Shooting: Our Experience

Our experience of shooting the opening sequence was that it was, generally, a success. We had traveled to London with the slight expectations that something could go horribly wrong at any moment, such as having our equipment confiscated by authorities, however Trafalgar Square turned out to be an excellent filming location, with relative ease in pacing ourselves so we could capture all the shots we required and the only rush being the one against daylight (and even then we still had plenty of time). We were surprised at the lack of interest in our filming, while some passersby stared during some of our more outrageous stunts, such as Richard Young collapsing into the fountain and Lee Davidson sprinting the entire length of the square, none of the security guards approached us or any of our production team to query us about our (innocent) intentions. Our actors, for the most part, knew their lines and had mastered the performances within a number of takes, and both me and Nicholas found handling the filming equipment to be straightforward while also an interesting challenge in some parts as we had to run alongside our main actor without making the footage look unprofessional.

The only major concern we had during the day was the problem we faced regarding our planned fight sequence in the disabled elevator near the toilets in Trafalgar Square. As per the screenplay, and as visible in our storyboard animatic, our intention was to shoot a brief close quarters combat scene in the elevator, which meant we had to have access to it for filming purposes. However an irritating cleaner that waltzed into the area at every opportunity, as well as an elderly Oriental man who seemed to enjoy traversing up and down the elevator, meant we were unable to film what we had planned and had to relocate the sequence to an alternate location that would appropriate in the whole scheme of things as we did not wish to change the storyline. Thankfully, Nicholas came up with the idea of using the adjacent steps to shoot the fight. Though this mean a complete re-haul of the choreography, this was swiftly done, and whilst it did not have the cinematic flair of the elevator fight sequence, we found it worked just as well visually, as well as most importantly, practically.

Some minor problems that we did encounter, however, included slight rainfall which resulted in visible drops on some of our shots (which in the end did not make too much difference) and the obvious constant changing crowds, however the audience will not notice this due to the fast paced nature of the sequence. All in all, the shooting on the day was beyond satisfactory and after a brief haul through all the footage we know we have everything we need and thus will not require re-shoots of any kind.

SINS OF THE MARTYR - SHOOTING ANNOUNCEMENT

As of this morning, shooting on Enigma Entertainment's debut feature film, the thriller "Sins Of The Martyr", has commenced. 

We will be travelling by train to London Waterloo, where we will set off to various locations to film the opening minutes of the film with our leading actor, Lee Davidson, and our wonderful fellow cast and crew.

We are all very excited, and will to our best to keep you to date with all developments.

- Philip Smith & Nicholas Ashurst

(Directors of "Sins Of The Martyr")

Shooting: Final Opening Shooting Script

SINS OF THE MARTYR

SCREENPLAY BY

Philip Smith & Nicholas Ashurst

BASED ON A CHARACTER CREATED BY

Nicholas Ashurst & Lee Davidson

SCENE 1 – LONDON - INT. CHARING CROSS UNDERGROUND STATION

Darkness. Train lights quickly illuminate the tunnel as the train emerges. JIM gets out of the train, looks around then heads for the stairs. DAVIDSON steps into view.

DAVIDSON

Just got off the train right now. We’ve arrived at Charing Cross.

He watches as JIM crosses the walkway above, and trails him through the underground station.

DAVIDSON (CON’T.)

I’m in pursuit.

CAPRIVI is elsewhere, his voice coming from DAVIDSON’s earpiece.

CAPRIVI (V.O

Good. Keep following him.

DAVIDSON follows JIM through the tunnels beneath Trafalgar Square and makes his way up the stairs of the subway exit.

SCENE 2 - EXT. TRAFALGAR SQUARE

 JIM is out of sight.

DAVIDSON

I’ve lost him. He’s somewhere in the Square. Yung, do you have visual?

YUNG is watching from the balcony in front of the National Gallery, coffee in hand.

YUNG

Yeah. (Yawns) He’s just gone round the Column.

DAVIDSON walks along the road at the edge of the Square.

DAVIDSON

Yes, I can see him.

YUNG

He’s moving towards my position. Looks like he’s carrying a case.

DAVIDSON

A case? You sure? He didn’t have that on the train.

