♪The red-head exterior casing and the coloured filters became extremely hot after 10 minutes of operation. This was a safety hazard for ourselves and the performers in the white studio, particularly due to the cramped conditions we had to work within. We overcame this issue by organising our shooting schedule in an order that allowed us to switch the red-heads off every 10-15 minutes to cool down whilst filming dark shots. We also ensured a consistent 2-4 metre gap between the lighting areas and the performance space to allow our dancers to feel comfortable in a safe performance area (Picture below).
♪To avoid over-exposure in our shots, we filmed test-runs on several performance sequences and watched back the footage on camera to ensure the picture quality was not reduced by over exposure from face on lighting. We also used material reflectors for our lighting such as polystyrene and silver boards so our dancers were given a 3D appearance throughout their performance.
♪Whilst filming our forest sequences, we had to ensure we found flat surfaces amongst the uneven ground so the tripods supporting the lights were stable. This proved to be an issue for some shots, meaning Josh and I alternated in supporting the lights whilst the other filmed.
♪Whilst filming the white studio sequences, the smoke machine was defective and worked on a tempermental basis. We therefore had to ammend our shooting schedule according to when the appliance functioned for the shots we needed to film. We also had to ensure our performers were not allergic to the liquid used in the machine, or if they suffered from asthma. As well as this, we had to ensure they were not eppilepsy sufferers due to the use of strobe lighting in various shots.
♪Our electrical needs in the forest were supplied through a 300 metre extension wire leading to my house. Due to the ground being relatively wet, we ensured the wires and sockets were on tables away from moisture.
♪We had a wide variety of delicate props, meaning careful handling during transport was a vital concern. We packaged the most delicate, and carried our expensive equipment (cameras, lenses) in hard-case containers.
Timing, Location, Transpot
♪Our time management in the white studio was crucial, as we had 3 hours to prepare our equipment, film all the shots and pack away. Therefore we worked alongside a specific time-frame of 5-10 minutes per shot and 20 minutes overall to set-up and dismantle. We also had to fit water/eating breaks into our schedule which we allowed 10 minutes for. Finally, there was also the issue of allowing 5 minute intervals to construct our set and props as well as giving our performers practice runs to ensure they felt comfortable with what was required of them.
♪Josh and I didn't anticipate the weather conditions when filming in our exterior forest location. On the night, we found it to be extremley cold and difficult for our dancer to perform, in her thin costume. Therefore we had a warm puffer coat for her to use between shots when further construction of set/props was to occur. We also had electrical heaters near by and thermal heat packages to hold as well as the red-heads giving out heat. We also had to ensure our safety from other members of the public at night, so my father guarded our site of performance for the duration of the filming.
♪The last obstacle for us to overcome was the reliability of transport for our performers. We had to co-ordinate their train times using the online TFL train schedule to ensure they arrived at Edgware Station in time to pick them up for the shoot. Being that they were travelling up from Epsom, we also paid for their train tickets and regularly phoned to check their journey was not delayed.
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