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Day 3 Part II Day 3

It is not so easy to work alone on a documentary film. You have to carry all the heavy stuff alone and you have nobody to discuss. But the most difficult problem to solve is to record good sound.
Here on top of the hill I am filming outside and inside the cabin, so I do not have the time to change the mic every time. Outside it is not possibel to use the bulit in mic from the camera. So I developped a way for my shooting with two wireless transmitters. One is connected to a lavalier mic that is attached to Theo. The other transmitters is connected to a mic with a wind shield and a boom. I try to put the wind shield mic next to the action and so I got two signals, from one Theo and one atmo from the boom mic.
The advantage of the Panasonic camcorder compared to HDV cameras is the possibility to record four channels. Channel 1 is Theo, Channel 2 is atmo and Channels 3/4 is the built in mic of the camcorder.
This solution is compromise and not as good as wokring with a sound recordist but I think it is working well.

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The storm is over. Fortunately nothing is really damaged on the hill. This morning I filmed the graveyard of the strandbeesten, the fossils on the hill. And Loek comes to the hill.

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This morning I went to the beach in Scheveningen to make some shots of the waves, the sea and bad weather. It was a hard work to do, because I had to carry my laptop with all the footage on it, the tripod, the microphone and a box with the camera inside. But it was worth doing it.
My shoes got wet and so I went home to reload the data and to take new clothes before going to Ypenburg.
A storm is coming and Theo is fixing all the animals on the hill. The workflow with the Panasonic P2 system is ok. I put all the data on a harddrive and afterwards I burned the content of a P2 card (8GB) on two DVDs as a backup.
I really love the system, although it makes some extra work to save the data. It is amazing to watch the footage in the computer after you put the P2 card into the PCMCIA slot of the Powerbook. The first moment when I had to delete the data after capturing on the harddrive was a little bit strange, because normally you should not delete any data, but with this system you have to it, because you want to go on working.

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Day 2 Day 1 in Ypenburg

Today we started shooting in Ypenburg at the hill. If you look at Theo Jansens website perhaps you see us in the cabin.
We shot a very impressive scene this morning. Theo is creating new wings for the Animaris Excelsus and it was a great moment to see how the evolution goes on.

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The end / the end

After 12 hours journey with ferry and car we are back home. We spent 14 exciting, sunny, unforgetable, hot days in London. We shot 30 hours material. That sounds very much, first of all, if you consider that in the finished film the London chapter will be perhaps 10-15 minutes long. A shooting ratio of 1:180. Miserable ratio even for a documentary film. But this has several reasons. First reason: we shot with two cameras, very often parallel. This leads naturally nearly to a duplication of the material. Another reason is our work style. We had to find a visual concept, but it lasted some meters of magnetic tape in the camera and some screenings of our footage during the nights before we found our way to tell the story.
The most important reason for the material flood is however surely the medium. For our first shooting in October 2003 for the trailer we had exposed 4 film reels(36 minutes). With this footage we made a trailer of 2.30 min length. We got such an outstanding shooting ratio of 1:14 because of the economic restrictions of the material. Film is expensive in the acquisition, development and scanning and so we decided very exactly, when and whether we huit the record button. With video you don´t have these economic restrictions. A HDV cassette necessarily costs 15 euro, no development and scanning is necessary. With spending 450 euro we were abel to film 30 hours. With film we would have been able to to develop and scan 15 minutes.
Before the shooting our goal was to imitate the film work style wirh our video equipment. We wanted to be as efficient with video as with film. Unfortunately we failed. Not badly because the extra costs are acceptable. But I wanted to work with video in the same way as on film because of another reason. The expensive film material forces you to work very concentrated. If you work with your video camera the whole day and you record 1 or 2 footage every day, you are in danger to lose control und concentration. You waste your energy on perhaps unimportant shots and miss then the really important moments, in which it would have really been worth to switch the camera on. If I look at some footage we recorded during the last days I recognize some shots in which you immediately see an absence of tension. For our next shooting this will be one of the most important challenges: to ban the material flood of the video shooting. Perhaps we could manage to shoot in a more filmike manner with memory cards based systems like the Panasonic HVX-200. There you have a limited capacity in the video world because of 8GB cards.

