Our group had a lot of fun with the whole long-take project from the beginning to end. Being able to load/thread the camera, blocking out a scene, executing a scene, developing our film and also transferring it to HD in a very minimal time frame was very exciting.
We had a great time with blocking and executing the idea of our scene. We new that we had only one shot of roughly a minute to capture a long-take. We opted with the floating camera approach, with a slight semi-subjective feel. We explored the idea of an establishing shot (on the cement as the jeep enters) and a closing shot (smoke bomb) within our story. We also tried to incorporate a large amount of compositions when we could. We dabbled with Wide, Three Shots, Tracking Shots, Close-ups, Medium Close-ups, Over the Shoulders, and maybe a couple more. It was fun and a challenge to mix all these elements in our execution in such a short time with only one take.
It was fun developing our film; very cool that we are able to do that ourselves with the right chemicals and precautions. I definitely want to explore more of that. The HD transfer was very cool as well. I am excited to take our footage into post and give it a more cinematic matte and explore some of the shades of gray we can get out with our black and white image.
I have attached a Long-Take tracking shot that I believe has some incredible blocking and is very profound. It is shot by Director of Photography Seamus McGarvey BSC and operated by Peter Robertson.
A friend of mine was at a bar with Seamus and asked him about that setup, and Mr. McGarvey laughed and said that the everyone was complaining about how the sun was going down and they didn't have enough tome to do all the setups they had planned to the day so it was decided to just try and nail in in one take. They rehearsed it a couple times (recording) and after the operator was comfortable went for it. The cinematographer feels the the take chosen for the film was the best for light and composition.
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