One thing I was certain of: I didn’t want to be the reason for slowing down the shoot.įor ANGEL I was working with an extremely experienced and talented DP (Chen Ko-Chin) and Gaffer (Wei Hu-Hsuan). Many that you can control, and many more that you can’t. There many variables that affect the speed of a shoot. After spending many hours breaking down the script, combining shots, and compromising by throwing out shots I wanted but could live without, I concluded that the story could not be told by anything less than 60 setups. In the case of ANGEL, we didn’t have much money, and in any case we could only shoot two days, because of actor and location availability. Going into any shoot, the hard questions we all have to face are… For the production of my short film ANGEL (a 17-minute psychological thriller about our paranoia surrounding digital assistants and dating), I storyboarded every shot using Cine Tracer, a process that was profoundly useful, and instrumental in helping the shoot go smoothly.
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