JIM sets the case down on the edge of the fountain. He begins to open it.

YUNG

I can get in for a closer look.

DAVIDSON

We have to make sure it’s clear. Palmer?

Davidson’s voice emerges from a fallen earpiece. A dead man is dragged away from the edge of the roof.

DAVIDSON (CON’T.)

Palmer? Caprivi, do we know if there’s a meeting about to place?

CAPRIVI is walking through a darkened walkway, consuming a meaty burger. A Slender-Man like figure follows in the shadows, albeit much shorter and browner.

CAPRIVI

I don’t know. We can’t risk it. Tell Yung to fall back.

YUNG

We have to go NOW.

DAVIDSON

Caprivi’s orders are to stand down! Yung?

YUNG

FUCK IT!

Yung rips the earpiece from his ear and casts it down into the Costa abyss.

DAVIDSON

Sir, he’s gone dark.

CAPRIVI

You have to stop him.

DAVIDSON hangs up. As YUNG makes his way from the balcony and down the stairs DAVIDSON starts moving. YUNG reaches the fountain as DAVIDSON makes a mighty leap over the wall into the Square. ZUBASU appears behind an agitated CAPRIVI. YUNG and JIM briefly exchange glances as DAVIDSON stops in the middle of the Square. Pause. Everything is at a standstill. Bang. YUNG is dead. His glasses float away.

DAVIDSON

Yung is down. I repeat Yung is down.

Silence. No response.

JIM shuts the case. DAVIDSON starts moving towards JIM, but two men approach from across the Square and lead JIM and the case away. One of them starts to follow DAVIDSON.

DAVIDSON (CON’T.)

Hello? Hello? … God damn it.

DAVIDSON crosses the Square and enters the toilets. The man follows him in, and, as the lift elevates, he and DAVIDSON engage in brutal combat, culminating rather bloodily. DAVIDSON exits the lift at the top, leaving the dead body behind him. He wipes the blood from his knuckles and tosses the handkerchief to the floor. He walks over to the balcony and looks down at YUNG’s body, as a local youth prods it.

RANDOM LOCAL YOUTH

You alright, mate?

A woman (or perhaps an effeminate man) screams at the sight of the deceased thug in the elevator, so DAVIDSON quickly makes his escape into a nearby alley. As he turns the corner, another thug pulls out a gun and attacks DAVIDSON, who quickly dispatches the enemy and stashes his body in the alleyway. As DAVIDSON is about to leave, he hears footsteps. ZUBASU. The suited brown-faced badass inspects the area, sniffing about for DAVIDSON who is hidden away. DAVIDSON reaches over for a blunt object, and is about to cave ZUBASU’s skull in before the latter leaves unexpectedly. DAVIDSON’s earpiece comes to life.

CAPRIVI (V.O.)

Anderson, can you hear me?

DAVIDSON

Caprivi? You’re alive?

CAPRIVI (V.O.)

(Breathing heavily) You have to leave London. Now.

DAVIDSON

NO, I’m coming to you.

DAVIDSON exits the alleyway. CAPRIVI, with his hand over a bloody wound, stumbles across Horse Guards Parade. CAPRIVI stumbles and falls against a wall. DAVIDSON sprints down a path to Horse Guards Parade and arrives at Caprivi who has collapsed onto some steps.

DAVIDSON

We’ve been compromised.

CAPRIVI

They have Stretzel. The others…?

DAVIDSON shakes his head woefully.

CAPRIVI

Take – this.

CAPRIVI fumbles around in his bloody pocket for a small note. He tries to unfold it, but struggles and lets DAVIDSON unfold it. CAPRIVI looks at his watch.

CAPRIVI

You have ten minutes. After that -

CAPRIVI taps a detail on the paper saying ‘HUNGERFORD BRIDGE – N. SIDE’.

DAVIDSON

Who am I meeting?

CAPRIVI

This man…he can protect – (coughs) Now go.

DAVIDSON

No. Wait, Caprivi, there’s something I need to tell -

CAPRIVI looks faint and smiles ruefully before his life leaves his eyes.

DAVIDSON

- You. I’m sorry.