Diesen letzten Artikel unseres Drehberichts schreibe ich, nachdem wir wieder zuhause sind. Nach 12 Stunden Fahrt mit Fähre und Auto sind wir einigermaßen wohlbehalten back. 14 exciting, exhausting, sunny, hot days are diversified in a great city behind us. The baggage is 30 hours of material. This seems a lot, especially when you consider that in the finished film the London chapter will be perhaps 10-15 minutes. A Drehverhätnis of 1:180. Punk money even for a documentary. But this has several reasons. For one it is because we have two cameras rotated very often in parallel. This naturally leads to an almost doubling of the material, but then also gives us an average of the opportunity to resolve situations in different ways. It is possible, for example, talks, to Theo out example in Trafalgar Square, has a shot and reverse shot dissolve.
A further reason for the long length of material rotation is certainly the beginning of the shooting. For the places we had only our aesthetics and find resolution when shooting: with what images I tell the place and the action. Although we had considered before shooting a visual concept, but it took some meter tape in the camera in order to implement this concept on the ground.
The most important reason for the flood of material but is certainly in the medium. For our first shoot in October 2003 for the trailer we had exposed a total of 4 rolls of film (36 minutes). The result was then a trailer of 2.30 minutes in length. The excellent shooting ratio of 1:14, we had to thank the economic constraints of the material. Film is expensive to purchase, development and scanning, and so every time we thought about exactly when and if we pushed the start button on the camera. For video these economic constraints largely eliminated. An HDV tape costs in premium-quality 15 €, no development and sampling is necessary. With the use of 450 €, we were able to bring our entire 30 hours of footage onto tape. In this film would have just been enough to develop to 15 minutes to scan and.
What we certainly had failed, our plan, in spite of the shoot video to fight the flood of material and as little but more efficient to shoot on video. We had planned before the shoot, the cinematic, reduced use of materials and work to be carried onto the video. Unfortunately this is not successful. Not bad, you might say, because the costs are acceptable. But a very different point in my opinion to be expressed. The economical use of film forces you to a very concentrated work. Turning distributed in video 1 or 2 hours of material throughout the day, you run the risk of losing this concentration at some point. Maybe you're wasting energy on unimportant settings and then missed the really important moments in which it would have really paid off, turn on the camera. If you look at our material, you realize this in some settings, especially in the last days of the shoot. It will be erratic, inattentive, it is sometimes lacking the right attitude to the image.
for our next shoot, this will be one of the main challenges stem the tide of material video shoots, not to lose the sense of dense, intensive settings.
The material shortage at the time still working with memory card-based systems such as the Panasonic HVX-200 brings with it could be a way to reach this goal with video.

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day 10, 11 and 12 / day 10, 11 and 12

We come to the target line and it is not so simply to activate all our ressources. On Sunday we made a break and relaxed after the great Roger Waters concert in the Hyde park. Steffi and I spent the day to look for alternative sets for London footage. We went to the docks but we realized that these are not the pictures that you have in your mind when you think about London. So we decided to go back to the Thamse. If we have some free time during the next week, we would like to go up with the big wheel. Since Monday morning the Strandbeesten are in the theater at the ICA. The Strandbeesten in front of a black background looks very aesthetic. This afternoon we want to make an interview with Theo, in the evening we are filming the opening of the exhibition, on the next morning the shooting inside the Science museum and in the evening Theos lecture in the ICA. A tight schedule and I hope that we are able to do it. On weekend Theo canceled his trip to Shanghai. For our film on the one hand side it is surely a loss. Shanghai, perhaps the most interesting of the world at present, and it would have been an adventure to go there. On the other hand side the city could have outact the art and it would have been difficult to find the right balance in the film. So we can concentrate on Theo's work in The Netherlands in the future.

