#✶️･ﾟ━ mairi aes.
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The Creation and Completion of UHF: Film Craft Disciplines
I have found the last couple years at University my motivations been dying because I feel like everything I’m making isn’t very… me. I don’t watch quiet conversations or indie dramas onscreen, I prefer theatre for that. But what I do love is… sci-fi. So when Luke handed us the first draft of UHF I was excited…. Confused, but excited!!
Not only was the plot absolutely mental (hacker and p*do trapped in a TV jail? Weird and wonderful), but the script described THREE locations. As an editor, it’s been years since I did any multiple location films, as everything we’ve done at university has been one location. So that alone was exciting.
After the release of the 2nd draft Finlay called us all on Zoom (thanks Covid) to discuss the planning. We discussed the fact we may potentially need VFX and green-screen, which was obviously a worry for me. This group I have are all amazing in their fields, so I didn’t want to let anyone down because I’ve not done VFX since high-school, so I spent most my nights googling potential ways to make convincing effects. However as someone who also loves practical filmmaking… I’m so relieved we just built the set, and played the scenes on the TV. The end result was more convincing and way cooler to produce than a green screen.
The building of the set was an experience in itself and one I would definitely relive again, not only was it fun and a great team-bonding exercise but it was the most creative I’d felt since lockdown. Unfortunately I didn’t see it in action as I didn’t attend the shoot. I felt bad for this however as editor I didn’t really have a role onset to do (Karina as my AE offered to script supervise and be runner so I’d be useless), and on top of that I knew there were about 8+ people onset already and due to Covid didn’t feel safe adding to those numbers. However I checked in with the team and was happy to hear it was going well and there were no issues.
Once I’d received the hard-drives from Georgia, Finlay and I scheduled zoom-calls to organise dates for him to come to the studio and ideas he’d had for the edit. Day 1 of the edit I was nervous to go to the studio. With Edinburgh in Tier 3 and University students finding loopholes in rules where they could I wasn’t sure how long I could be in there but… it was empty (minus Mairi, Kate, and Grace, who became my edit companions for the next 3 weeks). 3rd years seemed to be the only people in, so it was great to see people again and talk to my course-mates (even if it was 4m away from my computer). For the first day of the edit I usually build a rough outline of the story to develop the narrative visually for myself. Before I did this Finlay wanted to come in and talk me through his favourite shots, as there wasn’t a detailed camera report. He compiled the first scene using the 4 shots he liked and talked me through his ideas or the rest of the film. Coincidentally we ended up thinking the same on a lot of things, which was nice to see. By the end of the day I had a brief outline of the story and was ready to get a constructed draft for the lecturers ready by the next day. Day 2 I was joined for Day 1/2 with Karina as my Assistant Editor. If I was asked to pick a partner for a project on this course Karina would be my go-to, she’s a calming and creative person to have on your team, and when combined we come up with some brilliant projects. At this point I wasn’t feeling the opening to the film, at all. To me, Rufus’s performance was not convincing, even if I VFX’d a white light around him in the room there… wasn’t enough convincing acting there for me. I did bring this up with Finlay, who was feeling it, so I stuck out the white light opening for now but suggested to Karina we maybe have a look at it after sorting the ending.
Other wee challenges cropping up with the project was: where does Kiefer come into it? In some drafts he’s in Rufus’s room scene (did NOT work), his voice popped in on Line #1 in others, and in the final his TV shot interrupts Rufus’s transportation to the TV. I think the final one was a nice introduction to Kiefer’s character but in the back of my mind I feel at the crit next week people may not like it? But we’ll see. The difficulty with editing this film has been that it is literally “out of this world”, I’m using 3 locations, one’s not even a real place, and no characters are in a room together. It’s a lot to get my head around, and trying to make that make sense for a viewer has been a challenge. But I’m happy with the result and excited to see what our course-mates feel about it.