DAVIDSON lets go of CAPRIVI’s body and leans it against the wall. He places a pair of sunglasses on the dead man’s eyes and stands up.

DAVIDSON

Shit. SHIT.

DAVIDSON fumes. Then he realizes the paper in his hand.

SCENE 2 – EXT. THE HUNGERFORD BRIDGE

DAVIDSON is waiting at the Hungerford Bridge. He checks his phone for the time. Everyone around him is a potential threat. He is just about to leave as a man drops a phone into his pocket without him realizing. It rings. DAVIDSON looks around for the stranger then picks up the phone.

MARIUS (V.O.)

Your phone. Remove the simcard and destroy it.

DAVIDSON follows the man’s orders and snaps the simcard in half, tossing it into the Thames. DAVIDSON continues to look around.

MARIUS (V.O. CON'T.)

This is your new phone.

DAVIDSON

Who are you? How do – did - you know Caprivi?

MARIUS (V.O.)

My name is MAGNUS. You are AGENT DAVIDSON, a deep cover operative for the L.E.E. -

REVELATION. DAVIDSON looks shocked. DUN.DUN.DUN.

MARIUS (V.O. CON’T.)

- and we will meet at the park in Canary Wharf in half an hour. That is all you need to know for now.

MARIUS hangs up. DAVIDSON looks doubtful before leaving the bridge.

TO.BE.CONTINUED.

Shooting: Schedule

08:15 - Meet @ Enigma Studios, Ashtead - Commence rehearsal
09:15 - Depart for Ashtead railway station
09:29 - Take train from Ashtead to London Waterloo
10:10 - Arrive @ London Waterloo
10:20 - Take the Northern Line to Charing Cross
10:25 - Shoot Trafalgar Square Sequence
14:00 - Depart for Horse Guard's Parade
14:15 - Shoot Horse Guard's Parade Sequence

It is vital in our organisation of the film's shooting that organise a schedule and take any necessary problems revolving that schedule into account. We have decided that shooting must completed within one day, due to time constraints as well as transport costs. With the Christmas season coming to a close, the Christmas tree in Trafalgar Square will soon be packed up, therefore we would have to achieve all the necessary shots prior to its removal. On the day itself, we have planned to depart slightly later than we intended due to peak-time ticket costs, which are as much as an unfeasible £18 for a return travel card. Therefore we will meet at Enigma Studios, based in my fellow director's living room, in order to wait till off-peak time starts as well as ensure we have all the necessary items we need to bring to the shooting of the opening. The majority of the footage must be shot prior to 15:00 due to the impending darkness of a Winter late afternoon, therefore we will leave the London Underground shots (first chronologically) till our return journey home as sunlight is not required.

Shooting: Location Map

It was important that we produced a map, for use by our cast and crew, included in our production pack, in order to give us a sense of area and distance between each of our filming locations. We used Google Maps to produce the below image:

Shooting: Equipment - The Panasonic HDC-SD90

Panasonic HDC-SD90

Specifications

- 1980x1080/50p Recording
- 28mm* Wide-Angle & Intelligent 40x Zoom
- New HYBRID O.I.S. (Optical Image Stabilizer)
- 5 Megapixel Photo Camera
- SD Card Memory
- Microphone Slot
- Optional 3D Lens

While given the option to use the school provided HD cameras that had proved resourceful on the occasions we had used them, we have decided to shoot our film opening with my fellow director's personal camera, the Panasonic HDC-SD90.

We had used it previously on our Preliminary Task, shooting in standard definition, and this time we intend to utilize the camera's full capabilities of shooting in 1080p, as well as the wonderful zoom and stabilisation features. Thus far the camera has not failed us and we certainly hope it will not in the production of this film.

Pre-Production: Storyboard Animatic

Here you go. This is what you've all been waiting for.

View our exclusive sneak peek animatic sequence below:



The full live-action prologue will be released online next Spring.

Pre-Production: Cinematography

An element of filmmaking that is continually striking, if done right, is the use of cinematography. The visuals of a film are obviously very important, and can support the story without the need for any fancy techniquies, but it is when filmmakers put some effort into it that it can really shine.