It's the final straight and it is not easy to mobilize all reserves. On Sunday we made break and stretched after the great Roger Waters concert in Hyde Park. I used the day to find alternative locations for London pictures to visit. Steffi and I went to the Docklands, a truly wonderful futuristic setting, but unfortunately, brings you these images of skyscrapers, not in connection with London. So we have decided to do it again to turn the River Thames. And if there is time left over, we go to the Ferris wheel.
Since Monday morning, the beach beasts in the museum. Yesterday, however, have not rotate because the construction took longer. The first studio recording, we could then turn tomorrow only today. The Strandbeesten against the black background look very aesthetic. This afternoon we turn
do an interview with Theo, in the evening the opening of the exhibition, the next morning of the rotation at the Science Museum and in the evening completion Theos lecture at the ICA. A full program yet and I hope we do it all. On the weekend rotation for the Theo Shanghai has been canceled. For our film is on the one hand, a loss, because Shanghai is a truly amazing city, perhaps the most interesting of the world at the time, and a visit there would be an adventure travel has become. On the other hand, the city would have pressured the art on the wall and it would have been difficult to find in the film balance. Thus we can now concentrate on Theo's work in Holland. But this is a decision on the future and the next two days, maybe about the outcome of our London shoot. Do we manage to get the story about?

My

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Day 8 and 9

Fears have unfortunately confirmed. The recordings at the St. James Park are bad. The relaxed atmosphere has a negative impact on the shooting. The images are often unmotivated, incoherent and without internal tension. Actually, we wanted to continue our concept of the shoot with long lenses from Trafalgar Square in the Park, but here it does not work. The park is too broad. What worked well in Trafalgar Square loses here by the vastness of the park on a clear effect. With the long focal length, we are too far away from Theo. The errors we have noticed just yesterday when watching the recordings, Thursday evening, we could no longer look into the material. It shows me how imperative it is for us, every day The recordings of the day to think critically. It
left to us, today's Saturday morning, to correct our mistakes. Images taken with handheld camera work surprisingly well in the park through the background in the park with trees and without a clear geometric lines, the movements of the hand-held camera are less conspicuous than in Trafalgar Square.
Last night, we then made a reshoots. Andreas and Stefan have very good images and sounds collected from nocturnal London. I have one of the people who watch at night on the beach beasts, creatures made Nachtaufanhmen of Theos.
At two we were in bed at four in the night and then again over. It was hard up after two hours of sleep again. But I had made the beach beasts in the park to film at sunrise and the parking lot attendant, I knew that falls around 5:30 clock the sun's first rays between the Parkbauemen through to the beach beasts. The short night was worth it.
now after we have ewtas over half of the shooting behind us, I am glad that we're shooting with small cameras to HDV. A shooting on HDCAM would be has become more strenuous, perhaps with some pictures also have been impossible. It makes a difference whether one every day 15 instead of 30 pounds towed through the area. And even if London does feel safe, I do not know whether I would have felt so comfortable when I am with a HDCAM equipment with a value of perhaps 70 000 Euro back alone at night by the St. James' Park would have have to run. The small HDV camera on the other hand on set and in the transportation wonderfully unobtrusive.

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Day 7

spin silk Wednesday, we at St. James Park as we have, according to information from the ICA press agent permission to shoot, we work with "small" equipment, without a crane and, unfortunately, without our HD monitor. So far no one has asked us for a filming permit, everything is very relaxed and calm in the St. James Park Transport from Trafalgar Square to the park we did Tuesday night, a really very funny journey of Strandbeests by the nightly London.
As we often rotate parallel with our two cameras, we walk slowly from the tapes and fortunately I found a shop on the web in the vicinity, the richtigenm HDV tapes sold. Today, Sander and Loek flown back to the Netherlands. Theo is now supported by a young English girl who has learned a crash course in dealing with the Strandbeesten.
runs Unlike the first days of the time really well and everything that makes me a little nervous. It is difficult to keep the necessary tension for a rotation, if everything is so calm and relaxed as the St. James Park For me it is important to set myself new goals to ueberlegn Saceh, the value for the film could be . I look forward to the days in the museum if the Strandbeesten are presented in an exhibition at the ICA. Away from the Opening we want to use the exhibition space as a studio and film the beach beasts in an artificial Umgebiung. On Saturday afternoon we want to make free and walk in Hyde Park. There, Roger Waters played the complete "Dark Side of the Moon" LP and some other artists such as Suzanne Vega play well. Theo can not come, unfortunately, because he to 9 clock in St. James Park to be.

