Planning for ancillary shoots

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Planning for my Ancillary Task shoots

Transcript of Planning for ancillary shoots

Page 1: Planning for ancillary shoots

Planning for my Ancillary Task

shoots

Page 2: Planning for ancillary shoots

I will take the photos I want for both the main task and ancillary shoot at the same time, because I wanted her to look the same, and consequently it would help develop the branding of

the film, as she would be more recognised by the audience.

Here, Jennifer Laurence’s character is wearing the same white top costume, with her hair styled similarly in both

photos.Thus, despite the different posters, the film is still recognised, highlighting the

importance of the mise-en-scene

Page 3: Planning for ancillary shoots

Location:The Studio

BenchCurtain

Curta

in

Red backdrop

Lights

Door

Other backgroun

d colours

Camera Cupboard

Otherbackground colours

Cupboard

Site Plan:

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Risk Assessment:What is the hazard?

Who might be harmed and how?

What are you doing to prevent this hazard?

Tripping over equipment/ bags and wires

Rhiannon, myself and our model by tripping over if not careful, or running

There will be an essential place where they are kept out of the way from shooting

Lights falling

Rhiannon, myself and our model, because of our close proximity to the lighting equipment when shooting.

Our teacher will help us set up and make sure the lights are secured in place before we start.

Temperature Level

Rhiannon, myself and our model could become dehydrated, because of the lights and no windows for ventilation

I will make sure we have water on hand and frequently check if our model is well and have regular breaks.

Flashing lights

Rhiannon and myself, but predominantly our model, because of her close proximity that could evoke dizziness

We will use the masking tape measurements as guidance and aim not to move the lights too close and make sure we have

Lights’ ability to burn

Predominantly our model because of her close proximity to the lights while shooting; the strength of the lights can burn through polyester boards

We will monitor the model’s closeness to the lights while the other one films, and make regular checks that she isn’t getting a heat rash.

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Make Up & Hair• I will ask my model, Jess, to have her hair down for the shoot so that:• 1) She’ll look feminine2) So that I won’t have to edit out each

individual strand of hair around her face. (problematic during mock up)

• I have already planned to crop her out to put her on a new background if I can get some good images

• I got her to put her usual make-up on to look fairly ‘done up’ and remove blemishes in order to appeal to the male gaze, without looking over-done, so that she will resemble how she will look in the actual film trailer.

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Costume• I will ask Jess to wear a white top that I have already

picked out with her and dark jeans, to resemble the same costume Jennifer Laurence wears in House At The End of the Street, which has greatly influenced this production

• For continuity, this costume will be what she wears in the appropriate shots when we film for the trailer.

• The white top connotes her innocence in the storyline, compared to the other cast members whereas the dark jeans will connote a limited sense of power that she has.

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Lighting• I aim to experiment with the lighting to try

and recreate the shadows on Jennifer Laurence’s face as shown in the poster.

• I will do this by experimenting with the lighting settings on the college camera, along with the two lights that flash in sync with the camera.

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Shot Types• I aim to get a variety of different poses by framing

her from a mid-shot and close up frame, to conform to conventions seen in posters and magazines, to replicate the model’s position.

• These shots will enable the audience to focus on her facial expression in the close up on the poster, and her body language and costume in the mid shot of her on the magazine cover.

Page 9: Planning for ancillary shoots

Influential Imagery