It’s been a few months since the last blog but we’ve been very busy. Preparations for our kickstarter are well under way with the layout, background info and rewards now complete and we’re busy finalising our presentation video with the help of some talented film students (Directing myself wasn’t really working out, so we needed help). This was after a few abortive attempts at comedy, mostly involving me strapped into a harness and spinning from a tree in front of a make shift green screen with help from the most dedicated of students (plus some very bemused onlookers; for health and safety reasons we strung me up in a local park, well away from university property!)
We have also completed the first assemble of the whole film from on-set reference footage and audio, storyboards and music. It’s an old film cliche, but it really has been a case of making the film 3 times: once when you write it, once when you direct it and once when you edit it. There have been profound changes each time and each stage has seen a new creative challenge and added an extra layer of depth and clarity to the story telling. What we have now isn’t technically an “edit” yet, (it’s an assemble/first cut hybrid for those who know film jargon) as I’m just using the onset reference camera from the Mocap shoot, plus the hand held reference footage I shot on my iPhone whilst directing. This is all interspersed with storyboards and concept art. I’ve still been able to make a lot of editing decisions though, based on the rhythm of the performances and the wider story beats and dramatic arc. This will be refined into a much more polished edit once we add framed cameras in CG, but what we have now is a version of the film that’s watchable from start to finish, and has most of the character drama of the movie (if none of the visual flair, being mostly played out in a small room with leotards!)
The exciting thing is that it works, even at this stage. And it’s a very emotional ride. First reactions from those who have seen the assemble so far have been tears. I suspect this was provoked by the ending and Becky’s amazing ability to lose herself completely in the emotion of a scene. (whilst surrounded by a large busy crew, me barking orders, and supermarket style lighting; no mean feat!) Obviously no tears fell from my eyes, as I’m a bloke.
It’s going to take years yet to transform the 1 hour 50 cut into fully computer generated footage complete with character bodies and sets etc. and will require a lot more very talented artists to contribute to it, but it’s going to be a journey well worth the effort. From what we have already, I think the final product is going to be magical.
Paul
