DVC11 - Crystal Clear - BridgeHands Video

[Michael Nistler]

Greetings to my light-seeking colleagues,

Bless me Father for I have sin - it has been _____ since my last confession...

Oops sorry, wrong venue...

So, I understand this is where we make our admonitions about our DVC11 entry. First off, as most will know I'm a newcomer to our contests here. In fact, it wasn't until a few days before the contest began that I was aware the contest was opening up. But when I noticed Steve put his name in the hopper, I thought "What the heck, just do it."

After considering the possibilities for the theme "Light", I was inclined to do a SCI-FI since I have a good selection of sound effect audio files. Yet with our short turn-around interval, I instead elected to focus more on the script rather than the technology issues (although boys love their toys).

Never having previously encoded on YouTube, I assumed I would have typical end of project SNAFUs so from a project management perspective I decided I'd allow 2-3 days for script writing (including camera directives), 2-3 days for editing, leaving a few days to encode/upload/re-encode/re-upload/etc.

I used the tried and true script writing method - get up early with a fresh mind, write down all creative ideas as soon as they popped into my head (never editing & only making quickie sidebar notes), and continue full-steam ahead focusing entirely on creative thoughts whether they made sense or not - i.e., down and dirty brainstorming.

Some begin scripts with character development, others work through the Acts (last first) decomposing from the mega-theme to Acts, to sequences to scenes. My script was mostly the later, although about midway through I did begin a character-based alignment.

Unfortunately, when I finished my script I had 13 pages of type 12 Courier font on hand. Oh-oh, at 1 minute per page, it looked like I'd seriously overrun our allotment of 5 minutes! But it was time to start rolling, hopefully finding enough material to cut later.

The shooting gear included a Canon XL-2 with 3X lens; with more time we'd use the 20X lens for better depth of field shots and use a fish-eye for some interesting shots. Audio included two Sennheiser G2 Evolution transceivers with Countryman mics while on the run or C Stand mounted Oktava MK012A hyper-cardioids for stationary scenes. With a big crew, we'd break out booms and shotguns. But with all the constraints, the decision was made to stick to a one camera shoot, limit the camera angles, and post-production audio work. Well okay, we did spend considerable time with the music scoring after editing.

Lighting was with Lowell Totas and Omnis. A few scenes used light bounced of ceilings, but most scenes used a medium Photoflex softbox with diffusion grid; other lighting gear included red and blue gels, snoots, barndoors, etc. With more time, it would have been nice to use more gear (cookies, backlighting, etc). It would have been nice to break out lighting gear at the PVA holiday party, but doing so at the expense of the party guests didn't seem to be a great idea so for better or worse, we accepted the grainy scenes with the practical hard lights.

Unfortunately after massive editing (more later), all the nice glidecam establishment and master shots ended up on the cutting room floor. Perhaps our eagle-eye viewers notices the glidecam not-quite hidden to the left of the couch at 01:37! After filming, one of the actors felt a teasing word ("buckwheat") might be misinterpreted, so a we made a so-so voice over, changing the sentence to something more "P.C."

We rolled the better part of 3 hours of tape for the seven actors. The family was on location for 3-4 hours, about 2 hours for the Oracle, and 1 hour for the seniors. Then again, the completed contest video was only one-third of the first cut after editing. Sooooo, it was time to get out the chain-saw and head for heavy duty editing. Oh yeah, I'm sure we lost the better part of an hour once one or more of us went into the giggle mode in several scenes - and we all know how contagious the giggle game can get!

While it was tempting to score music during the editing process, the primary focus was trying to balance between the mega-theme of the original story and keep the continuity after very aggressive editing. Getting down to 6 minutes was tough (losing some great lines and fun scenes) but manageable - getting rid of the last 1 minute was misery - reminiscent of corporate downsizing. But the objective was clear so the scalpel went to work, offering apologies to those whose lines were omitted or, worse yet, never made the final cut (sorry, fellow videographers at the holiday party). During the shooting and editing, candidate music scores were considered for final selection. In retrospect, we're glad we finished a few days early which allowed us some time to creatively score the music - especially important with our concern over loss of continuity with all the footage on the floor.