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Des dizaines de personnes vont être tuées par des troupes armées gouvernementales lors d’un massacre dans la ville de Gwangju en Corée du Sud au printemps 1980…
“Hwaryeohan hyuga” (화려한 휴가), ou “May 18” pour la distribution internationale, est un film historique dramatique datant de 2007, réalisé par Kim Ji-hoon, à qui l’on doit également “The Tower” (2012). Les acteurs principaux sont Kim Sang-kyung, qu’on a pu voir dans “Montage” (2013), Ahn Sung-ki, qu’on a pu voir dans “The Divine Move” (2014), Lee Yo-won, qu’on a pu voir dans “Perfect Number” (2012), Lee Joon-gi, qu’on a pu voir dans “The King and the Clown” (2005), Park Chul-min, qu’on a pu voir dans “Perfect Proposal” (2015)”, Park Won-sang, qu’on a pu voir dans “Warriors of the Dawn” (2017), Song Jae-ho, qu’on a pu voir dans “The Spy: Undercover Operation” (2013), et Na Moon-hee, qu’on a pu voir dans “Cruel Winter Blues” (2006). Ce métrage est paru le 27 juillet 2007.
“May 18”, tout comme “26 Years” (2012) de Cho Geun-hyun, ainsi que “A Taxi Driver” (2017) de Jang Hoon, est basé sur l’histoire réelle du massacre de Gwangju, le 18 mai 1980. Dans le présent, l’histoire est plus centrée sur les faits eux-mêmes lorsque le général Chun Doo-hwan a tenté d’éliminer toute forme de rébellion en utilisant la force militaire. Le récit se concentre essentiellement sur Min-woo (Kim Sang-kyung), un chauffeur de taxi, qui mène une vie relativement paisible avec Jin-woo (Lee Joon-gi), son jeune frère, encore étudiant. Lorsque les soldats se déchaînent contre les citoyens, ces derniers décident de former une milice, bien déterminée à protéger leurs familles, Min-woo se retrouve au beau milieu de tout cela. Les choses vont basculer lorsque l’armée décide de tirer à balles réelles sur des manifestants, tuant des dizaines de citoyens. Ceux qui ont vu certains de leurs proches tomber sous les balles, forment un groupe de défense civique sous l’impulsion de Heung-soo (Ahn Sung-ki), un ancien officier de l’armée désormais à la retraite. Un ultimatum est adressé à ce groupe d’insurgés leur ordonnant de déposer les armes. Refusant de se soumettre tout en se retranchant dans les bâtiments de la mairie, l’assaut est donné par les militaires, ouvrant la voie à une bataille sanglante…
“May 18” est un film historique construit sur des événements réels. Le fameux soulèvement de Gwangju. Comme souvent dans l’histoire de nombreux pays, le mouvement est parti des étudiants qui ont commencé à manifester contre le gouvernement de l’époque. Bien que ce dernier ait imposé la loi martiale pour faire taire les contestations, les étudiants continuèrent leurs manifestations. L’État décide d’envoyer l’armée pour mater les contestataires. Sans qu’on ne sache réellement pourquoi et sur l’ordre de qui, les soldats se mirent à tirer sur la foule. Selon les différentes sources, le nombre de morts oscillerait entre 600 et 2.000. On rapporte différentes formes d’exactions de la part de forces gouvernementales. Des coups de bâtons, des coups de couteaux, des tirs, et même des viols. Les autorités ont défini les incidents comme une rébellion provoquée par des sympathisants communistes. Dix-sept années plus tard, en 1997, un cimetière national et une journée de commémoration ont été créés, accompagnés par des actions d’indemnisation des victimes.
L’histoire s’articule donc autour de Min-woo (Kim Sang-kyung), qui officie comme chauffeur de taxi. Il s’occupe de son jeune frère Jin-woo (Lee Joon-gi) depuis le décès de leurs parents. En outre, il est amoureux de Shin-ae (Lee Yo-won), jeune femme qui s’avère être la fille de son patron, Park Heung-soo (Ahn Sung-ki). Les deux tourtereaux construisent doucement leur relation quand l’armée débarque en frappant sur tout ce qui bouge. Alors qu’il adopte une attitude passive et non agressive, les choses vont basculer pour Min-woo lorsque son frère sera abattu sous ses yeux. Il va alors intégrer la rébellion et en être un des leaders, au côté de son patron, lui-même ancien militaire. Pendant ce temps, Shin-ae viendra en aide aux blessés au sein de l’équipe médicale.
