Cross Platform Practice, “The Magic Handkerchief”

Elaine and Sulky Rabbit

“The Magic Handkerchief” Sulky Rabbit ruins another trick

New video, “The Magic Handkerchief” the 4th video from “Marvo’s Grand Tour”

One of the key stages in the cross platform project goes live for the first time with the public release of the third Video from “Marvo’s Grand Tour”, a series of 10 mini episodes each 30 seconds in duration which will be shown on screens of local Bournemouth Buses.

Sulky Rabbit enjoys a tasty meal and ruins Marvo’s magic trick

Marvo gets less than expected from out of his sleeve as his glamorous assistant Elaine, pulls a short length of knotted handkerchiefs from his sleeve, while Sulky Rabbit eats his way through the rest. You can see Marvo is miffed as Sulky Rabbit yet again has ruined one of his tricks on “The Grand Tour”.

Cast and Crew (Episode 4)

Marvo: Alex Bird
Elaine: Maria Malukhina
Director: Sagar Srivastava
AD: Norman Gregory
Producer: Jack Fairey
PA: Mehek Azmathulla
Cinematographer: Ian F. Hunt
Editor: Scott Loitsch
Written by: James Cottle and Katie Dowling

Cross Platform Practice, ‘Marvo’s Grand Tour” and “Magic Cups”

It's Magic - Sulky Rabbit

“Magic Cups” “Marvo’s Grand Tour” and “Sulky Rabbit”

New video, “Magic Cups” the 3rd video from “Marvo’s Grand Tour”

One of the key stages in the cross platform project goes live for the first time with the public release of the third Video from “Marvo’s Grand Tour”, a series of 10 mini episodes each 30 seconds in duration which will be shown on screens of local Bournemouth Buses.

“Magic Cups” or the case of Sulky Rabbit and the missing balls

For his next magic trick Marvo will make the ball under the magic cups move from one cup to another without the audience being able to guess under which magic cup the ball is. Trouble is even Marvo cannot find the ball under any of the magic cups, but suddenly there’s this feeling that there is something under his hat. Sulky Rabbit strikes again. Meanwhile Elaine loses interest in Marvo’s attempts to find his lost balls and leaves the stage with Sulky Rabbit.

Cast and Crew (Episode 3)

Marvo: Alex Bird
Elaine: Maria Malukhina
Director: Sagar Srivastava
AD: Norman Gregory
Producer: Jack Fairey
PA: Mehek Azmathulla
Cinematographer: Ian F. Hunt
Editor: Scott Loitsch
Written by: James Cottle and Katie Dowling

Cross Platform Practice, “Marvo’s Grand Tour” and “The Magic Wand”

Sulky Rabbit and Wand

“The Magic Wand”

New Video, “The Magic Wand” the second video from Marvo’s Grand Tour

One of the key stages in the cross platform project goes live for the first time with the public release of the second Video from “Marvo’s Grand Tour”, a series of 10 mini episodes each 30 seconds in duration which will be shown on screens of local Bournemouth Buses.

‘The Magic Wand” or alternatively Sulky Rabbit and the multitude of wands 🙂

Marvo appears to pass his wand through his ear and draw it from his nose. All appears to go well until a flood of wands falls from his jacket sleeves revealing the trick for all to see. The wands fall onto Sulky Rabbit who is not pleased although Marvo suspects the Rabbit sabotaged yet another of his tricks.

Cast and Crew (Episode 2)

Marvo: Alex Bird
Elaine: Maria Malukhina
Director: Sagar Srivastava
AD: Norman Gregory
Producer: Jack Fairey
PA: Mehek Azmathulla
Cinematographer: Ian F. Hunt
Editor: Scott Loitsch
Written by: James Cottle and Katie Dowling

Cross Platform Practice, Marvo’s Grand Tour

Sulky Rabbit Magic

“Marvo’s Grand Tour” and Sulky Rabbit

New Video, the Pilot for Marvo’s Grand Tour

One of the key stages in the cross platform project goes live for the first time with the public release of the Pilot Video from “Marvo’s Grand Tour”, a series of 10 mini episodes each 30 seconds in duration which will be shown on screens of local Bournemouth Buses.

Another Magic trick sabotaged by Sulky Rabbit

In this episode Sulky Rabbit ruins Marvo’s latest trick to pull a rabbit out of his hat by exiting the hat while it’s still on Marvo’s head. Marvo is unaware as he desperately attempts by frantically waving his magic wand to try and retrieve the rabbit from his hat, while ignoring his assistant Elaine who tries to point out to Marvo that the Rabbit is enjoying the show from the top of Marvo’s head.