Interestingly, the Oracle voice over lines were recorded completely independent from the video footage (BTW, the original footage included a few spoken lines before going telepathic); due to time constraints, the lines were read to her so she would give approximate facial and body movements to match her belatedly spoken lines. At least we hoped our script reading cadence would line up with hers! Fortunately, with a bit of audio cuts, things lined up okay.

I could go on and on, but let me turn it over to y'all. I welcome your questions, comments, feeback and critiques (God knows, I have about 30 "dings" on my list).

Warm Regards, Michael

[Michael Nistler]

*** Copyrighted BridgeHands Video ***

Title scene – dvchallenge.com
Title scene – Crystal Clear

CAMERAMAN - take various cutaway B roll shots throughout shooting

CAMERAMAN – lots of actor movement: watch the line.

EXT- SCHOOL – DAY

Wide shot of school

Chris walks into scene, Alley enters from other another position, they notice each other, join and continue walking.

Glidecam ahead of Chris and Alley, walking backwards and they proceed.

CHRIS

Hi Alley. How was school today?

ALLEY

(Impromptu response)

Chris and Alley continue small talk. Camera stops, tracks Chris and Alley as they walk by.

JUMP CUT
Quick shot of Judy driving on driveway, stopping car, getting out.
ECU of Judy locking car.

JUMP CUT back to Chris and Alley
CAMERAMAN – find position 1 shaded shot angle where side profile pickup of kids causes lens flare of SUN. Slow fade out.

Chris and Alley approach home (various shots) as they enter home.

ALLEY

Hi Mom and Dad. We’re home.

Side shot of kids from inside the door. Alley stops momentarily to take off her shoes at front door.

Medium, tracking, over the shoulder of Chris as he sees his dad and continues walking into family room.

CHRIS

Hello Dad.

Peter seated at easy chair with computer on lap.

PETER

Hi Bud. How was school today?

Chris continues toward Peter in family room easy chair, Peter folds down laptop, give Chris a hug, saying:

CHRIS

Okay. Better now that I’m home.
(Impromptu discussion about Alley)

Wide shot as Chris leaves scene to play video game in other room.

Tight position 1 tracking shot from behind on Alley’s stocking feet as she walks forward.
Shot transitions to front position 1 tracking shot of Alley approaching Mom towards kitchen.

ALLEY

Hi Mom. What’s for dinner tonight?

Medium side shot, Alley walks up to Mom for hug and kiss.

JUDY

(Impromptu answer, discussion)
Peter, as soon as Michael arrives we can eat dinner. Oh, I left the dry cleaning in the car. Would you get it for me please?

CU looking down on Peter from Judy’s POV.

PETER

Your wish is my command - but it’s going to cost you! (chuckles) Let me save my work first.

Medium side shot of Peter in family room with computer on lap.

CU over the shoulder Peter looking down on laptop.

ECU position 4 looking down over the shoulder CU of laptop screen and Peter typing on keyboard.

Peter POV ECU of laptop screen and Peter typing on keyboard.

CU position 1 looking up towards back of laptop with Peter looking at screen (show Peter’s nose-up just over laptop)
CAMERAMAN – MARK SCENE POSITION #1 this setup for laptop disappearance

Doorbell rings distinctively by Michael.

Peter puts down laptop on coffee table.
Glidecam of Peter walking to front door.


SANTA ROSA – INT, Dining Room (jump cut)
No spoken words – all V.O.

Medium side shot, Leo and Delia seated at dining room table.
Glidecam pull in to reveal board game with large crystal in center. Two crystal lamps are also on the table. Chess board prop has with cloth covering.

CAMERAMAN – FISH-EYE lens
Delia carefully at fair pace places crystal on top of crystal vase prop.
Pan to Leo who turns on light switch which illuminates crystal and crystal holder with light. (snoot with RED GEL)

CAMERAMAN – FISH-EYE lens
CU of Leo shaking/tossing two small green crystals.