Le scénario concocté par Na Hyun laisse suffisamment de place à l’action, mais c’est bien évidemment l’aspect dramatique qu’on retiendra le plus. Associé à la mise en scène de Kim Ji-hoon, le film démontre clairement l’impact psychologique du drame. Les manifestants ne s’attendaient clairement pas à se faire canarder de la sorte. Non contents d’avoir tiré sur la foule à l’instar d’un peloton d’exécution, les soldats donnèrent ensuite la charge, achevant les blessés et tirant dans le dos de la foule affolée. Bien que les images ne soient pas particulièrement sanglantes, la mise en images est tout de même choquante qu’en à l’attitude des militaires. Les 118 minutes du métrage se concluent par l’assaut final lorsque l’armée attaque l’hôtel de ville de Gwangju, où les dissidents avaient installé leur quartier général. Autant dire que peu parmi les personnages centraux survivront…
Les valeurs de production présentées pour ce “May 18” sont plus que satisfaisantes. La phonographie proposée par Lee Doo-nam permet aux spectateurs de se retrouver au cœur de la mêlée lorsque les militaires donnent l’assaut. Les décors sont réduits à quelques lieux symboliques de la ville, la mairie, l’hôpital, les locaux de la société de taxi dans laquelle le personnage principal travaille, le cinéma de la ville, et surtout, la rue principale de cette municipalité qui comptait 850.000 habitants à l’époque des faits. La bande originale signée Kim Seong-hyeon vient agréablement accompagner le récit, mettant l’accent sur les passages les plus tragiques de l’histoire. Le montage orchestré par Wang Sang-ik et Hahm Sung-won est bien équilibré entre les séquences dynamiques et les passages mettant en scène les interactions entre les personnages. Doté d’un budget de 10 millions de dollars, le film a rapporté près de 50 millions de dollars. En outre, le métrage a obtenu de nombreuses nominations, mais n’a malheureusement reçu aucune récompense, peut-être pour des raisons politiques, le sujet étant relativement sensible aujourd’hui encore.
En conclusion, “May 18” est un film rude disposant d’une histoire basée sur des faits réels et dramatiques, d’une intrigue captivante et d’un développement brutal. Le rythme est cohérent avec l’histoire, le récit est fluide et la narration est linéaire. La photographie est de bonne qualité, la bande musicale vient fortement souligner les passages les plus tragiques du récit et le montage est bien équilibré. La distribution offre de très bonnes prestations, mettant essentiellement en lumière l’impact dramatique rencontré par les personnages. L’ensemble est très percutant tout en proposant un éclairage sans fioritures d’un événement particulièrement abrupt de l’histoire récente de la Corée du Sud. Un film à découvrir pour son exposé authentique.
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MAY 18 (2007) ★★★★☆ Des dizaines de personnes vont être tuées par des troupes armées gouvernementales lors d'un massacre dans la ville de Gwangju en Corée du Sud au printemps 1980...
#Ahn Sung-ki#Baek Bong-ki#Jung In-gi#Kim Ji-hoon#Kim Sang-kyung#Lee Joon-gi#Lee Yo-won#Na Moon-hee#Park Chul-min#Park Won-sang#Son Byong-ho#Song Jae-ho
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Conférap de Mélo sur la Françafrique
Le mercredi 18 décembre, à 20 h 30, au Pixel, 12, avenue Gaulard à Besançon ; le jeudi 19 décembre, à 18 h 30, au Bar Atteint, 25, rue de la Savoureuse à Belfort et le vendredi 20 décembre, à 20 h 15, salle des fêtes de la mairie à Mélisey (70) : conférap (conférence rapée) de Maxime Rieu (dit Mélo) sur « La Françafrique ». En co-organisation avec AES, les Créatures et En Vies d'ici.
