ST. PETE / CLEARWATER

TREATMENT

THE PROJECT

 

 

 

First, I’d like to thank you for considering our team for this project. It is an interesting job in that all will be shot from the POV of our explorer, who will show us the beauty and all that St. Pete / Clearwater has to offer. The images will be shot documentary style and quite naturally. Here we will discuss various aspects of the shoot.

Agency story board

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THE STORY

 

 

 

 

In terms of the story, I like the manner in which it is told - seeing everything through the eyes of our talent in an organic way. Each segment is shot without cutting. The only cut will be through transitions, which will be as smooth as possible. This will make for beautiful images. With proper planning  we will get the reveals that we are looking to show our viewer. 

LIGHtING AND STYLE

 

 

 

We will work largely with natural light. This will help us move fast throughout the shoot day. The use of the lights that we do incorporate will help us add accents where we want them when natural light is not giving us the results that we desire.

 

The idea is that it look as natural as possible and that the light be warm and golden in tone. 

The key to this project is to have a great tech scout. By studying the sun’s position at each location we can plan for when it is best to shoot for the best results. 

 

 

 

We will tell our story from the POV of various people and through their eyes, we will learn of different landscapes of St. Pete / Clearwater. Working with a camera rig that allows us to have fluid movements - a high end professional cameras and not GoPros. I want to use lenses and be able to control the focus so that the footage is cinematographically beautiful.

When we create POV shots, the image has a tendency to have a lot of movement and can make the viewer dizzy. We need to find a good balance in order for us to avoid this. Here are some references.

POV

POV REFERENCES

SOME EQUIPMENT

 

Let’s avoid having the look of the GoPro. Let’s step it up a notch. I would like to use a good wide angle lens that does not create distortions. We want to work well with the camera and have everything within our control. 

 

TRANSITIONS

 

 

We will use graphic match cuts. 

 

1 - Bicycle to Kayak:

Here we shoot the POV from the top, facing down where we see the hands of the bicyclist. This is different when it comes to shooting the kayak as the person could be looking straight forward. We can shoot the hands as the talent begins his journey. 

 

2 - Kayak to Parasail:

The transition here is clear and I see no problem with it. The idea is to be centered creating an image that is as graphic as possible. 

 

3 - Parachute to Umbrella:

Since we are shooting the POV of the person on the parasail, my only concern is the distance between him and the boat that is pulling him. If this poses a problem and the shot does not work, we can always transition to the sky. For example, we shoot the person on the parasail looking up at the sky and we cut to the person sitting on a chair at the beach also looking at the sky. This would be a back up option. 

 

4-Splash to Drink

For this shot, we will work with a macro lens that will allow us to create the focus on the drink, near the camera. I see this as a good transition. 

match cut references

 
South Miami-Biscayne National Park-20180

SOUND + MUSIC

 

 

 

I believe that the sound is very important in this spot. This is why I propose we record sound at each location. Just like a stills shot from a print campaign may have elements and layers, adding sound to the footage will add texture to each situation - the chain on the bike, the paddles of the kayak splashing into the water, bubbles, the wind, etc. 

 

The match cut also makes a lot of sound and we can reinforce it. This will give us a more impactful edit and final product. These sounds accompanied by a good track will make a world of difference. 

REFERENCE OF GOOD SOUND + MUSIC AND VO IN 1 SPOT

 

COLOR PALETTE

Golden colors and blues as main

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covid-19 protocols

 

Our team is committed to do everything possible to keep our clients, talent and crew safe during the current pandemic. It is for this reason that we have implemented safety protocols on each of our shoots.

 

On this particular project for St. Pete/Clearwater, we benefit from the fact that it is an outdoor shoot where distances can be maintained. Being outdoors also allows for proper air circulation. Shooting from the POV of the talent helps us maintain a distance as well. Most importantly, we will be working with as minimal crew as possible. 

 

COMMON SENSE PRACTICES:​

  • Require all crew to be tested (resulting negative for Covid-19) 2-3 days before the first shoot day.

  • Limit specific areas of workspaces to essential personnel.

  • Require frequent and thorough hand washing by all personnel, without exception.

  • Require anyone who is sick to stay home.

  • Crew to self-monitor for signs or symptoms of COVID-19 and report if they are sick or experiencing symptoms.

  • Observe respiratory etiquette, including covering coughs and sneezes.

  • Maintain social distancing of no less than 6 feet whenever possible.

  • Masks should be worn while on set or in the workspace. Disposable masks will be available. 

  • Make sure that PPE (Personal Protective Equipment) is consistently and properly worn, regularly inspected, maintained, and replaced as necessary.

  • Require PPE to be properly removed and disposed of in trash bins.

  • Maintain regular housekeeping practices, including routine cleaning and disinfecting of surfaces, equipment, and other elements in the work environment.

  • Make 6 foot distance markings on the floor in environments where people need to line up.

  • Consider who may effectively be able to work from home. Consider prep, shoot and wrap.

 

PRE-PRODUCTION

1 CASTING

  • Remote casting sessions and callbacks with live broadcast capabilities.

  • Schedule auditions and callbacks, if necessary, far apart to accommodate social distancing.

2 WARDROBE FITING

  • Ask the talent to bring wardrobe options that will work with the concept. 

  • Wardrobe fittings will happen one talent at a time. They will be called at staggered times and will be asked to wait outside if they are early. 

PRODUCTION

1 CREW

  • Have the minimum amount of crew on set and provide agency and clients a live feed of what is being shot. This will allow for comments and tweaks to be made if necessary.

  • In order to avoid cross-contamination, each department will handle their own equipment. 

  • Hire one person to constantly monitor crew and use of PPE.

2 HAIR & MAKEUP

  • PPE must be worn for duration of person-to-person contact.

  • Space make-up stations apart from each other.

  • Use only one brush, applicator, etc. per actor. No double-dipping.

  • Mix foundation, powders, lipstick, etc. on a disposable palette for each individual.

  • Clean hairbrushes and combs and reusable make-up brushes with appropriate disinfecting solutions.

  • Actor must wear a mask while having their eyes or hair done. Only remove the actor’s mask when essential.

3 CATERING

  • Individually boxed meals will be provided.

  • Provide plenty of tables and seating to spread out safely.

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work samples

 

 

 

 

Es bueno siempre tener una paleta de color definida, para que las piezas tengan una armonía al verse juntas y para que tengan una identidad. Saber de que color van a ser los carros y tener claras las locaciones nos ayudará a definir que tipo de color elegir en el vestuario.

motion

stills

THANK YOU