CAMERAMAN – FISH-EYE lens
Zoom to ECU of Leo’s eyes as he squints moderately and cocks head slightly (neither overly detectable)

CAMERAMAN – FISH-EYE lens
Cutaway CU shot of Delia picking up green crystals. Delia looks toward Leo, offers a slight smile, proceeds shaking/tossing two small green crystals with look of determination.

Zoom to ECU of Delia’s eyes as she squints moderately and cocks head slightly (neither overly detectable).

CAMERAMAN – NORMAL 3X LENS
Glidecam overhead medium shot, dolly out.

INT - PETALUMA - DAY
CAMERAMAN – use wireless lavalieres for upcoming K cut.

JUMP BACK – INT medium shot, camera position 5 over the shoulder shot of Peter.
Peter opens door.
As door opens, Michael revealed.

MICHAEL

Hi, Buckwheat. How’s life treating you today?

Michael over the shoulder shot.

PETER

Pretty good until you showed up (laughs). Say, Judy left the clothes from the dry cleaner in the car. Let me grab it – we should be able to “chowing down” soon. I hope you have an appetite.
(small talk with Peter and Michael)

Door remains open, Michael remains stationary.
Peter walks down porch and exits camera view.

Glidecam behind Peter walking up to car, getting his keys out of pocket.
ECU of door unlocked.
Medium of Peter noticing door is unlocked and nods his head disapprovingly.

Quick medium shot of Peter getting dry cleaning, locking car,as Peter walks out of scene with camera facing car.
Glidecam (backward shot) in front of Peter walking back toward door and walks out of camera frame.
Medium lockdown shot with Michael in background as Peter enters scene as they both enter home and close door.
Peter and Michael MUST remember point of dialog as door closes.

INT medium Family room pickup shot, initially only Judy in kitchen background (Chris is temporary CAMERAMAN).

Peter and Michael proceed down hall, voice recorded, out of camera (J CUT)

MICHAEL AND PETER
More impromptu discussion, picking up conversation

Peter has dry cleaning in hand (scene continuity)
Michael and Peter enter scene from walking down hallway. CAMERAMAN (Chris) pans as Michael and Peter enter and sit down on sofa as small talk continues.
Peter hands dry cleaning on light next to sofa.
Judy is visible in the background.

CU of Michael with Judy at kitchen stove.

JUDY

(Interjects discussion)
Hi Michael. So, do you have a good appetite tonight?

Judy POV looking towards Michael and Peter.

MICHAEL

Aloha, Judy! Dinner smells terrific. So, are we having one of your typical meals again, more pheasant under glass?

CU over the shoulder, Michael looking toward Judy.

JUDY

Of course, and I’m sure you brought over a case of Dom Perigon champagne! (laughs) Anyway, dinner is ready when you are.

Living room medium shot of Peter and Michael

MICHAEL

So chumley, what have you been doing today?

CU Michael POV

PETER

I found a great wine tasting website. You know me - more PC seduction.

CU Peter POV

MICHAEL

Let me get this right. Ah, you are tasting wine on the Internet and somehow got seduced in the process. I gotta’ see this site – show me the money!

CAMERAMAN SCENE POSITION #2 – Return camera to spot of prior SCENE POSITION #1

PETER

Okay.
Impromptu talk

Peter turns head away from Michael, looks to point on coffee table where laptop was placed.
Peter pauses, gives troubled look and eyes move around coffee table looking around.

PETER

That’s odd. I could have sworn I put my laptop down on the coffee table when I went to answer the door. I guess old age is setting in (half chuckle but still puzzled).

Judy out of scene

JUDY

Okay guys, dinner is served. (Louder voice) Chris and Alley, come and get it.

Medium shot of breakfast bar with laptop sitting on surface. Judy with food in hand. Michael and Peter enter scene.
Michael gestures wiggling fingers toward laptop.

MICHAEL

Well, what do you know? Abra kadabra – the laptop appears before our very eyes!

PETER

(Seriously) Very funny, buckwheat! Judy, why did you move my laptop on the breakfast bar? You know I don’t like my PC around when you’re cooking!

