Wednesday 17th March 1999
A week relaxing with JD in Paris this was thrown into a distant memory as the pressing issue of work ensued. I know Paul�s coming around at half nine so I�m all ready for about then, knowing he�ll probably be slightly late. Once he arrives we try to find some tramp clothes. I think it�s funny the way he just goes up to my wardrobe and goes �that�ll do� several times and the tramp wears all my everyday attire. To school where we have to wait for a bit as John�s busy with equipment stuff. We finally load up equipment into Paul�s car and see Cal for the first time that day. Pop up to see Alf as I�m unsure about the white balancing thing and Cal has to fill in some risk assessment stuff, this delays us for a bit. Chat to Kingsley for a little while (do you like the detail of this account?).
Go to Paul�s car, meet up with Kev after some last minute equipment such as a boom mike and a windguard. To Paul�s house where he gets tramped up. To town where we meet Michelle and Debbie - filming has started. The first shot we try has a close shot of Kev�s hand and Pauls hand with Deb and Michelle approaching in the background. Paul�s unsure when to get Kev to hand over the artefact as he can�t see Deb and Michelle approaching. Still, it goes OK, although it would have been better if Paul hadn�t taken the artefact, as a future shot would have Kev holding it while he speaks. This complication could be cut together in the editing suite. It�s Michelle�s problem.
As Kev had to go at around twelve we tried to utilise him as much as we could. We did a pan of him walking up the street which�ll be used before the bit where he gives Paul the artefact. This was done in three takes, often with shaky camerawork. My fault.
The next scene took absolutley ages. We wouldn�t have minded but we�re gonna have to hash it together in the edit suite. It�s in principle a very easy scene. Michelle bumps into Paul, who overacts by leaping three feet forward, then a brief conversation ensues. I can remember it word for word as we did it so many times. There were several problems sabotaging the final outcome. The first was the acting. This is understandable as neither were professionals and they both tried valiantly. I know I could do much worse but it took a couple of attempts for them to gain sufficient confidence for the scene. There were also a couple of technical considerations too. I�m guilty of letting them move off shot at least once (commonly referred to as the �nose shot� as that�s about all you can see) and there�s a boom in one of the takes. This, together with filming it from lots of different angles turned it into quite a complex procedure. Some of the later takes are hampered in terms of sound because a selection of nearby builders decided to bang away. Tragically these are the ones that are acted more convincingly. There�s also the issue of lens flare in the 2 shot that made life a little too interesting while editing. If pain was a drug we�d be addicted.
Kevin�s line was a lot more simple. Just a basic viewpoint shot that was completed with relative ease. Again it took a while for him to get it right but for a design student with little acting experience he did really well.
After we said our parting words of thanks to the extremely helpful help of Kevin it�s back to college to see what we�ve got, get some more batteries or something.
The afternoon was spent recording the montage sequence at the start. Paul rummages through bins, sleeps on benches and begs. The first two of them shots are filmed in a park the begging scene is in the middle of town. These all go reasonably well. Our tramp turns might have won an Oscar if he�d been American or Judie Dench. The only thing that doesn�t work is a single take of the tramp going to sit on the bench. He puts his bottle down and it falls over. Although this was the only thing we couldn�t use we take a couple of takes of everything just for insurance.
The next location in our busy schedule is a trip to Wombwell station. This is an ideal setting for Paul to tramp around and be stared at by slightly bemused people on the trains. This goes on without major problems. The only take that gets aborted is when I nudge the camera while talking to Michelle.
Then it�s back to Paul�s. Michelle leaves us at this point as the following scene doesn�t require any sound, so it�s pointless her hanging around. She�s useless. Maybe a bit harsh but she lives a way away and it�s just common sense really. Me and Cal sit around at Paul�s house for a while and he makes me a cheese sandwich. After watching Paul�s A-level film the �thugs� start to arrive - Sal and his mates. Just the one more scene before we can go home and look forward to an equally tiring day tomorrow.
Once it�s dark we head off into town. We find a nicely lit shop near the market and MrDirector gives his directions to the extras. The camera is set up and a small audience assembles to see Paul get harassed by a couple of shifty youths. We do this twice before an old woman starts an argument and almost has a fight with Cal.
Thursday 18th March
I approach Pjs cafe at the designated time. Michelle is already there enjoying a cup of tea. Little chat as we wait for Paul and Cal with the rest of the equipment. Me and Michelle run through the dialogue in a selection of voices. This was the morning that the main conversation was to take place. Paul�s main speech about his demise and Michelle�s reactions. The shot is set up with relative ease to Paul�s instructions when he arrives. Cal asks the owners if they�d mind turning the music off and they kindly oblige. Filming begins.
