"The Contract" - A film by Neal Buconjic
- Thread starter Neal Buconjic
- Start date
Neal Buconjic
Well-known member
Finally got a headshot for "Nick".
alex whitmer
Veteran
Definitely a good Nick.
Neal Buconjic
Well-known member
Thanks Alex. I think so too.
Chuck was the first actor who popped into my head when I was thinking of who would fit this role.
Hell of a nice guy. But look what happens when he turns off the charm. Perfect for Nick.
Chuck was the first actor who popped into my head when I was thinking of who would fit this role.
Hell of a nice guy. But look what happens when he turns off the charm. Perfect for Nick.
Neal Buconjic
Well-known member
Thanks, David.
I think I've got a really solid script, so you shouldn't be disappointed!
Neal Buconjic
Well-known member
Shooting begins this Sunday night. We're shooting a very important exterior scene.
Had the two actors from that scene over to do blocking and to act it out. It was a good exercise, because I was able to step back and observe, rather than looking at things from a technical perspective like on set.
I picked up on something when one character was performing an action.
When the scene was completed, I asked if the actor really thought that his character would do that? The three of us pondered it, then unanimously agreed that no, he wouldn't.
(Note: I don't want to get into specifics until the film has been seen. I'll be more specific after it's been posted).
Normally I would be too caught up in something like whether the shot was framed appropriately to even take notice of something on that level. Proves that taking extra time in pre-pro (if you have the luxury) is well worth it.
Had the two actors from that scene over to do blocking and to act it out. It was a good exercise, because I was able to step back and observe, rather than looking at things from a technical perspective like on set.
I picked up on something when one character was performing an action.
When the scene was completed, I asked if the actor really thought that his character would do that? The three of us pondered it, then unanimously agreed that no, he wouldn't.
(Note: I don't want to get into specifics until the film has been seen. I'll be more specific after it's been posted).
Normally I would be too caught up in something like whether the shot was framed appropriately to even take notice of something on that level. Proves that taking extra time in pre-pro (if you have the luxury) is well worth it.
Simon Höfer
Veteran
Good luck on the shoot on sunday Neal! I hope everything goes well and you have a lot of fun 
Marlon Ladd
Veteran
Good luck, man!
alex whitmer
Veteran
Enjoy the shoot!
Don't deny us a few grabs!!
a
Don't deny us a few grabs!!
a
Neal Buconjic
Well-known member
Good luck on the shoot on sunday Neal! I hope everything goes well and you have a lot of fun
Thanks, Simon. I feel pretty confident Sunday's scene will go smoothly - it's the rest of the week I'm worried about! I'll try to enjoy it.
Thanks Marlon. Cool poster and banner BTW.
Thanks Alex. I'll be shooting Sunday night (10pm call) followed by a 7am call on Monday. Hopefully I'll have some time to post some grabs Monday afternoon.
Alex, you've been a machine for this fest. I've noticed your name associated with half a dozen entries!
Neal Buconjic
Well-known member
Thanks ZazaCast. Hope your entry is coming along as well.
Neal Buconjic
Well-known member
We've been getting some weird weather patterns lately (likely remnants of Ike) and it's been raining off and on. I can only hope that it isn't raining tonight.
I don't mind if it it HAD rain - the wet pavement might actually look good - but I don't want to work IN the rain.
Anyone know a reverse rain dance?
I don't mind if it it HAD rain - the wet pavement might actually look good - but I don't want to work IN the rain.
Anyone know a reverse rain dance?
Neal Buconjic
Well-known member
It didn't rain for our Sunday night exterior shoot, but I was presented with an audio nightmare.
When I scouted the location 2 weeks ago, I noted the ambient traffic noise and the refrigeration intake/exhaust on one side of the building. I figured this would be manageable, but I wasn't prepared for what I encountered last night.
I arrived an hour before the crew call with the DP. Almost immediately, it was clear something was different than two weeks earlier. A loud "hum" was coming from somewhere. A walk around the building narrowed the source to a building across the street. A closer inspection revealed that the source was a very large diesel generator screaming away in a shed on the property.
Why, why, why????
I thought about aborting the shoot. Maybe another night it won't be running? Maybe I had to find another location? Would I find another location in time?
Given how difficult it is to coordinate the schedules of 6+ people, I decided to give it a shot. Fortunately, we were shooting behind a building so volume of the generator's hum was reduced.
The scene takes place in a parking lot outside a bar (though actually it was behind a convenience store). My hope is that the viewer won't be distracted too much by the hum - that strong dialogue will prevail over the ambient hum.
