Last Thursday, we had our second filming session with Maynard. This time around, we filmed him actually working on a few pieces of his art, so that we could get a few shots of his hands and his paint brush. Maynard exhibits great pride in the fact that he only employs manual means of designing his pieces (pencils and paint, rather than computers), and so we wanted to capture that on film for the first section about Maynard as an artist. He is very skilled and attentive to the tiniest details of his art, and we wanted to invoke this attentiveness by utilizing extreme close-ups of his hands and his paintbrush. What he can accomplish with such a thick brush, and the precision that he can obtain is astounding!
For this session, the team didn't arrive to the venue as early as the last time we filmed with Maynard, because we were already fairly familiar with the space and what we could do in the hall. We set up the table in the center of the hall so that we could utilize the lovely sun that was shining that day to light up him and his work. We used two cameras, one to capture the entirety of Maynard and his piece, and the other, propped up on some of my library books, to obtain the extreme close-ups of his hands and his paintbrush that would invoke Maynard's process of manual design. Unfortunately, the second HD camera was not available, so the camera used for the extreme close-ups was not as high quality as we would have hoped. Still, the session was very successful, and we all felt very fortunate to be able to watch Maynard in the process of creating such beautiful pieces of art.
After shooting Maynard painting, we also took some establishing shots of Maynard walking into FPH, just to set the scene of the interview. I also took a shot of Maynard smiling and standing against one of the walls of the hall; everyone thought I it was weird, but I thought it would make a really cool (albeit slightly cheesy) introductory clip for the film.
Now that we have several hours of footage, we will need to start doing some serious editing! Next week, the team will get together for a few intense sessions of watching what we have, removing what we know we won't need, documenting what we do have, and editing the different clips together into the bare bones of our film!
For this session, the team didn't arrive to the venue as early as the last time we filmed with Maynard, because we were already fairly familiar with the space and what we could do in the hall. We set up the table in the center of the hall so that we could utilize the lovely sun that was shining that day to light up him and his work. We used two cameras, one to capture the entirety of Maynard and his piece, and the other, propped up on some of my library books, to obtain the extreme close-ups of his hands and his paintbrush that would invoke Maynard's process of manual design. Unfortunately, the second HD camera was not available, so the camera used for the extreme close-ups was not as high quality as we would have hoped. Still, the session was very successful, and we all felt very fortunate to be able to watch Maynard in the process of creating such beautiful pieces of art.
After shooting Maynard painting, we also took some establishing shots of Maynard walking into FPH, just to set the scene of the interview. I also took a shot of Maynard smiling and standing against one of the walls of the hall; everyone thought I it was weird, but I thought it would make a really cool (albeit slightly cheesy) introductory clip for the film.
Now that we have several hours of footage, we will need to start doing some serious editing! Next week, the team will get together for a few intense sessions of watching what we have, removing what we know we won't need, documenting what we do have, and editing the different clips together into the bare bones of our film!
No comments:
Post a Comment