JUDY

Wait a second, buster. I did not move your precious laptop.

JUDY AND PETER

(Impromptu conversation continues)
Peter and Judy remember point of conversation during cut.

Michael, Peter and Judy leave kitchen scene and enter dining room.

[Michael Nistler]

*** Copyrighted BridgeHands Video ***

Cutaway, camera outside on deck with sliding glass door slightly ajar for clear visibility.
Michael, Peter and Judy enter scene.
Judy has same food in hand (scene continuity).

JUDY AND PETER

Peter and Judy pickup impromptu conversation entering the scene.

Chris and Alley enter scene from hallway. Without reaching closure, Peter and Judy draw conversation to a close and become quiet – some tension is in the air.
Everyone is seated and several seconds pass.

CU of Peter from position 2 just over table surface (looking up, dominance)

PETER

This probably isn’t the best time to bring this up but since we’re on a roll, (pause) when I picked up the dry cleaning from your car I noticed you left the car door unlocked. What’s up with that? At least the burglars won’t have to break window glass the next time they break into your car, will they?

CU of Judy from position 4 (looking down, submissive)

JUDY

No way, I definitely locked the car doors when I came home. (Sarcastically) That’s a pretty cheap shot. Just because you’re losing your marbles, you better back-off unless you’ve acquired the taste for hot dogs, mister.

Back to outside camera shot on deck with sliding glass door, CU of Chris, Michael (in middle) and Alley. Chris and Alley exchange glances, give slight smile to each other and return faces towards table.

MICHAEL

(Cautiously) Oh-oh, now I remember why I’m still a bachelor. Seriously though, did I tell you about the really weird experience I had at the Christmas party – oops, holiday party last week?

Pull camera wide so Peter is in view.

PETER

So, what happened? Did you leave your car unlocked or did you misplace your laptop? Inquiring minds simply must know!

MICHAEL

(continue here – tells story of déjà vu coming up party at Kathleen’s home)

(fade to driving to Santa Rosa, flash-forward to coming up to Kathleen’s home with intro, flash back to car, second instance of coming up to home, déjà vu question)

(transition to party presents, transition to talking, disappearing from scene)

(return to meal, Peter jokes “Forget my cool wine website – I wanna’ drink whatever you been sniffing at your parties!” Laughs by all. Scene soon fades out to end of meal, every leaves table)


(Chris/Alley play game in Living Room, roll/toss crystals, squint eyes)

(jump cut Santa Rosa – Leo and Delia find themselves at table in other room at kitchen table. Delia asks if Leo let the grandkids play with the light energy crystals. Leo nods yes. Delia contemplates with uncertainty).

(jump cut Petaluma. Michael leaves, telling kids goodbye)

[Michael Nistler]

*** Copyrighted BridgeHands Video ***

(jump cut to Michael going to sleep)

(jump to dream – Michael with Oracle)

CAMERAMAN – Take numerous cutaway shots, especially CU objects apropos to prior scenes and dream ambience.
Take variety of shots with Cassandra and Michael.

MICHAEL

Who are you?

CASSIE

It’s not so much who am I.
The question is more what am I.

MICHAEL

Let me try again. Where am I?


CASSIE

You are asleep. We are communicating in your subconscious mind so we might as well communicate telepathically.

Michael and Cassie continue discussion communication telepathically – no more speaking, continue with voice overs using facial expressions.

CASSIE

(We are communicating in your subconscious mind – keep cadence)

I am the Oracle from the seventh dimension.
But you can’t conceptualize more than the three dimensions you live in, can you?

Oh, I suppose you are clever enough to know the fourth dimension is time – shall I go on, or is it more important to know where we are?

MICHAEL

The seventh dimension? You have got to be kidding?

CASSIE

Whoa, take it easy, big boy. Settle down or you’ll wake up and remain clueless. Try to concentrate – maybe this will be your lucky night and actually transfer some of this to your conscience mind.

MICHAEL

(Starts to talk but catches himself, shuts mouth and simply nods in approval)

CASSIE

My, my, you’re a quick learner, aren’t you? Okay, here we go so hang on.