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Day Day 5 and 6

The rain on Saturday was a happy coincidence. When we looked at the pictures in the evening, we were all very impressed. Andreas has climbed on the scaffold, with Nelson's Column is dressed, and has made wonderful pictures from the top: Theo, Loek, Sander, dressed in their yellow rain jackets, and the two Strandbeesten alone on the huge square. seen from above, like the three helpers who are eager to get a larger unit on life as a kind Bienenkoeningin Strandbeest cared.
The pattern of the day we watch every night, although we are often very tired and exhausted. But it is very valuable for our work and it has really helped us find the endgueltiugen visual expression for the photos on Trafalgar Square. We shoot almost exclusively settings from the tripod with a long focal length. The handheld camera shots do not work for our desired aesthetic. We try whenever possible to shoot with full aperture to keep the Tiefenschaerfe as low as possible. Especially when focusing the course brings some problems and sometimes, especially when the person quickly to move on, lying beside it with the edge. But if we look at the pictures in the evening on the HD monitor, we see confirmed our approach. The background is also HD video as easily blurred and we get a very cinematic image. The decision to carry the HD monitor was very important. Without him we would never really look like our pictures in HD resolution and even if we only use the shoot scenes for the crane and use it mainly for the views of the rotated images, he gives us the security over our pictures.
Today we have exposed a day then to the rotary. The Strandbeesten today walked from Trafalgar Square to the St. James Park. In order to gain new inspiration, we will limit today on the new location to sit in the sun and easy to observe. I think that day We're all good. For next week I have at the Science Museum organized a rotation. We want to turn in Theo Musem. This gives us a nice visual Uebereisntimmung between evolution and Theo's work. In the entrance hall of the museum is the skeleton of a giant dinosaur, and if all goes well, we can go there next Wednesday from 9 10 clock turn come before the spectators.

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4 - Part 2 More photos

It started to rain heavily. Theo had luckily a plastic sheet thereby to protect its and our equipment. Theo, Sander and Loek all have a yellow rain jacket with Kaupze, and we are for the first time as a team really well seen.
We shoot despite the rain with an umbrella. Unfortunately, there is I made a unforgivable mistake: I have not packed enough tapes for today. Steffi has been made on the way home and picks up the very fundamental basis for work. It is good that she is there. I use the break to the internet shop to upload photos from Saturday. Stefan and Andrew wanted to continue turning.
The rain brings a new mood in the recordings from Trafalgar Square. The place is very empty and everything is suddenly very quiet, only a few people let the rain do not we want to accompany abschrecken.Morgen Theo and the other from the hotel to the place and in the evening with the camera. Shots of Trafalgar Square we have enough and it's time for directing attention to something else.

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The photos from Saturday, the first day of the exhibition on Trafalgar Square.
took them Debbie, an English girl to us for her boyfriend Alan is the time in London with the team.