Françafrique, capitalisme, propagande médiatique etc. Puisque tout est lié, il a choisi de s'exprimer le plus largement possible en mettant en avant sa pensée en art-borescence. L'idée est d'utiliser le rap comme un instrument d'éducation populaire pour vulgariser un propos parfois lourd, et pour en faire un vrai spectacle. Mélo devient ainsi le premier rappeur gesticulant !
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Mairie for the name aesthetics 💕🌷
fluffy white sheep, fairies, grassland
name aes!!
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TAU BUKA AAMU A TAU TAU FAAFAAEARAA NO TE VACATING I TE PARANETA FENUA (TAE NOATU I TOU FAREREIRAA E O IEHOVA I TE ATUA MANA HOPE, E TE HOE MELAHI A TE ATUA MANA HOPE).
Na roto i te Repupirita Neil Leslie Gilbert.-Williams-Jacksnephew (I TAHITIAN)
POU E PITI
Ua (Neil Leslie Gilbert.,Williams-Jacksnephew) haere noa i te Ekalesia na te fenua Peretane a raa i te o Michael i te, Mass. Croydon (i raro ae i te epikoporaa o te Southwark)
I roto i te tahi a i teie mahana, ua faaroo vau i te metua tane Philip faahiti i roto i te hoe papairaa moa hoe mea no nia i: e o Maria te metua vahine o te Atua: Emanuel Fatu o Iesu Mesia to tatou I te Atua, e (E ua parau atoa na roto i te te Metua Timothy i roto i te tahi i te tahi atu).
Hoi mai i roto i te 1980's. Ua hoe tamarii nainai te haamanao ra vau i te tuhaa o te papairaa moa (o Maria te metua vahine o te Atua: Emanuel Iesu Mesia Fatu to tatou Atua) ia parau na roto i te Vicar o te taime i te raa o Stephen a raa i te Stephen Terrace, London SW8 1DH Peretane, mau hau amui basileia (Vicar Helen) i roto i te mau pure a te Ekalesia , i te taa-ore iau i te Stephen raa i te Ekalesia, o te raa Stephen Terrace, London SW8 1DH Peretane, mau hau amui basileia, no reira ua ani au i te Ekalesia te ua o te raa Stephens o Stephen raa i Terrace, i Lonedona SW8 1DH Peretane, mau hau amui basileia (ua Christopher);
E te Bibilia Moa i parau i roto i te Buka a Genese e, te Atua mana hope i te fenua nei! ia Fatu Jesus Mesia-Emanuel ua fanauhia i nia i te fenua nei i nia i te (e) te 25 no titema i Betelehema tiko mai Jutia, i roto i te pae Apatoa no Paratetina i roto i te omuaraa o te hiaraa o 2 B.C.E [https://www.jw.org/en/bible-teachings/questions/when-was-jesus-born]. No reira, nahea e nehenehe e Fatu o Iesu Mesia Emanuel ua rave i te fenua nei e te taata nei mai te mea e ua o oia i te Atua mana hope, mai te Fatu o Iesu Mesia Emanuel ua fanauhia i roto i te mau tau no te 2 B.C.E?`
Ua Christopher horoa mai iau i te mata ataata i te mahanahana e te au maitai o te aroha, ma te ani mai iau ia farii i te haapapuraa. Ua farii oia. Ua ani te ua Christopher e no te aha e tia ai ia vau e farii i te haapapuraa. Ua faataa mai oia e, ua anaanatae i roto i te riroraa ei keresetiano ite mai te tiaturi nei au e. Ua faataa mai ua Christopher e i o, maa taime iti e nehenehe e riro mai oia e faaite mai i te mau parau e rave rahi, tera ra, oia te peapea no nia i taua tuhaa ra o teie papairaa moa e heheu mai i tona mau manao i roto i te hoe tumu no te tarame. (Ua faaite ua Christopher mai te riri rahi, e te riri i te feia o te haapii ma te tano ore i rotopu i te tahi atu mau). Ua arue oia iau no te ani i tou uiraa, e te Ua tia iau ia faaite iana i te rave i te hoe faanahoraa no te farerei i tona Vicar. Vicar Helen, e i muri iho ua ite ua Christopher tauturu iau rau i nia i tau mau parau; tiaturiraa (te maitai hinaaro no te haapapu e, ua faataahia e: tiaturiraa = te tiaturi nei au i roto i te mana hope o te Atua).
