The Lightcrafter

Winter:
WEEK 3 – Canon 5D Mark II tests. Briefly test various light painting techniques with it to see how the process compares to shooting on the Canon Rebel XT. Shoot a complex light painting animation test with various elements (wireframe, human actors, light graffiti) to see how everything works and looks together. Work on finalizing detailed storyboards for winter quarter scenes (indoor-focused shoots). Begin working on costumes. Gather props.

WEEK 4 – Purchase a lens (or lenses) to be used for the project. Finish up storyboards. Work on wireframe construction with Erik. Begin working on an animatic. Consult with Sean Downey on music composition. Start shooting motion tests on well-lit video to use as references during light painting. Finish costumes for the characters of The Boy and The Sword Master. Schedule proficiencies for the 5.1 Surround Sound room and the TASCAM audio recorder.

WEEK 5 – Begin shooting the project. The sword fight scene is likely to take priority, as well as the video portions. Work out times with Shannon in the COM building to use large rooms  for shooting complex scenes with large sets/lighting, otherwise shoot in small rooms for easier scheduling. Do post-production alongside filming — edit scenes soon after filming them to better organize and time-manage the project.

WEEK 6 – Refine the animatics by inserting finished shots over pre-visualized ones. Continue shooting sword fight and video scenes. If weather permits, film some of the shots of the forest scenes outdoors (night shoot necessary). Work on finishing all storyboards for entire project, including sections shot during Spring.

WEEK 7 – Continue shooting sword fight scene. Begin working on the “Light Spirit” scene. When COM building is unavailable, do additional outdoor night shoots for forest scenes.

WEEK 8 – Continue shooting as usual. Begin recording audio for the project during the day using the TASCAM.

WEEK 9 – Continue shooting. Heavy post-production of completed shoots. Get project ready for presentation.

WEEK 10 – Finish sword fight scene and both bedroom scenes. Present the work-in-progress, including all unfinished animatic portions spliced in between finished sequences.

Spring:
BREAK – Finish shooting all motion reference video. Work on additional wireframe construction.

WEEK 1 – Continue shooting the “Light Spirit” scene. Do additional sound recording.

WEEK 2 – Try to finish the “Light Spirit” scene. Resume working on forest shots.

WEEK 3 – Shift majority of production to the outdoors for the remainder of the project. Begin working on the “Trapmaker” sequence. Continue working on audio recording and music composition with Sean Downey.

WEEK 4 – Continue shooting the “Trapmaker” sequence. Begin working on a surround sound mix of the project to test what is possible and gain inspiration for additional audio work.

WEEK 5 – Continue shooting as usual. Begin color-correction on completed sequences. Shoot scenes in the COM building whenever possible to cut down on cold, outdoor shoots.

WEEK 6 – Finish shooting the “Trapmaker” scenes. Record additional audio. Do more post-production work — editing, color correction, music composition, and audio mixing.

WEEK 7 – Reserved for shooting — anything that fell behind schedule needs to be worked on intensively this week. Otherwise, continue post-production.

WEEK 8 – Finish a rough cut of the completed film, with room for future change in color correction, timing/pace, music, and sound design. Work on end credits light painting.

WEEK 9 – Integrate feedback into reworking the film into a final cut. Finalize music and audio.

WEEK 10 – Various last-minute minor tweaks. Finish The Lightcrafter.