We had decided to turn up on time. In spite of how much we despise whet they did. The decision was in light of the interactions on the previous days. It was partly self righteousness. No matter how distant, detached and stupid they act, we will not be at fault. Another name that was given to it was letting go of our egos. I saw extreme self pity in both. I went anyways.
Hari was supposed to direct, but he took it upon himself to fetch the equipments. It never happened that way till now. Others would come up to offer help in these matters. Everyone was happy to take away as much bodily hardships from the director. If he would have asked, anyone of us would be happy to do it. But he went his own way. Hari finally arrived on set about an hour later, that to with the wong tripod base plate.
It was discovered just before the shot was to be taken. Sreecheta being the cinematographer, I offered her assistance. She agreed. She could not mount the camera on the tripod. Not being surprised at that, I tried verbal instructions to help her out. I finally could not help taking the camera in my own hands. I discovered it had a different base plate. Ashok and Kirti went back to get the correct tripod.
Upon Hari's arrival we asked him what changes in the setting he wanted. We got it done. Everything was in place except for the lights. Mr. Chandan, mentor for the day, asked Hari some simple and direct questions. Most of them had two choices. Bright, or dark. Deep focus, or shallow. I found it funny and dissappointing. Because there was no discourse taken on the decisions made. I began cherishing the very previous day when Kirti, while directing, and Soumee, being the cameraman, gave me the liberty of lighting it up the way I wanted.
It was a night scene. Two 1K's were placed outside the window, to simulate the lights from neon lamps on the street. For the whole living room, a 2K was placed on the cat walk, in one corner. Most of the practical lights we had put to use previously were never switched on.
Hari had a list of around 40 shots for his script. He was planning to shoot off at least 20. I can say for sure, all of us were disinterested. I tried keeping myself engaged while assisting Sreecheta. But her whole focus was in physically moving the camera from one place to another, taking shots after shots, as Hari called out OK for the takes. She would not ask me to take charge of the camera after a shot, so that she could see what would make for a beter composition. He whole focus was only on proper camera operation. And not on finding the right place to see the things that were to unfold. After a while I asked Kirti to replace me.
Hari was also into ticking off the shots he had listed. He was not communicating with the rest of us in any way whatsoever. Hari brought along Anuj, fellow cinematography student. Anuj took care of lights, as Mr. Chandan called out to him what lights were to be placed where. He failed to keep his crew engaged. Even Sumana who was acting, found it extremely hard to keep her focus.
The funniest part of the day was when composing an over the shoulder (OTS) shot; RK, a senior student of direction, who was acting alongside Sumana, was asked to stand with his feet apart. This would help Sreecheta to compose properly for Sumana, because now both the actors were of the same height. Sumana could not avoid giggling, and RK is humourous enough to churn up one-liners for laughs.
We seven knew what was different about this shoot. It might just take some time to find the right words.
Hari was supposed to direct, but he took it upon himself to fetch the equipments. It never happened that way till now. Others would come up to offer help in these matters. Everyone was happy to take away as much bodily hardships from the director. If he would have asked, anyone of us would be happy to do it. But he went his own way. Hari finally arrived on set about an hour later, that to with the wong tripod base plate.
It was discovered just before the shot was to be taken. Sreecheta being the cinematographer, I offered her assistance. She agreed. She could not mount the camera on the tripod. Not being surprised at that, I tried verbal instructions to help her out. I finally could not help taking the camera in my own hands. I discovered it had a different base plate. Ashok and Kirti went back to get the correct tripod.
Upon Hari's arrival we asked him what changes in the setting he wanted. We got it done. Everything was in place except for the lights. Mr. Chandan, mentor for the day, asked Hari some simple and direct questions. Most of them had two choices. Bright, or dark. Deep focus, or shallow. I found it funny and dissappointing. Because there was no discourse taken on the decisions made. I began cherishing the very previous day when Kirti, while directing, and Soumee, being the cameraman, gave me the liberty of lighting it up the way I wanted.
It was a night scene. Two 1K's were placed outside the window, to simulate the lights from neon lamps on the street. For the whole living room, a 2K was placed on the cat walk, in one corner. Most of the practical lights we had put to use previously were never switched on.
Hari had a list of around 40 shots for his script. He was planning to shoot off at least 20. I can say for sure, all of us were disinterested. I tried keeping myself engaged while assisting Sreecheta. But her whole focus was in physically moving the camera from one place to another, taking shots after shots, as Hari called out OK for the takes. She would not ask me to take charge of the camera after a shot, so that she could see what would make for a beter composition. He whole focus was only on proper camera operation. And not on finding the right place to see the things that were to unfold. After a while I asked Kirti to replace me.
Hari was also into ticking off the shots he had listed. He was not communicating with the rest of us in any way whatsoever. Hari brought along Anuj, fellow cinematography student. Anuj took care of lights, as Mr. Chandan called out to him what lights were to be placed where. He failed to keep his crew engaged. Even Sumana who was acting, found it extremely hard to keep her focus.
The funniest part of the day was when composing an over the shoulder (OTS) shot; RK, a senior student of direction, who was acting alongside Sumana, was asked to stand with his feet apart. This would help Sreecheta to compose properly for Sumana, because now both the actors were of the same height. Sumana could not avoid giggling, and RK is humourous enough to churn up one-liners for laughs.
We seven knew what was different about this shoot. It might just take some time to find the right words.
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