01 | CONCEPT PHASE
Moodboard
In this first phase I wanted to set the boundaries, in which the intro setting should take place. These included visual, technical and creative aspects as:
- evening dinner setting with a card game
- a storyline simple enough to define the possible universe, with enough room for further interpretation
- simple framing, aesthetic visuals
- Stillness of scenes, emotion is defined through music & sound
During the iteration phase I was heavily inspired by the visual storytelling of the series Breaking Bad and the dark nature of the Manga Berserk.
Plot
„The scene features an elegantly set table, reminiscent of a formal supper. Four people are seated at the table, playing cards and conversing. Through their dialogue, it becomes clear that they are playing for something—though what that might be remains undisclosed at this stage. In the background, a wailing or sobbing sound can be heard, its source unknown. One of the individuals instructs a servant to quiet the source of the disturbance. The sequence offers glimpses of each of the five characters engaged in their own individual activities, interwoven with the card game. As the game concludes, the stakes are revealed, the source of the wailing is uncovered, and with that, the first scene comes to an end.“
02 | PRE-PRODUCTION
Animatic
I started with a simple animatic, to define the key-frames, shots that I wanted to try and possible characteristics for the actors. During the actual production-process some frames and transition changed, but the main storyline stayed until the end.
Character Design
I wanted to give each actor an unique look, character and feeling, with one component showing their affiliation with each other, which was the color black. I briefed each actor with a character sheet, how each individual could be displayed, with leaving them freedom with their outfit choice and characteristic nuance.
Each character should be shown with a visual aesthetic, almost sympathetic look, with their core nature being evil.
Test-Shots
To become familiar with the equipment, possible light settings and framing I tested the shots that I already imagined up to this point, based on the animatic.
Shot-List
I created a shot-list, which also helped me to fill the blanks in the storyline, I haven't decided on. The shots were then structured in order to avoid shooting them chronologically. For each shot I included lense object, position of light, camera movement and context of the scene.
03 | FILM PRODUCTION
Everything was filmed over the duration of two days. For the location I was lucky to use a warehouse space, that one of my actors provided me with. It was the perfect location to create the mood and look of the film.
Preparation & Requisites
Equipment:
RED Raptor
Xeen Objectives 21mm/35mm/50mm/85 mm
Sachtler Tripod
3x Lights
DJI Mic II
For requisites we used everything ranging from a carpet, glasses, fake blood, cards, masks and various outfit options.
Behind the scenes
Contrary to the darker theme of the movie, the shoot itself was one of the most fun experiences. Every actor could really indulge in the given character and because we have experience with working with each other all the scenes were shot very quickly
04 | POST-PRODUCTION
The Post-Production process was the most difficult part in this whole project. I used Davinci Resolved for the Cut, Color-Correction & Color-Grading.
For me personally, it was the first time working with proper dialogue. We recorded the dialogues simultanously to the actual scenes with an Osmo Pocket and a DJI Mic II
The initial idea was to create ambivalence between what is displayed and what music and sounds are used, similarly to Breaking Bad, which didn't work out in the end, so I decided on a serious theme from the beginning.
The SFX were generated with Adobe Firefly.
Music:
Peaky Blinders OST
James Blake - I had a dream, she took my hand
05 | FINAL FILM
06 | STILLS & IMPRESSIONS
All in all I can say, that this is one of my most favorite projects I've ever done and that the preparation helped me a lot to get through the whole process. A huge thank you to my actors, to Ada Niessner, to Paula Rammelt, to Henry Mertens, to Holger Lohmann and to Prof. Rochus Hartmann, who provided me with equipment, technical support and help through this whole project. I couldn't have done this without them.