Ua Christopher ua / haavataraa, te tauahi ra te vi e te tiaturihia. Ua paari au i roto i te faaroo. Ua ani au mai te mea e ua farii au i te mau uiraa. Ua pahono mai oia na roto i te ani e mai te mea e, e ora noa a te Atua mana hope, e te no te aha Iosepha i ite mai te metua tane i te Fatu Iesu Mesia Emanuel mai te mea e sa kunekunetaki na roto i te Atua mana hope.
Ae ua parau atu: Emanuel Fatu o Iesu Mesia, o te Tamaiti a te Atua mana hope (tatou atoa a te Atua mana hope i te mau huaai) te paretenia Maria, e i te toea o te tau e haapii mai i roto i te fare haapiiraa i te Sabati e i roto i te Ekalesia, o te reira te haapiiraa mai roto mai i te Bibilia Moa.
Te haamanao nei au e e imi i te pahonoraa i roto i te aroha (i parau i muri ae i te tamaaraa):
«Tatou haamauruuru outou no to outou maitai atoa. O' i te Atua mana hope, e te ora nei e te faatere arii e a muri noatu. E te mau varua o te feia haapao maitai i te hoʻi, na roto i te aroha o te Atua, ma te i roto i te hau, te amene»
E faahiti au i te mau mahana i mairi ae nei, e au i roto i te pupu o te hoe melahi na te Atua (tei fa mai ia i te tane i roto i te accordance i te reo peretane i te faatoro parau), o tei horoa mai iau i te hoe mahana faafaaearaa / tau faafaaearaa (i te paraneta fenua) na roto i te shuttle. E itehia te mau melahi no te Atua mana hope e te I ei mea teretetiera hoi aupururaa a. (Ua e heheu mai hau atu i muri iho).
Ua vitiviti i te hoe tere manureva, ua ite au e o te mai science fiction no o mai te vitiviti o te tere Star warp te vitiviti o te tere. (Ua e heheu mai hau atu i te tahi atu mahana). I roto i tau tau faafaaearaa / tau faafaaearaa, te hoe melahi no te Atua mana hope e ua paraparau. I roto i te hoe tau tou tere ma te hau, te melahi no te Atua mana hope i ani iau mai te mea e ua i oia i te mau uiraa. Ua farii au e rave rahi, noatu e, ua ani au no nia i te mai te mea e ua ite te hoe melahi no te Atua mana hope o te Atua mana hope, e mai te mea e ora noa a te Atua mana hope. Te melahi no te Atua mana hope i te hoe pahonoraa davui ka tauahi e na te reira e ua parau i muri iho, i ua (Neil Leslie Gilbert.,Williams-Jacksnephew) ua ia outou ia ite iana i te aita i maoro roa.
I te taime ua tae mai au, (ka sa aita taue mai roto mai i tau uiraa i te hoe melahi o te God_ na roto i te roaraa e rave rahi hora) te melahi no te Atua mana hope i parau, teie ia te hoe taata e ua pii outou te fahuru e nei i te Atua mana hope. Ua manao vau i te vitiviti; Te Atua mana hope e te ora (ua e heheu rahi atu a i te hoe taio mahana i muri mai)
Te hoe o tou mau haamanaoraa hopea ia i nia i te mahana faafaaearaa / tau faafaaearaa i te fenua i te fenua nei, ua ani te hoe melahi no te Atua mana-hope mai iau mai te mea e ua hinaaro vau i te haere i te mahana. Ua feruri au e aita e ora mai mai te reira i o atu i hot, tera ra, ua tiaturi au i te hoe melahi no te Atua mana hope, e ua parau oia. Ia tae anae tatou (te flown i roto i te rima o te hoe melahi o te mana hope o te Atua (mai te hoe melahi no te Atua mana hope nehenehe ta / i pererau (piri ae i te iritiraa reo peretane titionare)) te melahi no te Atua mana hope ra ua faaite mai iau i te apou na agilosi, e te parahi ra (i roto i te mau parahiraa vata) i te ohipa mai te au i muri i te mahana ( oia hoi, mai te hoe maramarama rahi e te vahi o te haroaroahia auahi structured mai hoe menemene (vahi) i roto i te hoe hio o te swivel. (Ua e heheu rahi atu a i te hoe taio mahana i muri mai).
