Vicky and I had help from TASE students Emily, Tom and Dan. We worked together to cut out all the pieces and add texture to all the brick walls. I took it upon myself to keep this organised and make sure that pieces were not mixed up or confused so there would be minimal mistakes and time wasted. I numbered all the pieces on the back and added notes to let others know if there was a bevelled edge. Whilst I was occupied with other jobs such as the graphics and making a washing machine for Sweet Changeling I gave them jobs to do so that we could get the model finished in the two weeks we were given.
Despite our best efforts and a few Saturdays dedicated to the project we were still not going to finish by our original deadline. I organised with the producer and director for the model to be filmed at the end of the shoot rather than the beginning and this gave us at least another week to work on the details.
I had a lot of fun working on this and I kept in mind tricks that we learned last year and carefully avoided the mistakes I made last year too.
GREENSCREENING THE MODEL
I was set the task of organising the booking for the Greenscreen at Wimbledon. When I booked it Jack Perry asked me if there was anything I would need/any help he could offer. As I was still unsure about how the DOP wanted to shoot the model I thought I would organise a meeting with Jack to discuss the best possible solution. He told me that no smoke or haze can be used in the Greenscreen room due to health and safety regulations but that vape smoke should be fine (the film students wanted to use vape to create a smoke effect). He suggested booking a pop-up greenscreen and filming outside which I had thought myself. So I put this suggestion forward to the group and they agreed this may be the best cause of action.
I also had to fill out a risk assessment form on Megan (Producer)'s behalf. See below.
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