoulder as he pushes through the crowd and is escorted off by security. Camera seems as if it can’t make it through the crowd and sight of Nick is lost.

Scene 9

Int Busy Conference Room, Morning

Lighting – Warm, Bright, Clinical,

Wide Establishing shot of the room.

Mid – Handheld Shot from behind Beth as she sits, facing the crowd. She heads in the crowd turn as Nick enters the room.

ALL ONE SHOT - Cut to close up, handheld tracking shot facing Nick as he walks towards the table. Camera follows him round as he reaches the front of the stage and turns to face the crowd, as Nick does. The TV Producer is now in shot as he counts down.

One Full Take of Each Angle Needed – On Each BEAT the angle could change?

Cut To – Central POV  handheld shot of a member of the Journalists. Looking through a few other members of the crowd at Nick. Focus on Nick.

Cut To –  Handheld Close Profile of Nick as he speaks. Beth blurred in the background.

Cut Back to Wide Angle.

Handheld footage of Beth getting up after being shot and removing her top to show the bulletproof vest. Camera follows her from the floor as she stands up.

Cut back to Close Up of Nick

Cut back to wide POV shot of Journalist

Scene 10

Int Press Conference Room, Evening

Lighting Slightly Darker Than Previous Scene (Only if room allows In Natural Light)

ALL ONE SHOT - Handheld tracking - Over the shoulder of Nick, showing the conference coming to end and journalists leaving. Follow him as he walks across the room to Rachel. Follow conversation handheld until Rachel gets out the ring.

Cut To Wide Angle as Rachel hands over the ring and they go their separate ways. Fade Out.

Scene 11

Ext Stairwell, Roof

Low Light, Cool Colours, Low Shutter Speed,

Handheld from in front Nick as he climbs the stairs. As he reaches the top the camera follows him to near the edge where he breathes in. Move from in front to behind as he holds up the ring (Focus on the Ring). Follow it as he puts it back away and sits down.

Cut to Wide of Nick sitting down as he looks up at the sky.

Close up of Nicks face. Focus pull from Nick to the sky, leaving enough room for the light to be added in post. Focus pull back to Nicks face as he smiles.

James

DOP 

Camera and Director of Photography Brief: Projecting my vision to the crew

The power of camerawork and stylisation is evident in the world of film, it is the only way we can visually interpret and re-create, in an illusion of reality, the re-enactments of events, which then combine together to bring the story world to life. The purpose of this camera brief is to make sure the cameraman (Alex Knowles) and Director of Photography (James Callum) understand what vision I am trying to create and more importantly the role of the camera in terms of my production.

Every shot should connote the wider perspective of the film, for example in a film like Manhattan by Woody Allen the main iconic shot sums up the film’s story of a close relationship, the mood, the tone of the piece all in one shot.  

The stylisation is crucial to speak to your audience and every single shot you map out should have the audience in mind. In reference to Disclosure, the beginning scenes should focus on the closeness of Nick and Beth’s relationship and especially as Nick has just proposed to Beth. Due to his flaw (being unfit) it makes the relationship seem quite awkward and contrasting, which in the next scene is then evident as the audience begin to understand she has other plans, doubts about the relationship. Use shots to enhance their contrasting appearances, when Nick proposes to Beth there should obviously be a focus on Nick (as he’s the main character) but think about how you can give an indication of Beth’s doubts to the audience through shots, perspective and style.

Action in Disclosure will be one of the most difficult parts of our production, first of all there is a huge tendency to want to re-produce what we’ve seen in existing Thriller films but we’ve all got to remember that this is one vision which on some level, despite genre, should be represented as an independent vision. One thing that makes it easy for the Director to communicate this to the camera team is by encouraging experimentation on set. In films such as Sherlock Holmes (2009) instead of playing out the fighting action plain and simple film, it takes the same elements of handheld, Noir feeling but re-constructs them so that the emotions and thought processes of Sherlock’s character is played via narration while slow motion enhancing a few seconds of initial contact; it then releases in real time. What this achieves is a design approach in the film, and when we establish what this can be, it encourages and feeds the audience like a subconscious theme throughout.

I want to portray the strong emotional breakdown and decision process Nick must make in the events taken place. If you were being chased by the OMEGA what would you be thinking? –‘Holy fuck!’ What would you do?- ‘Confused!- Panic- Pulling self together- Intelligent solution.’ There is a moment of realization of each of these moods which need to be displayed through shots and style and the more you think about this throughout the production the better our one vision comes to life on screen for the audience to understand.

How can we make handheld style different?

How can we use the meaning of the character’s actions to come across through the framing of the shot?

Although as a Director I should be giving you examples of how to develop these questions in your test shooting and research but I would like to encourage you to think about these points when filming Disclosure whilst shooting and avoid planning the style and shots too much. Think on set –’what would you do- where would you go? - How can I show this effectively?’ 

Sarah Kreczmer (Director/Writer)

Editing Brief: Projecting my vision to the crew.

The Editor and the Director should work together to find the true narrative of the film, although this is a big statement I feel that there would be no soul in the production if I planned to shoot a film about the devastation and innocence of a man, and then decided to piece it together in one particular and very restrained order. In order to give my Editor (Emma Hanson) an idea of what I think Editing should be in relation to my film Disclosure I will talk through the possible stages we may arise in production and how to solve them effectively in a creative way.

On set I would encourage the editor to make sure that they begin to ingest footage on set and begin to assemble the footage for review, especially on locations in London that may be expensive to set up and re-produce footage again. Not only does this help the process and give a clear and coherent basis to how much footage we have that is useable, the Director can also suggest to the Editor how the particular sequence might work- or might change depending on the effectiveness of a shot. For example if we have filmed a hand held running scene, I may suggest that this be intercut between establishing shots of a specific kind which the editor can then note down. This can also work the other way around and the editor could suggest additional shots on set that would help build on the suspense or quicken the pace.