POU HOE
Aita i maoro aenei ua i piahia i teie pou. A taio e mai te mea e mea titauhia parau. Ua riro te hau e o outou atoa!
Te melahi no te Atua mana-hope (hoe hau ae Ua haere te fenua) iau (Neil Leslie Gilbert) i roto i te Ekalesia na te fenua Peretane a RAA i te STEPHEN Ekalesia, ST SETEPHANO a TERRACE, LONDON SW8 1DH, i raro ae i te epikoporaa o Southwark TORUTAHI fare, i te fare PURERAA i 4 AORAI, BOROUGH rahi o te PURUMU, no LONEDONA SE1 1HW. (i nia i te hau atu i te hoe taime i roto i te 1980's. I nia i te hoe o te hoe melahi a te Atua mana hope i te mau tere, ua afaihia oia i te hoe melahi no te Atua mana hope i tou mau metua vahine na muae i te fare FLAT 24 LULWORTH fare, DORSET PURUMU, IVA ELMS, te no LONEDONA, te SW8 Repupirita 1 (na te reira i te oraraa au i tou metua vahine e te mau taeae). Ua ite i te melahi o te mana hope o te Atua i te taeraa mai na roto i te mau parishioners e te ua (i te taime / arapae) Christopher Guinness e i te Ekalesia no te Vicar o te raa Stephens.
Ua haere maua i raa Stephens Ekalesia (raa Stephens Terrace) na nia i te purumu Bolney i AFARO 24 Lulworth fare (i ite na roto i te locals). (Noatu e, e haere tatou i te mau vahi atoa e e faaite atu vau i nia i te tahi atu taio mahana, (tae noatu i te ea turu Vauxhall, na te reira Her hanahana te arii vahine, o Elizabeth II / Her hanahana te arii vahine, o Elizabeth II # [BUCKINGHAM AORAI, LONDON SW 1W0 te piha toroa o te Her hanahana te arii vahine] parau i nia i te mai (i mua i te hoe melahi no te Atua mana hope), ma te ani e mai te mea e ua fifi e te tahi atu mau tumu parau.
E faaite atu vau no nia i tou farereiraa i te hoe melahi no te Atua mana hope te tahi atu taime, tera ra, mai te hoe melahi no te Atua mana hope e nehenehe e paraparau i te tahi e te tahi, ua tia iau ia ite e te heheu mai e, te Ekalesia a to (apou ofaʻi e te tii o e te tahi atu mau haamaramaramaraa) o te chur a ch i te fare, e patuhia te / i patuhia i roto i te resemblance o te tapoʻi mata no te hoe melahi no te Atua mana hope te & ahu o te mau e o te anatomy i te mau raveʻa.
No reira, e tau e nehenehe e haapapu i te taatoaraa, e na roto i te ite i te hoe melahi no te Atua mana hope, e na roto i te hoe faanahoraa no te melahi o te mana hope a te Atua no te raveraa au na roto i te shuttle / pahi no te farerei i te Atua mana hope (o te ora nei e o te faatere arii e a muri noatu), e mau keresetiano e te tahi atu, e te tiaturi nei i roto i te mana hope I te Atua, na roto i te o un-shunned Emmanuel-Iesu Mesia ia tatou.
Te ite nei au i te reira i te hanahana e te haamaitairaa i te haamoriraa i roto i te Ekalesia no Peretane i te Ekalesia i te fare o te Ekalesia
SW1P RAHI NO LONEDONA PURUMU SMITH 3AZ, e aore ra te Ekalesia katorika (i raro ae i te Ekalesia katorika no te fenua Peretane & Wales 39 ECCLESTON SQUARE no LONEDONA SW1V 1BX).
