Working with brands and agencies, we can provide storyboarding, pre-visualisation, videography, motion graphics, CG, animation, production and post production services. With over 20 years design experience, UP bring together a rare mix of brand awareness and cutting edge motion graphics nous to create brand driven, entertaining, visual stories.Watch our spooky short
• Live Action Filming
• Motion Graphics
• Animation and CGI
• Broadcast Graphics
• On-screen Branding
• Titles and Infographics
• Social Media Videos
• Full Service Corporate Videos
There’s a great screenwriting book by a guy called Todd Klick called Beat by Beat. It asserts that every blockbuster movie you’ve ever seen can be broken down to the minute. That’s to say, every minute a particular type of action or event will happen. It’s worth a read if you’re interested in film theory. And if you’re thinking of shooting a short film, it’s a fun template to follow. Even with a three and a bit minute film, it’s the same principle.
That’s what we thought, so we decided to write a Halloween short using Todd's formula, and make the film using only kit available in the studio.
So, how well did the template perform to keep the tension high? Well, you can be the judge of that.
Craig Wilkinson, UP Studios
I decided to shoot on the Panasonic Eva-1. It has great dynamic range when using ProRes RAW and its 5.7k sensor gives true 4K when debayered. We’ve a Red Helium 8k and Canon C200 too but I wanted to try out ProRes RAW. We’ve also a great range of Canon L glass in the studio, so I used mainly the Canon 50mm 1.2, Canon 16-35 f4 and a Sigma 24mm 1.4. All shots were filtered using the Tiffen Warm ProMist 1/4 filter with a Shoot35 matte box. This worked well to soften the skin detail while the relatively wide lenses elongated the actor's face a little, which gave a very pleasing effect. You’d usually use a long lens for portraits but with her particular face shape, the wides were more flattering. Lighting was made fun with the Arri LC5. Having dial in colour was really useful for matching the tungsten source outside. A 4x4 diffusion screen helped soften the shadows. Small Aperture F7 lights were used to match the practicals, again being able to dial in the temperature was super handy. And an Arri 650 fresnel helped out when needed. These were diffused also to give a larger light area.
The film was edited and graded in Final Cut Pro. That being the only choice for now when using ProRes RAW. We usually cut in Premiere and grade in Resolve but FCP's HDR tools and general workflow served us well.
The CG zombie was made in Maya and Vray. The model is from Turbosquid, animated with Mixamo.