The fifth dimension is simply time warp. You humans think you understand time, but let me ask you this – what do you think happened before time began?

MICHAEL

Err sorry. That’s above my pay grade. Can you give me an example?

CASSIE

Okay, I’ll tell you since I doubt you’ll remember any of this when you wake up.

See this piece of paper. Notice when I wrap it around lengthwise to touch itself, we have red on the outside and green on the inside. That’s how you see your dimensions.

Now imagine this is your three physical dimensions and time is represented by you moving around on the inside or outside.

But what happens when I warp the paper over at the ends so the red and green ends touch? The inside and outside dimensions warp.

Cass pinches paper at seam, bends and rotates paper at opposite ends so camera can see red and white paradox.

MICHAEL

Wow, that’s amazing! So how does time get warped?

CASSIE

Energy. After 100 years, I guess you humans have a long since forgotten the name Albert Einstein. How about E = MC squared?

M is Mass – you’re three humanly dimensions. C is the speed of light – light assumes movement, pretty fast in a human’s universe.

MICHAEL

I got it – so the sum of our three dimensions multiplied by light, or time, is represented by energy. Then if we can could change the energy in the universe, we can change time in the first four dimensions?

CASSIE

My, aren’t you the clever one – at least in your dreams! And you’re wondering, “Where do you get the energy to change your four simple dimensions?” Photonic crystals are the answer.

Photonic crystals refract or bend light – you remember how I warped the piece of paper. In the same way your semiconductor crystals affect electrons in the valence ring, photonic crystals influence photons of light through refraction.

So when you induce light into a photonic light – BANG, we have a warp in your four dimensions.

MICHAEL

Unbelievable. Why haven’t humans figured this out yet?

CASSIE

Who says they haven’t? I can forgive you for not paying attention to Albert Einstein, but you still haven’t figured it out:

One – Your déjà vu and disappearing act at the party?

Two – The virtual transportation of your friend’s laptop?

Three – Your friend’s wife mysteriously finding her car door unlocked?

Hello, is anybody home? Your friend’s parents have found the crystal and see the light – like the saying goes, knowledge is power.

And your friend’s children substituted light with their innocence of belief. Unlike adults, children are not stifled by suppression of creativity – their light emanates from within.

MICHAEL

Oh my god – that’s unbelievable!

CASSIE

Exactly – that’s why you’re going to forget all this when you wake up. Had enough?

MICHAEL

NO, no! Wait a minute – what about the sixth and seventh dimensions?

CASSIE

Come on now, you’re already in disbelief. Let me give you the “Cliff Notes” version.

Since you’ve learned how humans can modify lower-order dimensions, that means each modification creates a unique instance of light and energy in the sixth and seventh dimension.

But there’s no reason for you to try to understand all the permutations of alternate light and energy universes. Even in your three dimensional world, you humans cannot fathom all the stars in your simple Milky Way or the atoms in your planet Earth. Why you humans haven’t even gotten beneath the RNA structure of life.

MICHAEL

I see what you mean. Who are you, anyway?

Editor – Reuse this clip from above (more deja vu stuff, this time it's the audience who experiences it)

CASSIE

It’s not so much who am I.
The question is more what am I.

MICHAEL

Let me try again. Where am I?

Fade out.

Medium position 5 shot, fade in to Michael waking up.

Michael immediately get’s on phone, calls Peter.

Wide shot of Peter waking, answering phone, waiting for distant end to identify themselves to him.


ECU Cutaway to Michael

MICHAEL

Hello, Peter. I see the light!

ROLL CREDITS

[Lorinda Norton]

Who needs the movie when we have all the entertainment we need right here in a feedback thread? :) Michael, I smiled all the way through your first post—felt like I was with you all on the shoot. I bet it was a riot.

Come to think of it, I smiled all through your movie. There was so much going on it kind of had my head buzzing. This is a highly intriguing first DVC entry.

Given your attention to detail, I watched your movie several times and took notes on a few things that stood out.

