Mindmap:
Daily Shooting Schedule:
Call Sheet:
Location Recce:
Dining Room:
Lighting wasn't ideal due to the bay-window behind where camera would go. Other camera spot had similar issues with being too underexposed or overexposed with their lighting. The dining room table was too messy in order to use as a set piece and therefore table would have to be either out of shot or edited out in post-production.
Kitchen:
Having the chairs in the kitchen up against the wall wasn't much of a desirable option either due to again the over exposed lighting from the bay window. The other camera angle would have also been over exposed due to it pointing into the light. The scene was also like the dining room quite messy and over filled.
Lounge:
I decided to use the lounge as my set due to the good exposure of lighting. The room being on the second floor meant that the sun wasn't able to shine in nearly as much as it could downstairs. Also there was a large curtain which, if the sun got too high, could be used to dim the set down again. There were also multiple artificial light sources such as the over head big light and three lamps which could have been used to increase the exposure if necessary. The scene is also much cleaner than the other two available sets where meaning it fits the prim, proper and professional codes and conventions of my documentary. Having the interviewee/Tony sit on a sofa or armchair also looks more informal and personal denoting that it is in his house rather than a studio.
Production Schedule:
Release and Consent Form:
Ellicia Culic Consent Form:
Marie Bradley Consent Form:
Tony Dawson Consent Form:
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