fae_alba

If you still need people to put together shots for experimenting putting things together, Steve Shelton and I can put something together, especially if it means that we get quicker access to the general set. Let me know, my email is mouse at intranet dot org. I just need something to test transitions to from a short. I can work one up too, so if you and Shelton give me a quick bit that'd be great. Send me your email to pappbearstudio at gmail.com and I'll forward to you ftp acct info to grab the project [Edit] Corrected email: pappabearstudio@gmail.com

as long as it takes to tell your story (and get it done, of course)

you got it...

Since shots from this vantage are only to be used to establish the scene, and to provide transitions from one short to the next it is really irrelevant to what each contributor will be doing. You will simply animate your scene as you see fit, I'd think typically as seen thru a window up close. Deal with your short, don't worry about the rest. Having said that, let's get moving. Who's in, what window do you want, who wants to put together a quickie or two so I can experiment while the shorts are being done...no more debating over establishing shots.

agreed

So with a window to anchor the view, this looks ok...

exactly my point Robert.. This is largely what the link I provided yesterday describes. A master shot to give the viewer such things as time of day, location etc. If a scene changes from night to day, another master shot is inserted to give that transition...But we need the opening master shot to start it off, then fit the other shots in as we get them, using whatever transition device we need to make it work.

The issue with the original camera positions is that it is floating in space. If the foucs of this project is to as closely match Hitchcock's movie, then the POV needs to be anchored to a room, or in this case the fire escape. Yes, from that vantage, it limits the scene somewhat, but we are not locked into that position for the entireity of the work. Master shots, as well as shorter pieces involving the alley, and courtyard are all possible, as long as there is something, sounds whatever, that provides a method to tie it all together from one shot to another. I don't want this to be nothing more than a bunch of shorts strung together, that won't work for me. There are two threads going on in the forum of folks wanting to be involved in a project that they can point to and say, I'm proud to have been a part of that project; and also to say that project was done in A:M. My goal is to do that with this community project. For that reason, I want employ as many best practices as possible. The most important, for me at least, is continuity.

OK, so objections noted. I'm saying that these are the only options, but rather the pov of the camera. Shots can be all over the courtyard. Interesting side note, I was out looking for clips of Hitchcock's mover Rear Window, I came across this site. Good read on the movie as well as movie making. Essentially scenes can be anywhere, as long as there is some continuity to it, which is the point of the practice round. Rear Window Continuity

so here's a start. Pick a window, any window. What I think will work best is for those who want to contribute to call dibs on a window by reserving a number. First come first serve. If you think you can crank out a concept quick enough let me know and I'll get you the project. This a way I can work out transitions, etc ahead of time then we'll open it up to the world to have at it. So look over the scene, pick a number, then respond here. The first 3 to volunteer for a quickie raise your hand.

I'm on it! I've got the project in my hot little hands. What I was intending on doing was creating a still to show the pov of the camera, so that contributors can pick windows. Then as suggested 2 or three initial contributors to work up at least an animatic so transitions can be planned before I get inundated with a nutload of shorts to put together. So tonight, I'll have the still, then we can take it from there.

well then, pop that bad boy off to me, if you would. pharris430 at nycap rr com. I'll put together the "rules". I need three guinea pigs, um volunteers, to do a dry run

How are we doing here? Is the set ready for release so contributors can start working on their piece?

It would if our main character (the one doing the observing) is hanging out on the fire escape,leaning against the railing at the corner.

perhaps yes.. if you have props kicking around along the lines of garbage cans, lawn chairs, tables, etc, to make the scene look more lived in I think that would be a good thing. Your work is over the top btw.

That's a good idea. At the very least a scene snapshot to help identify which short the credits go to. A sped up movie clip might get distracting, the viewer might get caught up in watching the sped up clips and not read the credits. Another thought I had when watching the last scene clip (great job by the way!), is when it ends at night there is only one exterior light, I'd think that there would be more, lights in doorways, stairways, security lights on the corners of buildings, etc.

Would now be the time for folks to start reserving their windows?

Awesome!

thank you much!

Hey Paul, just checking to see how you're doing? We close to a set to work from?

Paul that's great..some larger windows for better viewing would make it easier to work with. So I'm going to push a little, and ask how soon a set project can be released to the forum so folks can start working on their submissions?

works for me. I suppose now's the time to update my subscription.

Many people who use their own creations will be hesitant to submit a full chor with characters. Make it known at the outset that part of their participation will be to revisit their work to render these transition frames, make them do it for you. You'll have lots to do none-the-less. I'm hearing ya...so I'll take an evening this weekend and lay out a project plan for this..I'll approach it as you suggest. We need to finalize the set. Will we want a courtyard to keep it as like Hitchcocks work, or use the set we have and add across-the-street buildings?

There's that. Most windows will not be seen at a straight-on angle where that would work. Also, not every thing may happen within the frame of a window. a character may be lean out of the window, may be on the balcony, may be down on the street or in a doorway. The other option that I'm leaning towards is have each person put together their chor, submit the chor as robcat suggests, then I work the transitions myself. Seems that would be simpler, cleaner, and potentially quicker.

If we had just a few pre-made that could be edited in. Say, a intro shot of Thom, in a wheelchair, cast on leg, sitting and staring out his window. That establishes what is going on. Then perhaps a transition with the camera looking over Thom's shoulder, zooming out his window which then cuts to a contributor's window. Then an outside pan to the next, then perhaps a cut to facing into Thom's window with Thom looking thru binoculars. Randomly edit those in. We may need more, but I can stage extra edits as pieces come in from the forum to keep from re-using too many of the same transitions.