Cast and Crew (Episode 1)

Marvo: Alex Bird
Elaine: Maria Malukhina
Director: Sagar Srivastava
AD: Norman Gregory
Producer: Jack Fairey
PA: Mehek Azmathulla
Cinematographer: Ian F. Hunt
Editor: Scott Loitsch
Written by: James Cottle and Katie Dowling

Cross Platform Practice, Sulky Rabbit New Videos

It's Magic - Sulky Rabbit

Sulky Rabbit Magic

The Sulky Rabbit videos are about to be released. To make sure you get updated with their release date like the Sulky Rabbit Page and be the first to see the New Videos. The first of ten new videos featuring Sulky Rabbit will be uploaded to the dedicated YouTube Channel in the next few days. See them first before they go live on BUStation and the screens on the local bus routes.
Sulky Rabbit

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DRAMA Aaran Aaronson film short

Hahaha Drama Film Short

Drama film short

Aaran AaronsonAaron Hello

Filming: 21st to 22nd March
Director: Mehek Azmathulla
Location: Studio PG25
Camera: Panasonic AG AF101
Lenses Used: Voigtlander 28mm F 0.95
Side Shot Drama Film Short
Lighting was key for this production of Aaran Aaronson. Set in the studio PG25 I used only the lights booked for this production. This meant for the key light I used a Cinelight Kit 850W fitted with a soft box and 2 Litepanel LED lights for the fill and backlight. I set these up in a typical 3 point lighting configuration but augmented this with another Litepanel LED light when required. I decided to use only the Voigtlander lens as it gives exceptional performance in low light with the Panasonic. Robocop Dances Drama Short Film

Of even greater surprise was how close you can get with the lens and remain in focus (less than 30cm) perfect for extreme closeups.

There were 3 dance sequences for which I fitted the litepanels with gels, a different colour each time for effect. Finally I set the camera at its lowest point for the actor to appear from 4 different positions into the scene for effect.Bare Feet Drama Film Short

I used the tripod loose head so that I could follow the movements, adjusting the friction wheels to give a smooth action.

Some ideas, for example changing the colour balance of the LED lighting although worked could have been as easily created in post production.Hippie Drama Film Short

Team: Great team everyone throwing out creative ideas to try. There is a lot of improv on screen even though the script was closely followed visually much of what you see was thought of on the day.

Dancing Drama Film Short

DRAMA “Unrest” Version Two

Man Advances

Unrest (Short Film Drama Unit)
Bench and Trees
Filming: 14th to 15th March
Director: Listya Widyasari
Location: Kinson Cemetery
Camera: Panasonic AG AF101
Lenses Used: Voigtlander 28mm F 0.95; Nikon 20mm F2.8

Used the H Frame Dolly Track for the opening and ending sequences. Filming was problematic throughout the day with the changing weather conditions. Tree FramingThe morning was extremely foggy which created all kinds of exposure issues. I made the decision to film when at all possible with an exposure of F5.6 or smaller to give a wide depth of field to allow for focus changes during the camera movement on the dolly track. I used a more open aperture when shooting closeups or when the camera was tripod mounted.Man and Women on Bench

In retrospect it was a mistake to film in the foggy conditions, something to be avoided whenever possible or to use artificial lighting to over come the overexposure effect caused by the sky being bright in all direction in effect shooting into the sun. Next time I will recommend finding shade and avoid filming against the sky, which in foggy conditions would be featureless anyway.

We also had issues with sound to which we attributed to faulty equipment. Man TalkingThe sound in some recordings was poor to the extent that we had to dub over some of the video clips at the end of the shoot. In retrospect I also suspect we were experiencing problems with the camera regarding exposure and focussing as the final footage was definitely not up to my usual quality and disappointingly had to be used in the final edit.
Women Talking
Team: Great team everyone worked hard to produce this film overcoming poor filming conditions and equipment faults. Actors also worked hard one having a bad cold at the time, but as they say the show must go on.

DRAMA, “Unrest” drama short film

Man in denial

Drama Short Film

Unrest (Drama Short Film)