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SAINT-AUGUSTIN | PARIS | LUDOVIC GICQUEL | AENARIA PRODUCTION | SHERLOCK PATRIMOINE | H.CHEVALIER | MAIRIE DE PARIS Les statues de l’Église Saint-Augustin ont désormais rejoint le sommet du monument. Vous avez été nombreux à suivre, à nos cotés, ces 4 jours exceptionnels. Nous vous donnons maintenant rendez-vous afin de découvrir cette extraordinaire aventure en vidéo !! ---------------------------------------------------------------------------------- PILOTE DRONE : LUDOVIC GICQUEL ---------------------------------------------------------------------------------- DIRECTED BY : LUDOVIC GICQUEL ---------------------------------------------------------------------------------- AENARIA PRODUCTION | SHERLOCK PATRIMOINE | H.CHEVALIER | MAIRIE DE PARIS ---------------------------------------------------------------------------------- Contact us: [email protected] ---------------------------------------------------------------------------------- Production agency: AENARIA PRODUCTION aenariaproduction.com ---------------------------------------------------------------------------------- Contact us: [email protected] ---------------------------------------------------------------------------------- -Technical crew- OPERATOR DRONE DJI PHANTOM 4 (S1-S2-S3-S4 DGAC) : Ludovic GICQUEL -Aenaria Production- President: Maurice GICQUEL Director & producer : Ludovic GICQUEL Producer: Elodie PACI ---------------------------------------------------------------------------------- Editing with Première Pro CC 2017 Motion Design After Effect CC 2017 Grading color with FILM CONVERT & LUMETRIE PREMIERE PRO Mixed with Audition Cc 2015 Shoot with: PHANTOM 4 Filtres SRP ===========Follow us ========== Facebook: http://bit.ly/1jlCsms Vimeo: http://bit.ly/1QJtmP4 Twitter: http://twitter.com/aenariaprod http://bit.ly/1jlCsD1 http://bit.ly/1QJtpKJ
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First Shoot in the Age of Covid: My Secondary Role
[Nov/December 2020]
Going into 3rd year I knew I wanted to push my confidence and get onto other sets, so I decided to get a role that I’ve been wanting to do for a while: Assistant Director. I jumped onto the “Gripped” team to help them out onset and was excited to do so. For the main shoot, I’d be missing my main groups shoot, which usually would bother me (not that it didn’t), however, with Karina being my AE and script supervising/running onset, and 8+ people being on the set already, I felt I wouldn’t be much of an addition on the set. With Covid regulations as well, and Covid still running rampant in Edinburgh I didn’t feel confident going to such a busy set.
Due to not being told by any of the Gripped crew, I missed the test shoot, but was told by some attendees that “They need an AD”. Apparently some creative differences onset were leading to problems, so I was curious going onto this set as to how it’d go. I read the script and prepped before heading to the set for Day 1. On Day 1 you could see what people had been talking about, Claire G and Anton had some creative differences to iron out, but all they needed was an intermediary (this time, me) to help them see that they actually just need to listen to each-other rather than try and be constantly right. We got our schedule and shot-list for the day ready and the shoot went… really well. We ran on time and everyone in the set was in good spirits as they settled into things. By the end of the day we all left feeling good.
Shoot day 2 went well too, however started off rocky. Anton and Claire both didn’t know what to shoot. We had the actors for another day so why waste them? So I had to really encourage them to think about their edit, what did Anton want Sully to use, what extras did they want. Claire G wanted cutaways and close-ups for extra B-roll for Sully, but Anton was resistant to this saying “Sully will work with what he gets from Day 1, he can use what he’s given”. I remember feeling a bit of frustration at this and not understanding how a director wouldn’t want to jump on the chance for more footage, but if Anton had faith in Sully to use the day 1 footage well then… I had faith too, but I still wasn’t gonna let him waste a day. (Update: 9th December, 1 Day after crit. Looking back, the fact Anton said this… makes me so glad we pushed him for the 2nd shoot day because without it I don’t think they would’ve had ANYTHING to show at the crit). Eventually I compiled a list of shots from the previous day we would retake, some closeups, and other shots and we got started and yet again… it went off great.