A favourite cinematographer of mine is Academy-Award nominated cinematographer Roger Deakins, whose most notable work includes the Coen Brothers films, but my favourite work of his is the underrated 2007 film "The Assassination of Jesse James By The Coward Robert Ford". His most recent work was on the hugely successful 2012 picture "Skyfall".

Examples of his work are included below:

A director who focuses particular attention on cinematography is director David Fincher, who uses it to great effect in evoking atmosphere throughout his films. "The Girl With The Dragon Tattoo" and the upcoming Netflix series "House of Cards", both display great examples of his 'look'.

  

With "Sins Of The Martyr" and my role as Director of Photography on the project, I hope to capture the same look through practical work on the day and with post-production colour correction and grading in order to achieve a high budget cinematic appearance to the film.

Post-Production: Filming Dates & Shooting Preparation

Possibilities for date of filming will most likely be one of the following:

Saturday 22nd December 2012
Friday 28th or Saturday 29th December 2012
Thursday 3rd or Friday 4th or Saturday 5th January 2013

We will have to take weather, cast and crew availability, ongoing events at the locations, and a number of other factors into consideration before setting a date for shooting the opening sequence. There are also many other things which we must have fully prepared before setting off on our shoot, for instance the fact that many of our cast members have prior commitments over the Christmas holidays, thus we will have to ensure that we are all available. Delaying the shooting till after the holidays would prove problematic as our cast is comprised mainly of those who have module exams during the month of January, and leaving it till the next month would be result in a heavily rushed post production, something, I, as primary editor, would rather not be forced to undergo.

Pre-Production: Fight Choreography Analysis

As we had explored in our preliminary task, fight sequences can be hugely exciting to choreograph and execute. The final product was a testament to that with the multiple fights being the standout parts of the project. However there was a certain lack of preparation involved, and while that may have slightly added to the grittiness of them, with our final opening sequence, in which we hope to have a small fight towards the end, we want to make sure we are fully choreographed. Thus it is important to analyse fight sequences in popular films to improve our skills.

 

The Bourne series of films are the best example of well choreographed and exciting fight sequences in mainstream Western cinema. The use of close quarters combat really helps to add a sense of danger and intensity and Bourne succeeds heavily at this. The brutality of the sequence is a key aspect to take back from this as perhaps this is something we did not explore too greatly in the preliminary task. Each and every punch, hit and kick is earth shattering, and whilst we do not wish to go full out in our opening sequence, a sense of this ultra-brutal intensity to the fighting would aid it very well. There is a significant use of nearby furniture, objects and surroundings in the fighting, making the impacts even more shocking as the combatants smash into tables and walls.

Compared to the majority of recent action sequences - as well as our preliminary task which was incredibly tightly cut in order to make the hits look authentic - this sequence features some longer shots which less frequent cutting, showing the level of dedication and actual pain that the actors went through the achieve this sequence. We will perhaps be unable to accomplish this without raising an alarm in Trafalgar Square, as public violence is presumably frowned upon, however we can make sure we rehearse the actors involved in the fight as much as possible to ensure it looks gritty as well as slick and cinematic.

Pre-Production: Opening Screenplay Draft

INT. CHARING CROSS UNDERGROUND STATION

Dark. Train lights slowly move down the tunnel and get brighter and closer. The train comes to a halt at the platform. DAVIDSON leaves the train. 

DAVIDSON

Just arrived, he’s getting out here.

He watches as JIM walks upstairs, and pursues him through a crowd of people leaving the train. SMITH is elsewhere.

CAPRIVI

Keep following him.

DAVIDSON follows JIM through the subway exit and arrives at Trafalgar Square.

EXT. TRAFALGAR SQUARE - DAY

JIM is out of sight.

DAVIDSON

I’ve lost him. He has just left the subway. Yung, can you get a visual?

YUNG is on the raised level in Trafalgar Square watching.

YUNG

Yeah. (Yawns) He’s just rounded the column.

 

DAVIDSON moves round near the road for a better look.

DAVIDSON

I’ve got him.

 YUNG
He’s got a case. Where did he get that?

DAVIDSON
I don’t know. He didn’t have that on the train.