The editor must keep in mind the narrative and emotions that are trying to be projected in the scene- the more cuts the faster the pace e.t.c. The most important factor in relation to Disclosure is to emphasis the character of Nick, his attributes, his traits should not be avoided; Nick is the story and his life needs to be portrayed in almost every respect so that he is a believable character. As well building this illusion, representation of reality, the editor must bare in mind the visual logic of each situation Nick is in for example, if Nick has run through a market but has just been pick pocketed how can he give money to the market stall owner in the following scene. The audience needs the inexorable logic and in order to stop this from being present in the final cut the editor must tell the Director ‘hey, we need a scene where we see money still in his pocket.’

As well as controlling the logic of the movie there should always be a creative aspect to editing and this should come through the styling of controlling the anticipation and controlling the thought processes of the audience. Some shots you just shouldn’t see if it creates a bigger impact in its scene conclusion, seamless editing allows you to grip your audience, take it for a very paced ride and almost toy with their minds; how can you embellish the twists and turns of Disclosure’s narrative? Consider the audience and use editing as a language for your audience to subconsciously read.

Sarah Kreczmer (Director/ Writer)

Music Brief: Projecting my vision to the crew

The soundtrack is the emotional backdrop to the film and extremely important in order to pace the moods and tone throughout. In reference to Disclosure, the music should signal the moments of Nick’s decision processes, his panic and the suspense of whether or not he is going to reveal this information to the world. To give my composer (Rob Dunstone) an idea of how I feel this could be portrayed I will contextualise how music can play as a narrative device in reference to the film works of Yann Thiersen and Michael Nyman.

I would like to encourage my composer to think about why we re-listen to soundtracks without the visuals and sound mix after watching the film- what makes you want to listen to that specific soundtrack? When I look to my soundtrack collection I never fail to skip past The Piano score by Michael Nyman, when I play it I immediately become encapsulated in the emotions conveyed in the movie; it doesn’t matter how many tears you see on camera nothing will move the audience completely without the use of correct key or phrase to push the story’s conclusive moment. The Power created in a sequence or scene is what drives me to watch the film again and listen to the soundtrack again. Disclosure will have to rely on very suspenseful, paced and subtle music to give these moments that powerful shove towards the audience that makes them not just feel for the character but also really ache for them. Nick has just found out his whole life was a lie, that the world we live in is a lie, how would they feel if you found this out yourself? And more importantly how can they portray this in the soundtrack?

When setting my sound crew a brief for the project I have very much encouraged them to be interacting and merging ideas together with the composition to work around moments in the film I feel would benefit by working in a more experimental manner. For example, from the moment Nick is shot we should be hearing what it would be like to be in his situation from inside his head- how could the composer create sounds that convey thought processes? In terms of the sound mix, it could be that the air around him would be cut off and he would feel immersed, as if he’s running in his own ‘bubble’ world. Think about how you feel when you try to get on with work in a busy environment or when you daydream; you are only aware of your body, your well-being and mind. The music should interweave with the sound mix to enhance Nick’s physical state, the pacing should emphasis his breathing and struggles as he runs. In Yann Teirsen’s track La Dispute from the Amelie soundtrack there is a use of a bicycle wheel at the end, which merges this idea of the theme and interweaving nature of sound mix, in the music that suggests France as a location. Music should be a narrative device to tell the story without the visuals , the composer should then begin to build this around the sound mix for a powerful soundtrack that really creates an impact for that spectator to listen and re-discover the audible experience.

Sarah Kreczmer ( Director/writer)

Sound Brief: Projecting my vision to the crew.

Sound is crucial in Disclosure. It is the subtlest aspect of the post-production process in working to achieve that big impact on the audience; which can be constructed, alternated and manipulated in so many ways to evoke emotions. In order for me to give my sound crew (Kim Smith and Benjamin Jenkins –Effects and Foley) an idea of what I want to achieve I will be defining the exact emotions I want to express throughout the story along with the ways in which I hope they will work as a sound team with the rest of the crew.

Much like the Camera and Director of Photography brief thinking, I would encourage my sound crew to not only record very balanced diagetic and dialogue but to also experiment with recording and edit techniques to convey the emotions Nick, our main character, is going through.  The sound edit must encourage, shock, and sustain people through the action of the film- when Nick is running away from the OMEGA, how can they create suspense? Could the diagetic noise become very low and obscured when Nick is thinking up solutions to his escape? Producing these experimentations is extremely beneficial for the film and more importantly the sound team’s relationship to the camera team is vital so they both work together to sync their thoughts and expectations from each scene.

When Nick is shot and injured, this is the moment where the audience feel that he may not survive and his life is completely at stake here. Pacing is important in order to give the film depth and up to this point things should have been going at a fast but steady pace, after he is shot the pace should quicken, and as his thoughts become more hard to define on camera we need to present the audience with a real sensory experience –almost from inside Nick’s head. How can the sound team recreate Nick’s thought processes without narration or dialogue? The air around him would be cut off and he would feel immersed, as he’s running in a ‘bubble’; nothing else matters to him but saving his life and disclosing the information. To emphasis this even more so there should be constant connections made between the sound crew and the music composer for this particular sound edit for Disclosure. How can you both weave in and out of each others thoughts on the mood of the piece, where should their be music, where should there be just an experimental sound edit?  They must literally get into the mind of Nick Jones.

Sarah Kreczmer (Director, Writer)