We had a cast and crew call for 10pm and wrapped shooting at 2:15am. Normally this wouldn't bother me too much (the late hour), but the crew was due on set at our next location for 7am. We were going to be tired.
When I scouted the location 2 weeks ago, I noted the ambient traffic noise and the refrigeration intake/exhaust on one side of the building. I figured this would be manageable, but I wasn't prepared for what I encountered last night.
I arrived an hour before the crew call with the DP. Almost immediately, it was clear something was different than two weeks earlier. A loud "hum" was coming from somewhere. A walk around the building narrowed the source to a building across the street. A closer inspection revealed that the source was a very large diesel generator screaming away in a shed on the property.
Why, why, why????
I thought about aborting the shoot. Maybe another night it won't be running? Maybe I had to find another location? Would I find another location in time?
Given how difficult it is to coordinate the schedules of 6+ people, I decided to give it a shot. Fortunately, we were shooting behind a building so volume of the generator's hum was reduced.
The scene takes place in a parking lot outside a bar (though actually it was behind a convenience store). My hope is that the viewer won't be distracted too much by the hum - that strong dialogue will prevail over the ambient hum.
We had a cast and crew call for 10pm and wrapped shooting at 2:15am. Normally this wouldn't bother me too much (the late hour), but the crew was due on set at our next location for 7am. We were going to be tired.
Neal Buconjic
Well-known member
After arriving home last night, I dumped my FS100 footage to the PC and plugged in all the battery sources I had used through the shoot. I was tucked in bed shortly after 3am.
I was rudely awakened by my screaming alarm clock less than three hours later.
Day 2.
An hour later I was unloading my vehicle on location. You may recall that we have access to this bar from 7am to 11am. A very narrow window to work within. I hoped we would be efficient.
The owner kindly showed me where the light switches were, where to shut off the music that floated throughout and [almost] as importantly - where the coffee pot was. I had her shut off the music right as she showed me the receivers location. As I walked the set, I could distinctly hear a hum. This hum sounded like a fluorescent light. I looked about for the light. There was none. I inquired about the hum and she walked the set with me. She could hear it too and thought it was coming from a speaker that was mounted high on the wall. She double checked - the receiver was off.
I couldn't believe this. When I had chosen the location I had just been concerned about the air conditioning (which we shut off) and street traffic noises as they seemed to be the most prominent ambient noises. What was this new one? While I continued to walk the room, unplugging neon bar signs, the owner returned from the basement. She said that the noise was coming from a compressor on the furnace and that she wasn't prepared to shut it off. A compressor on a furnace? Maybe it wasn't a compressor (maybe the blower?), but the fact remained she didn't want me shutting it off.
Why, why, why????
For those who have seen the great DVD "Sound for Film and Television", one of the main points was that location has a HUGE impact on the audio quaility. Here I was, about to disregard this rule for fear of not finding an alternative location (bar).
I won't lie, it briefly entered my mind as I tried to process this latest hurdle. However, given the looming deadline and the fact that I had a vested commitment from a good dozen people to do this film, I decided we'd try to make the most of it.
Again, my thoughts being that hopefully a strong dialogue track will diminish the presence of the hum. Perhaps I can try some filters afterward?
Okay, let's set up for the first shot.
Where'd that window come from?
I knew there was a prominent glass block window near the bar entrance. I had it featured on my scale room drawing for lighting diagrams. In two scenes, the windows will be blacked out with duvetyne as they are night scenes; however, this particular scene takes place in the day. I read about using black organza to knock down the light from a window. The material would be invisible on camera, while knocking down the amount of light pumping through the window. Needless to say, I was the only male wandering the aisles of the fabric store. Fortunately, looking so out of place attracts attention - with the help of a saleswoman I had the material cut and paid for within five minutes of walking in.
Unfortunately, the organza did very little to prevent blowing out the window while attempting to see features of my actor positioned in the foreground.
The solution? Compromise my shot list to eliminate the window.
Finally, the last part of the scene takes place in the doorway of the bar. There is a conversation exchange between someone inside the bar and someone outside. My concern was about blowing out the exterior while maintaining detail on the interior actor.
Turned out my main concern should have been traffic noise. After countless takes, I'm hoping I've got some with minimal traffic noise (the street was ten feet from the door).
What else... oh - there was a steady traffic of people (seven in total) who walked in looking for the owner. The cook showed up at 9am and began prepping the kitchen and foods for the lunch hour (she was pretty accomodating - halting the noise for our takes).
Realizing that the interuptions of the business were slowing us down, the bar owner offered to let us in earlier tomorrow. We've got a crew call for 6am tomorrow, the cast will be there for 7am.
