In the meantime, in case the trailer wasn't enough of a taste for you, we thought we'd offer a little behind-the-scenes look at a section of our movie that we refer to as "Milo's Lament." This is how we took it from conceptualization to screen.
It starts with a storyboard, drawn by Liz Levitt-Bradley:
Liz drew 140 little drawings like this one, plotting out camera angles, camera motion, edits, and (to some extent) lighting and costume. All of this was done before we got to the set on the day of shooting. We showed early drafts of these to our cinematographer as a way of talking through the shoot, "rehearsing" everything as much as we could before starting.
Then it was time to go and shoot. As directors, this was the fun part, because we got to watch as our cinematographer, Nic Beery, and gaffer, Nathan Rosenquist, brought their creativity to bear on the ideas that we put on paper, bringing them to life in a way that surpassed everything we had imagined. In this case, we were at the Carrboro Arts Center (the day before we shot at Jessee's Coffee and Bar, which was our primary location):
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| Nathan Rosenquist focuses a light on Zachary Davidson in preparation for filming. |
This gave us the raw footage - a lot of little pieces, not in sequence - which we then assembled into the right order (using the storyboard as a guide) and color corrected to make it look nice and dramatic and smooth. Here's one frame from the sequence that resulted from filming on that day:
Neat, huh?
See you at the Carrboro Film Festival!
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