Filming: 7th and 8th March
Director: Norman Gregory
Location: Parkstone Cemetery and All Saints Church Branksome
Camera: Canon C300
Lenses Used: Canon 24mm to 105mm, 200mm, 50mm
Walk through graveyard, Drama short film
Unrest short film was shot extensively using the Libec Jib and Dolly and apart from some cutaways using the Tripod every shot included some movement either tracking or combination of tracking, panning and tilt. Some of the shots had to be shot into the Sun I first tried to use the reflectors to light the actors faces but the angles could not be achieved so I used the Litepanel Lights.
The Tall Trees Drama short film
I thought carefully about the depth of field for each of the shots as it is impossible to focus while self operating the camera on Jib and Dolly, so for big movements I went for a small aperture to give greater depth and for less moving shots opened up the aperture to give a shallow depth of field while also considering whether it was appropriate for the scene. That is did I want to reveal or hide the background.
Gnarly Tree Drama short film
It was a very sunny 2 days, shooting early in the morning or late afternoon gave the best light but time constraints meant that I had to shoot with the Sun directly overhead, which meant finding shady locations or using the Litepanels as fill lights. This was mainly successful but not 100%, I would have preferred not to film during these times.
Man in denial Drama short film
Rushed through the setup of the Jib etc. in order to catch the early morning light and mist in the trees, would have preferred to shoot the entire Drama using this light.

Sound was problematic and lost us a half days footage, so I suggested that we would connect the microphone direct to camera and adjust levels using the cameras settings. This worked well and resolved the problem of poor sound quality.Woman reacts Drama short film

DRAMA “The Man Who Fell”

Close Up Face Staring

Portfolio Edit

Official Full Version

The Man Who Fell
Gas Mask
Filming: 4th and 5th March
Director: Kelly Soulioti
Location: My Garage
Camera: Panasonic AG AF101
Lenses used Voigtlander 28mm F 0.95; Nikon 20mm F2.8

Shot mainly on tripod either fixed or loose head. Some shots handheld but not too many of these as shooting with wide aperture so focussing was problematic.
Shot the Drama in 2 halves basically because of the lack of space but also the lighting for each scene would differ dramatically from the other. I used the DEDO Lighting and 1 Litepanel led light for the real time scenes and used the Litepanel LED Lighting for the recorded or Hologram scenes.Close Up Face Staring

The Voigtlander was used in the main fitted with a Cokin Filter Holder. I used the Blue gels in the kit for 2 of the Litepanel the other without. I also fitted the Panasonic with a filter holder and Cokin filter Blue 20A. For the opening scene I used a Cokin MASK 345A and operated the aperture from fully closed to fully open to create the iris effect.

Team Notes.
Hologram
Worked really well as a team. The shoot progressed really quickly and by the end of the day some 84 shots were achieved. Space was very tight but with careful planning and everyone positioning themselves to be most effective this did not cause too many problems.mputer Hologram Interface Sound was an issue there was a mysterious technical fault where an electronic buzzing was heard particularly loud near the lighting, so we guessed interference but we discovered that by just touching the microphone this buzzing would go away for a while.

DRAMA “Choice” drama short film

Blue Man

“Choice”

Choice

Filming: 25th to 26th March
Director: Beatriz Delgado Mena
Location: Student House in Winton
Camera: Canon C300
Lenses Used: Canon 24mm and Canon 50mmBokeh

After a test shoot I decided that the best lenses for the shoot would be the 24mm and maybe the 50mm mainly due to the location and light levels. On the actual shoot I rarely had reason to move away from the 24mm lens as I was shooting hand held for all the shots it was just a matter of moving the camera closer for close ups and shot variations. The only time I changed lens was when I wanted to reduce coverage and avoid the crew and kit appearing in the scene.Tree Syringe

Day before the actual shoot the Director sprung a major change to the lighting setup, which while I was initially sceptical about having filmed something similar before using rapidly changing lights, which really did not work on this occasion worked really well. I think this was due to the relaxed changing of the colours whereas on the other shoot they were changed too quickly.
Blue Man
In addition to the main lighting setup I added 2 practical lights, the Christmas Tree and an angle-poise lamp on the table (fitted with a red gel) to specifically light the gun. I expected to get the Bokeh effects from the tree lights and I used this to bring into focus the syringe hanging from the tree in one scene. Red ManThe Directors choice of lighting was inspired by the 2009 film Enter the Void. We made cardboard gel holders and assigned crew to rotate the different colour gels in front of a window recesses litepanel led light changing colour in sequence every 5 seconds to simulated an external neon sign. Setup a DEDO Light in the windows recess fitted with a blue gel to simulate moonlight or streetlight illuminating the wall at an angle. I also positioned a DEDO in the doorway to replicate the same moon/streetlight coming from a hallway window. Finally in the final scene a red gelled litepanel was set into the hallway space for the exit scene highlighting a message on the wall.
Dramatic Exit
Used depth of field changes, dutch angles and hand held camera movement to add interest to the scenes and represent the actors mindset in this performance. Stood on Peri cases to give height to the camera, particularly when the actor was sitting or laying on the floor. In 2 scenes positioned the camera on the floor for dramatic framing which worked particularly well for the final scene as the actor exits through the doorway.