Perhaps its our set size that contributes to the shortness of time. Perhaps because it's rather cold on the set that we don't have makeup issues. Perhaps our lighting techniques are simplistic. Perhaps it's because we storyboarded the whole thing out. Perhaps it's because our cast is more than willing to give a hand. The thing that takes the longest time is moving the electrical cords.
Project: Potemkin "The old Guys"
- Thread starter Potemkin_Prod
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I guess it could be any of those, or something else. I just find it interesting is all. 
As do I.
Three lights are barely enough for one actor, let alone an entire step, unless you're going for a flat "studio" type lighting setup as I did for a recent music video I did. There we used 4 china ball lanterns on the location, and on the stage we used five small studio lights (four bounced off the white ceiling. to evenly light the cyc, and one bounced of a large foamcore card) and a large bank of florescents .
Actually, for "The Void," we are going for the flat "studio" lighting of the 60's. The box light we use for the center light is very powerful, warm and does a terrific job with illuminating the scene. We also have a few overhead lights that are not repositional for general lighting. We are again looking at station spotlights, and for "Delivery," I'm going to suggest to the DP that we go for some really dark scenes since this is a really dark vignette. As our series progresses, we will be experimenting via our vignettes on lighting techniques, camera techniques, etc. We even have access to the SteadyCam for one of the vignettes.
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Just don't copy the overdone acting (like Jeffrey Hunter striking a pose when the ship made a warp jump).
@Randy: Bill mentioned some interesting ideas. You'll probably see the resulting improvements over the next couple of days.
I think you'll be very pleased with Jeff Green's understated performance. Once "The Void" appears, I think fans will have a truer idea of where our series is going. It ain't going to be "The Old Guys" or even the upcoming "Care for a Lift?" It is Star Trek with a strong dose of science fiction.
And I'm looking forward to your digital sickbay. I'm hoping to meet with an actress in Troy this weekend. If she's cast, then after "The Void" is complete, work will start on our Sickbay green screen set, and we'll see about filming "Doctor's Orders" (a previously unannounced vignette).
And I'm looking forward to your digital sickbay. I'm hoping to meet with an actress in Troy this weekend. If she's cast, then after "The Void" is complete, work will start on our Sickbay green screen set, and we'll see about filming "Doctor's Orders" (a previously unannounced vignette).
Let's make sure we're using the same terms.
The "Studio" lighting I'm referring to is lighting you'd have in a studio with a live audience, a la a sitcom or variety show. This means the lighting is mostly preset and all you do really is turn various ones on and off or dial them up or down. You do this because before a live audience you can't set up ideal lighting for every shot.
Dramas like Star Trek are lit with what I'd call Soundastage lighting, wherein you generally light for the shot.
i'm just a mere trek-mad bystander who thinks this show has the potential for awesomeness, but have you considered doing less vignettes in exchange for an extra episode?
would that be viable? i realise a huge amount of effort and time and cash must go into this sort of thing, its just watching whole episodes always seems more satisfying.
would that be viable? i realise a huge amount of effort and time and cash must go into this sort of thing, its just watching whole episodes always seems more satisfying.
Hmmm, then I'd say we're mostly doing Soundstage lighting for "The Old Guys" and "The Void." Studio lighting for "Care for a Lift?" and something unusual for "Delivery."
I can appreciate that! But the reality of getting the cast of actors all available at the same time for shooting is often difficult. For most of our upcoming vignettes, we're only using part of the cast for one, another part for another. This way we can still advance the series without the full cast always on the set.
Another thing that the vignettes allow us to do are various tests of equipment, setups and approaches. One upcoming vignette will be shot with a completely different lighting approach. Another will be shot with a SteadyCam. Another will be shot with our first green screen/digital scene.
Another thing is that the vignettes we're focusing on are more character driven than science fiction. The episodes we're producing are more science fiction and story driven than the vignettes. We're hoping that most fans will enjoy both approaches.
Of course, "The Old Guys" is meant to be a proof of concept for the series, and almost the entire crew was available for it. It's a character driven story, and it's silly. But it's probably not a very good example of the science fiction that will be prevalent in the full length episodes.
So which were we? A mix leaning toward studio? We didn't move lights often, IIRC - mainly for a few specific close-ups.
We were studio. The general lighting was for the set, but Romel moved lights for specific setups.
That's pretty much what I figured.
But how can I call my agent when I'm on set with you. Guess, I'll just have to tie up the studio phone again.
I was just reminded that my cellphone went off at an inopportune moment last December, and I was the director. 
It's official now: You can download "The Old Guys" in a variety of formats from our episodes page:
http://www.projectpotemkin.com/index.php?id=12
Please let me know if you encounter any troubles with that.
Randy
http://www.projectpotemkin.com/index.php?id=12
Please let me know if you encounter any troubles with that.
Randy
The soundtrack for "The Old Guys" is now available at Steve Gallant's website:
http://www.stevegallant.com/media/star-trek-potemkin
http://www.stevegallant.com/media/star-trek-potemkin
Hmm.... there is no cell phone reception at the Phase II studio, and no land-line (and no internet) and I'm afraid we haven't had the same results as you have in reduced set up times.
Of course, people leaving the studio to make important calls may be adding to that..... people DO have to stay in contact with others to keep a set rolling on time. It's a problem that adds to time and logistics difficulty, not something that reduces set up time...in our experience, anyway.
Oooh, I'm not sure what any of the cast would do without cell phone reception! *shudders at the thought* All of them (myself included) probably need a connection with the outside world.
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