Both actors have clearly put a lot of effort into learning their lines for the part and there are few textual blunders in the complicated conversation. Cal has to take over as sound person again as Michelle is acting away. The staff are most helpful and one even participates as an extra, delivering a supply of tea and taking the order upon request. The main conversation seems to go pretty well although we would later realise the sound quality wasn�t first class. This is filmed from a couple of angles which will obviously be edited together in the future.
The next location is Paul�s house. There are a couple of scenes we have to film here. Some attention is paid to lighting as we put sleeping bags over the windows and newspaper over the tinted glass on the front door. This was compensated by a carefully positioned red which was soon discarded as the dispenser started to melt. Alf later explained that this was due to the heat rising and we had it pointing up. It was pointed out that possibly we didn�t need a disperser if the light was bounced off the ceiling. It proves that we�re amateurs at these situations as, apart from a couple of hours tuition, we�ve yet to really experience lighting.
We changed the lighting after a couple of takes. We reshot these in the revised lighting to add much needed continuity to the piece. There were several shots required that were carried off without incident.
Wednesday 24th March
The morning started with confusion. We�d booked out some equipment and it seemed unlikely we were going to get it. This was due to everyone filming on the same day and some people not taking back their stuff. Our doctor and Kevin were kept waiting as we managed bit by bit to gather some equipment together. It seemed we didn�t have a tripod but had a Panasonic camera which was helpful. Another problem was the room we were due to film in. We decide that booking things means nothing as we have to kick Liz�s group out of our doctors surgery. At this point there�s a certain feeling that things are against us as we pinch Liz�s equipment for a minute or two. The shooting of the doctors surgery goes quite well as is a basic set up, simple shot and we�re using competent actors that only crack up after the take. It all goes smoothly and Liz reclaims the room and her equipment after half an hour or so.
Then we move across the corridor at Honeywell to a very small office. It�s sensible that Cal stays outside once everything�s set up to give us more room to work with. Paul demands a series of complicated shots with lots of camera movement and I do the best to comply. I end up crouching in various positions and eventually get cramp. The absence of a tripod didn�t help but the room was so small we may not have been able to accommodate one anyway.
That afternoon we found ourselves sitting in Paul�s kitchen contemplating the liniment marriage between him and Michelle. What will Helen think? After discussing the ins and outs of the costume there�s a light-hearted argument as Michelle doesn�t want to wear Paul�s net curtain. It takes a little while for this to be resolved in Michelle�s favour once me and Cal take sides due to the fact it looks completely stupid. Once the costume has been sorted we head down to the church where the scruffiest pair of people are going to get married. We shoot off half a film or so then head for the developers.
It�s off in Paul�s car heading for a printing firm in Doncaster. It takes ages to get there and the conversation mutates into several phases. Once in our location time is rushed. This is because Cals friend has to stay behind after work for us and we cannot hold the location indefinitely. We get to work, setting up a series of lights according to Paul�s direction. Once logical problems such as leads and stuff are concluded we are ready to go. We shoot the first shot twice as we forget to whiten up Paul�s hair. In the end this seems to make only a slight difference but it�s worth doing. A selection of shots are filmed really quickly as we�re conscious of our waiting friend who has been so kind to us. We spend far to long on a shot which is the close up of the pocket, the artefact being removed. The problem is with the focusing. It�s not so complementary of the cameraman that he thinks he�s taken it off autofocus when he�s really put it on to manual apiture. Once the mistake has been rectified it still flits in and out of focus just to annoy him and delay us further.
All the other shots were done in such a hurry I only remember humping the tripod around the table and obeying a series of instructions that are being relayed to me, Paul getting more and more stressed as the shooting continues and time diminishes. We take a general shot of the interior of the workplace before leaving.
Thursday 25th March
The slog continues as we head off to Pjs for around ten. JD and Ryan have joined the team for the day. The first shot takes a couple of takes as it involves zooming out of the paper that JD�s holding and moving down to see Paul writing on a serviette. Perhaps we spend a little too long on this shot but it�s essential we get something in the can. Simpler dialogue shots are also in evidence and we decided to re-shoot Michelle�s part of the conversation because the framing could have been better. The director didn�t like it and he�s in charge. It was wise to re-shoot.
Left the camera running in the box to get a bit of wildtrack from the surrounding environment. Thought I�d mention that..it might come in handy later.
