Day Two began as any normal day on a Jenny Ringo shoot begins. There were bandages, fake blood and lights in tiny cramped spaces.
We started with a scene that was eventually cut for time. Time in the film, and lack of time to create the effects needed. However all I remember was sitting on the bathroom floor, squashed up against the wall trying my hardest not to break down into laughter. I failed. How unprofessional of me.
Despite my failings, the scene was shot, and after getting the feeling back in my legs we moved on to the monsters outside ready for their close ups.
Once again the sun had got his hat on. However lighting a dark, interior corridor when you're outside is a pain in the back side unless you are the proud owner of some massive bright lights. Unfortunately I am not.
However we managed to get a happy medium and grab the shots we needed. As soon as the monsters had finished it was time to film the babies.
How does one direct babies I hear you ask? Well simply put, you don't. Instead you wave lots of things around, blow bubbles and eventually turn the TV on in a hope to distract them long enough to get the shot we need. It eventually worked and resulted in a 10 minute out-take of pure cute anarchy.
The beach was next. Originally the script called for the beach discussion to be at night. However in case this didn't work, a back-up would be required. Day time beach...no issues here. It was sunny, we got the shots, we moved on. We would be back later for the night time which came with a few surprises.
Now off to space to space for us to crank the F-stop.
Space was located in a barn. The result of a friend’s short who still had a set up for a couple of days.
Here's the original film the spaceship was constructed for...
Robot from zoneonestudios on Vimeo.
Now I'm new to filming things for myself and when told to crank the Fstop to make sure we had a smooth green screen, I couldn't help but stare blankly before nodding in agreement (something I've learnt more about with more night shoots). However we managed to get the space we needed. Everything was in focus that needed to be and we packed up and left.
And then we had to wait....
...finally it was dark. We could now reshoot the earlier beach scene but in darkness.
"But if it's dark, how are you going to film anything?"
We had a plan. A plan involving plastic folders, LED lights and camping lanterns. A plan that gave us the desired effect or a burning magic flame. A plan that came at a deadly cost. The cost of being attacked by millions of bugs.
Evil beach dwelling creatures that crawled up out of the pebbles to attack their prey. Had I not been tired and grumpy, some of those bugs may have survived to tell the tale of how they saw the filming of Jenny Ringo 3. However, at times I am not a patient man. It was survival of the fittest. I won.
Here's Pete not being very patient...
However had I had to face the sea fox alone, I'm sure I'd be telling a different tale. It's never a good sign, when your back is to the sea and everyone start looking over your shoulder at a "dog" coming out of the sea. Not a dog my friend, but a fox. A fox that each night rises from the briny depths to wander Worthing looking for easy prey. A Sea fox...I would guess.
Anyway, we got through the last location shoot. We each went our separate ways, back to the safety of our houses and beds, to dream of the adventures of sea foxes and beach bugs.
We still weren't finished. There was still animation that I had to complete, the construction of a monster and trying twice to get the perfect night time shot of Brighton Pier.
This is another tale for next time...
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