JIM puts the case on the edge of the fountain and opens it.

YUNG
I’ve got to get in for a closer look.

DAVIDSON
Palmer, is it clear?

A dead man on the roof is dragged off.

DAVIDSON
Palmer? Young, hold off for now.

CAPRIVI
Don’t risk it, we haven’t enough men. Tell him to fall back.

YUNG
F*ck it!

Rips the earpiece from his ear and casts it into the Costa abyss.

DAVIDSON
He’s gone dark.

 CAPRIVI
You have to stop him.

DAVIDSON hangs up. ZUBASU appears behind an agitated CAPRIVI. As YUNG makes his way down the stairs DAVIDSON starts moving. YUNG reaches the fountain and DAVIDSON jumps over a wall into the square. YUNG and JIM exchange glances as DAVIDSON stops in the middle of the square. Pause. Everything is at a standstill. Bang. YUNG is down.

DAVIDSON
Yung is down.

Silence.

Hello? Dammit.

DAVIDSON hangs up. He starts moving towards JIM, but two men approach from across the square and take JIM away. One of them starts to follow DAVIDSON. DAVIDSON crosses the square and goes into the toilet lift. The man follows him in, and DAVIDSON takes him out. DAVIDSON leaves the lift, leaving a dead body behind him. Surprisingly, no one in the square, even the security guards have noticed the commotion, so DAVIDSON escapes unnoticed.

Pre-Production: Prop List

In this post, I will be exploring the few, but important props that inhabit our opening sequence.

Earpieces - These are required for the characters of Davidson and Yung, who use them to communicate with one another and keep each other updated on the whereabouts of their target, Stretzel. The purchase of special earpiece props would be an unnecessary expense, as we could simply find a pair of old headphones that are out of use and remove the cords, which would look appropriate.

Briefcase - In our opening there is an enigma created about a mysterious briefcase that the character Jim Stretzel picks up. We wish for the prop to have a vintage leather look about it, or alternatively a sleek metallic one. Either of which would be suitable and I'm we will be able to locate one in one of our households.

Cup of Coffee - This is a rather essential prop as it is used in a rather dramatic action during the opening, when Yung drops his earpiece into the cup to indicate him going rogue. The cup would also be something used by Yung on the job, as he watches from the balcony for an extended period. We'll probably use basic a cup from the nearby Caffe Nero.

Phone - While Davidson and Yung make use of earpieces to remain inconspicuous, Caprivi is in a different location so makes use of his phone. We plan on using my rather large smartphone to be representative of his well-paying profession  and the requirements his field of work has.

Pre-Production: Costumes & Wardrobe

Agent Davidson (Lee Davidson)

For the attire of the leading character of Agent Davidson, we decided he would look fashionable and stylish, while still retaining a sense of the immense masculinity that he would have to possess.

Jim (James Richardson)

In contrast, Jim Stretzel is dressed in a smart fitting business like jacket, suiting his slender frame and elongated chin, as well as the professional nature of the character.

Yung (Richard Young)

Yung's lack of experience is reflected in his bold outfit, not too dissimilar to the character Marty McFly. This adds to the sense of naivety  making the character look out of place, consistent with what will be the storyline of the opening.

Caprivi (Philip Smith)

The concept for Caprivi's outfit is that it will look laid-back, as well as somewhat serious and imposing. The hat will give the impression that he is casual, and also making me look older, while the masculine jacket, similar to Davidson, will give the sense that he is a character not to be messed with.

Zubasu (Zubin Parekh)

We decided that Zubasu should be dressed in a slim grey stripe suit, to give him the classic look of a cold professional killer. The suit ensures his character has a ghostly, elemental presence, consistent with the plans we have for his role, a phantom stalker ready to strike at any given moment.

Finally, I present you with a quickly produced mock up of what our lead actor, Lee Davidson, would look like dressed in his planned costume. Enjoy.

Pre-Production: Concept Art

Here are some conceptual art that was found on the internet that we thought would help inspire the look and feel of our film opening. We found these two images of Nelson's Column in Trafalgar Square were striking and represented some of the emotions that should be felt while watching our opening sequence.