First of all, your seniors really made my day. The zoom on Grandma after she threw the stones? Priceless. The red glow at the wave of her hand looked cooler than cool, by the way.

About the shot from indoors out the door: It’s tough and I avoid it at all costs. I might be wrong, but aside from waiting until the sun is closer to setting I believe about the only thing you could have done to knock down the blue is throw on the ND filter and expose for the outdoors. Peter’s back would have been pretty dark, but the sunlight wouldn’t have blasted through to that extent. I almost missed seeing the cutest puppy on the planet because of it. :)

“No thanks,” to the self-invitation to the party? LOL! I felt awkward and I wasn’t even there! Your reaction and recovery was GREAT—looked very real.

Okay, you have got to finish a line for me. Friend (you): “Wow, you found a Web site where you’re drinking wine and…” what?

Enough for now; it’s bedtime. As I said earlier, this was quite an interesting movie—very complex. Thanks so much for sharing it with us!

p.s. Wow, reading through some of your script I realized just how much you had to cut! Did you keep a long version for your family and colleagues?

[Dick Mays]

Michael,

Congratulations on doing our first DVC entry. I've learned a lot by participating in a half dozen of these. My first ones were all dialog, but my last two entries had no dialog at all as I concentrated on "pictures." Play around a bit and keep making them.

You have some nice shots (like the light glow on the face), and some places (like the interior to exterior shot Lorinda mentioned) that could be improved.

This entry is a bit long on the storytelling through dialog (particularly the Oracle) and I'd like to see more use of the visual element to tell your story. BTW, I try to avoid narrative that "explains" the story to the audience. If you need an Oracle to tell you why the laptop disappeared, you're not telling a story that engages the audience enough to figure it out on their own. That said, most of my shorts don't get understood by the audience either, so maybe I'll adopt your Oracle for my next project.

The best part of this to me is the relationship between the Dad and the neighbor/friend. I'd like to see more of this relationship, and even more joy and competition between them.

Beautiful kids. Kids are great.

Dick

[Michael Nistler]

Hi Dick,

Thank you for your feedback. Yes, I absolutely agree with your assertion that we usually want fewer words (although a bit tough on a shortie). In the 11/30 NPR Movies podcast/audiocast, Laura Linney stresses this in "Exploring the Art, the Artifice of Acting." Laura gives a great interview discussing her latest movie, "The Savages" (it's about three-fourths of the way through the MP3 file):

http://podcastdownload.npr.org/anon....r_16797565.mp3

Thank again,

Michael

[Bradley L Marlow]

Nice first entry!

You certainly had alot going on in this film and I laughed out loud while reading your initial post! I can certainly relate.

"Need me to come along?" "Ahhh. No thanks." That was very funny! I too liked the strange dynamic between these two.

For a while there, I thought this might be about food or eating. "Save me some leftovers" "Are we ready to eat pretty soon or ah...?" "Ok. That's interesting. Why don't we go eat dinner." and "I'm hungry".

I really liked the matching squints from the Grandmother and the Son after rolling the crystals. Thought that worked quite well.

Cassie's expression towards the end about seeing the light was hilarious. Like DUH! Get a clue!

Thanks for making this film.

Happy Holidays Michael!

PS: After watching this, I immediately hopped over to eBay and am currently the highest bidder on a set of Ancient Photonic Crystal Oracle Stones. My hope is that I'll win and they will arrive with an Oracle like Cassie!

[Michael Nistler]

Hi Bradley,

Thanks for the great feedback - I'm glad there's others who can relate my experiences! Indeed, with time constraints and new actors we included some adlib dialog - working the synergies between the actors. If you're interested and haven't done so, check out the outtake scene to see "how the sausage is made" (see link on prior post).

Yes, with most of the film on the cutting room floor to maintain the 5 minute maximum, unfortunately most of Cassie's lines couldn't be included in the final video. In the future, I hope to edit the full-length video and post. If you're interested, checkout the script in a prior post.

Be extra careful with your "photonic crystals," especially when you wave your hand over it and it emits a red light - be sure to read the FDA warning label, term of use, and legal restrictions!

Happy New Year, Michael