Ryan makes a perfect tramp wearing my jumper. I would be offended but I�m too busy laughing. The scene goes off without a hitch. Ryan asks if the artefact is a wagon wheel, we say it�s an old joke but I�m sure he�s being serious. Ryan�s cameo role. Perhaps we will have to reshoot Paul saying his line due to the continuity of the beards but this can be shot anywhere. We leave the camera up on the tripod and doss around in front of it while recording. This street wildtrack could later be used as ambience and the quiet hugging and mock fighting is just a bit of a laugh. It�s been a hard couple of weeks and the Easter break is welcome relief from the onslaught that is degree life.
Friday 16th April
After a fairly heavy night out we�re greeted with the welcome task of yet more filming. A simple shot but the close up of the pocket should have been simple too. At one we assemble in the refectory. Carol has informed us of her impending absence as she�s going to get a minidisk player from Leeds, she�s so enthusiastic. Paul introduces me to the Mother and we sit and have some trivial banter while he gets the equipment. Time passes and all my pound special seems to have been eaten. No sign of Michelle, mind you I don�t suppose human beings are signposted. I go and help Paul with the equipment and we wait around for a little bit longer. The absence won�t really affect the outcome of the piece as sound isn�t a pivotal role here. After waiting a little more Julie skilfully manoeuvres her car down the slope and manages to start it. A minor episode in all of our lives.
Once at Paul�s house and away from the snow that seems surprising to all that don�t come from Barnsley, we embark on the last bit of filming. Remarkably easy, Julie stands in Paul�s house where and opens a letter from her long lost son. Smiles and keeps looking away to give us time to fade out. It�s sensible that Paul reads out the letter, offshot to hopefully, save us having to dub his voice over afterwards. We needed to do this exercise in this manor anyway so Julie would look up and smile at around the right time. After a couple of takes we�re sure it�ll be fine so that�s the filming done. It seems like a bit of an anticlimax.
Wednesday 21 April
I was on the fringes of the action today. Editing had commenced way before I wander into College and Michelle and Paul have been there for some time. My role as cameraman is over so I can sit around and contemplate life, doodle around on the internet, eat Maltesers, talk to Ryan�s group and pop back every now and then to see how things are going.
I have a great time and spend some time thinking about impending projects and other work. After consuming half the refectory I find myself with Paul, Sal, Alf and Ryan after school hours watching Paul complete the title sequence. I can�t really offer much help as I have little experience on the machines. It all goes smoothly and I go home and consider the write up.
Tuesday 27th April
My birthday sees me editing with Paul until way after school hours. He is the man in control as I only really do a couple of fade outs with the sound. Michelle can�t be in today so Paul decides to go alone effectively as I have no experience of editing with current linear technology. At my old school it was just like someone presses play a couple of seconds before someone else presses record on a nearby video. Perhaps that�s why we produced a right load of poo. Editing now seems to be very much a one man job and that man today is Paul. I use some time in the darkroom and writing this report. Still I stay afterwards for a while. In the end we edit up to the letter opening scene and work out that the product will overrun by some six minutes. The main problem that we encountered was caused by a section of static on the raw footage. This seemed to take the machine a couple of seconds to get through, reducing the precise in - out point technique to mainly guesswork. Several brief cuts took a while to achieve to satisfactory standard.
The other main event I whitens is amazing. We try to overdub the sound of the doctor telling Kev he�s going to snuff it as the voice is way to quiet. Amazingly we manage to get it in perfect lip-synch. Whenever I�ve done this before it turns out to be reminiscent of a low budget ninja film. After seeing the whole thing again we start to feel better about the product. It seems to be taking shape and it isn�t as shaped as disaster as we envisaged.
Wednesday 28th April
Today bears a similar resemblance to yesterday apart from it�s really sunny. Paul and Michelle are the main figures in the group today, myself and Cal seem like extras. The only real difference today is that we have to re-shoot a single shot. Pauls line where passes the artefact to Ryan An extreme close up of the lips. This is quite tricky to achieve as the slightest movement on Pauls part and he�s out of frame, it�s that close up. Me and Michelle end up swapping roles for the last few takes of this. The whole shoot is in a light-hearted way as we know we�ve almost finished. The re-shoot was necessary due to the continuity of Paul� s beard. If we�d used the old take we would assume that Paul gives the artefact to the tramp, has a shave, speaks, grows a beard and walks away. I go home but Paul tells me in the Firkin later that the product has been completed and we�ll pop into school tomorrow to watch it in view to the critical evaluation that will have to be in in a couple of days time.