We managed to vacate the bar at 11:20am - only 20 minutes late. Granted, we were supposed to be packed up by 11 - so we've got some improving to do.
Home again, I dumped my P2 and FS100 footage to the PC, plugged in the batteries and hopped into bed for a power nap.
Fortunately, we have no more short turn arounds like lastnight/this morning. At least I'll be able to get more than 3 hours sleep (though my mind is still working on set while I'm trying to drift off).
I'm sure tomorrow will bring new challenges. Such is the life of an indie filmmaker.
Stay tuned.
I was rudely awakened by my screaming alarm clock less than three hours later.
Day 2.
An hour later I was unloading my vehicle on location. You may recall that we have access to this bar from 7am to 11am. A very narrow window to work within. I hoped we would be efficient.
The owner kindly showed me where the light switches were, where to shut off the music that floated throughout and [almost] as importantly - where the coffee pot was. I had her shut off the music right as she showed me the receivers location. As I walked the set, I could distinctly hear a hum. This hum sounded like a fluorescent light. I looked about for the light. There was none. I inquired about the hum and she walked the set with me. She could hear it too and thought it was coming from a speaker that was mounted high on the wall. She double checked - the receiver was off.
I couldn't believe this. When I had chosen the location I had just been concerned about the air conditioning (which we shut off) and street traffic noises as they seemed to be the most prominent ambient noises. What was this new one? While I continued to walk the room, unplugging neon bar signs, the owner returned from the basement. She said that the noise was coming from a compressor on the furnace and that she wasn't prepared to shut it off. A compressor on a furnace? Maybe it wasn't a compressor (maybe the blower?), but the fact remained she didn't want me shutting it off.
Why, why, why????
For those who have seen the great DVD "Sound for Film and Television", one of the main points was that location has a HUGE impact on the audio quaility. Here I was, about to disregard this rule for fear of not finding an alternative location (bar).
I won't lie, it briefly entered my mind as I tried to process this latest hurdle. However, given the looming deadline and the fact that I had a vested commitment from a good dozen people to do this film, I decided we'd try to make the most of it.
Again, my thoughts being that hopefully a strong dialogue track will diminish the presence of the hum. Perhaps I can try some filters afterward?
Okay, let's set up for the first shot.
Where'd that window come from?
I knew there was a prominent glass block window near the bar entrance. I had it featured on my scale room drawing for lighting diagrams. In two scenes, the windows will be blacked out with duvetyne as they are night scenes; however, this particular scene takes place in the day. I read about using black organza to knock down the light from a window. The material would be invisible on camera, while knocking down the amount of light pumping through the window. Needless to say, I was the only male wandering the aisles of the fabric store. Fortunately, looking so out of place attracts attention - with the help of a saleswoman I had the material cut and paid for within five minutes of walking in.
Unfortunately, the organza did very little to prevent blowing out the window while attempting to see features of my actor positioned in the foreground.
The solution? Compromise my shot list to eliminate the window.
Finally, the last part of the scene takes place in the doorway of the bar. There is a conversation exchange between someone inside the bar and someone outside. My concern was about blowing out the exterior while maintaining detail on the interior actor.
Turned out my main concern should have been traffic noise. After countless takes, I'm hoping I've got some with minimal traffic noise (the street was ten feet from the door).
What else... oh - there was a steady traffic of people (seven in total) who walked in looking for the owner. The cook showed up at 9am and began prepping the kitchen and foods for the lunch hour (she was pretty accomodating - halting the noise for our takes).
Realizing that the interuptions of the business were slowing us down, the bar owner offered to let us in earlier tomorrow. We've got a crew call for 6am tomorrow, the cast will be there for 7am.
We managed to vacate the bar at 11:20am - only 20 minutes late. Granted, we were supposed to be packed up by 11 - so we've got some improving to do.
Home again, I dumped my P2 and FS100 footage to the PC, plugged in the batteries and hopped into bed for a power nap.
Fortunately, we have no more short turn arounds like lastnight/this morning. At least I'll be able to get more than 3 hours sleep (though my mind is still working on set while I'm trying to drift off).
I'm sure tomorrow will bring new challenges. Such is the life of an indie filmmaker.
Stay tuned.
Jason Miller
Veteran
dont give up your shots, stop down the lens, then bring up the int lighting.
as far as the hum, also not a big deal, just have everyone shut up for a moment, and let your sound guy record a few minutes of the room.
as far as the hum, also not a big deal, just have everyone shut up for a moment, and let your sound guy record a few minutes of the room.
Simon Höfer
Veteran
Well, I still say congrats for your shooting days so far! Keep it going man!
Neal Buconjic
Well-known member
Thanks for the pep talk guys. Day 3, here I come.