(Anton also had time to film a 7minute shot of the Billy Crystal Oscar opening… not only did this slightly confuse me, I can’t be the only one who doesn’t get Billy Crystal at all. Here’s hoping they don’t use all 7 minutes! Update: 9th Dec… Might not have been 7 minutes but, there’s too much Billy Crystal in the final edit and I, still, don’t get it.)
I really enjoyed my experience being an AD for this group. Anton was a good director to work with, his effort with the actors was lovely to see onset. However he does need to be more confident in himself when it comes to the crew. There wasn’t a lot of communication about his vision before the shoot so all the crew members were very confused as to how to approach the script. Part of my job on the set became communicating Anton’s plan to the Sound Designer and DoP to aid their job, but even I still didn’t fully understand him. Perhaps it was just indecisiveness but I think if Anton had full confidence in one creative idea, and communicated with his team a bit more, the project would’ve gone a lot more smoothly. But, that being said, the group were a pleasure to work with and clearly cared a lot for the production they were working on. Despite differences in their test shoot everybody was extremely professional in front of the actors, and the environment was really nice to be in.
[Update: 9th December, 1 Day After the Crit]. I wouldn’t usually comment on another group’s crit, but after being on such a wonderful shoot and seeing so much work put into this project I was disheartened to see the end result and the crews comments at the crit. I’d heard a week or 2 before that the edit wasn’t going well. From the 2 shot edit to not hearing any updates I could see the toll the editor’s absence was taking on the crew. 5 days before the crit, myself and Mairi contacted Claire G to get the footage for their film. I had seen the film get shot, heard Anton’s vision at the time (and to be honest at this point Anne Marie needed something), so Mairi and I offered to edit the full thing the next day after our doc had picture-locked. At this point Klaudia decided that they’d see it through, seeing as we had other projects to work on. But Mairi and I stayed on standby… just in case.
[At this point I want to applaud Klaudia for her role as producer, because I know she feels like she didn’t do her best due to the issues with the delayed edit. Not only was she persistent in trying to get the editor to complete work, she contacted the Director constantly and tried to keep her groups moral up. On the set she aided me in ensuring we were on time, made sure the actors were comfortable, and ensured Covid Safety Regulations were met. She took temperatures every couple hours and checked the team felt well to come to set. As someone who’d been feeling anxious even leaving my flat on the morning of the shoot, I felt so confident and safe being on that set by Day 2. So if you’re reading this Klaudia, well done.]
Upon seeing the film at the Crit I did feel bad for the team, every member had played their role well and the shoot had been an amazing experience. Anton and Claire definitely spoke themselves down when they spoke about their creative differences. Sure they started off rough, but the change I saw between the start of shoot day 1 and the end of day 2 was amazing. They put their differences aside and started to listen to each-other and it was nice to see them begin to collaborate (really shows their dedication to their craft when they put their mind to it). Despite being two VERY different people they behaved professionally in front of the actors and got along well (despite what they said at the crit), which helped create a really wonderful atmosphere onset.
It is just a shame that the editor let his team down. The footage from Day 1 had been nice, or at least usable to create a basic 2 person film, but unfortunately he only used the Day 2 Footage (Claire G has been through the edit and figured out he didn’t sync the sound, so didn’t use Day 1 as there’d been no camera sound to use that day). It’s unfortunate he didn’t reach out to his team about his issues because had he a couple of days after getting the footage requested a reshoot, I would’ve jumped at the chance to work with that production team again. I won’t say much more because I’m sure that team’s blogs will be interesting… but it is sad to see that in 3rd year there is this kind of work ethic happening. When working as a crew we are a team first and foremost, friends or not outside the project shouldn’t matter, we work together. And we communicate, not just walk off and complain behind folk’s back that something isn’t working.
But all in all my experience as an AD for Anton and his team was the best I could ask for, and I’d do it again in a heartbeat. And despite how the crit went I do hope the team feel proud of their contributions to what was a really good production to film.
[Side Note: I think I’ve found my calling as an AD, being in charge and making a wee schedule on Excel? Love it.]
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