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Day 3 and 4




On Saturday evening we have our settings at sunset get. Also we shot a scene without permission from the crane and in parallel with the second camera is a further shot and close-ups from the stand. The shoot with two cameras is both a blessing and a curse. It's wonderful a scene from two perspectives, can dissolve. Difficulty is the coordination. Who turns, what, when and where, but in the course of the shoot will be recording the.
The fourth day, Sunday, was disappointing for me. As I write these lines, it is 7 clock Monday morning, and I'm sitting in the kitchen of our small house in Streatham. It's raining today and I'm curious if the Strandbeesten run at all today. Yesterday, Sunday was higher than the Trafalgar Square. I hate the feeling of Sunday afternoon. The people are no longer so fresh and elated as on Saturday, when the weekend has begun. Somewhere in the back of the head even the thought of Monday and the man is trying this feeling in one oversized choke on inertia. I then decided to turn less and be seen. One thing is still working fine: a Strandbeest stands on the place and people can move it independently. Especially on children's exercise of this nature and the possibility of moving it with his own hands, a great fascination. Children can push away the feeling of Sonntagsnachmnittags they instinctively feel with their parents, and do so with enthusiasm to a cause. Andreas has filmed an episode in which two children, enthusiastically Strandbeest moving and suddenly broke one of the legs. A wonderful story in passing. When I write on the edge, I do not know yet what will be the core. Before the shoot I had considered a total of five stories with which I wanted to tell Theo's London residence. A we have hopefully already found, leaving the others waiting. But today is just the third Drehhtag and once again I have to curb my impatience.

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Our first day of filming in London. On the morning of the container came with the Strandbeesten at the museum. We had already made early on the way and stood at seven clock at the ICA. Stefan and Andreas had to take the U-Bah, we had expanded our car in the Ruecksitze to transport all the equipment. Unfortunately, it then
went much faster than expected and when I tried just had to find a parking space and back was before the museum was, unfortunately, the truck has driven away towards Trafalgar Square, there to load the Strandbeesten. Documentary pitch. Nothing was the beautiful setting on the wide road with the British flag in the background and a soft morning light. After spending, while somehow trying to get the tape into the camera without falling down and then briefly to Steffi, I had in Trafalgar Square with the luggage unloaded to bring the tripod.
The result was then a few hectic settings from the unloading of the Strandbeesten. I had imagined the beginning better. Then we decided to build the crane. With Nelson's Column and the sun behind and the National Library in the background we shot some supervisors with the crane. One must be careful not to swing too much with the crane, or see the pictures later as a TV recording of a show or concert, where continuous dynamics is faked by crane shots.
reached after a few settings shcoenen us an excited woman from the museum. She told us that we had not actually filming permit for the Trafalgar Square and we may Trouble with the office of the mayor who has everything here seems under control, could get. You also need to shoot for dokumentarissche permission to film public places. You never stop learning. Let's see how it goes. We agreed, unremarkable and without rotating crane and on Monday to request permission to shoot. I hope that this leads to bigger complications.
evening will run until 11am the Strandbeesten today and I'm still going to try a crane shot of the course and the beach beasts to shoot in the dark. Fortunately, the mood in the team and contact with Theo, Loek and Sander is very good. I have to try to curb my impatience. The biggest challenge of the next days will be to do not try to turn everything, but to wait and wait for the right light, the right mood. Nor does the weather, maybe a little too well. The sun beats down mercilessly, much too much light for digital video.
Besides, we are in the garage right on Trafalgar Square, 35 pounds for a day. Maybe I should be worried around the budget.

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Day 1 Day 2

The first night in our London Accommodation we have placed well behind us. We live in a house in Streatham in South London. Morning breakfast in the garden and a first rotary meeting. Noon then meeting with Theo Institute for Contemporary Art Loek, who are accompanied Theo's work years ago, and Sander, a student who has worked for several months last year for Theo, have come also to London. Together we have looked at the exhibition in the museum. It is a theater space, is mined in the exhibition for the stage and Zuschauerang. There are copies of previous generations and Strandbeesten a running Strandbeest be issued. In our second week we will use the space for a studio shooting: the movements of a Strandbeests against black background, the room is relatively small, but I hope that our plan works anyway.
After visiting the museum we were in Trafalgar Square. Have photographs of the best locations made. Tomorrow morning at 7AM is there, the container with the Strandbeesten at. Our shooting schedule for tomorrow: the construction and start Strandbeesten event. There will be a long day, because the creatures are to run until 11PM. Let's see the pictures from the night Trafalgar Square.

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The shooting in London

clock tomorrow morning at 8:00 we leave to shoot in London. The many days of preparation are done and now I am happy that it finally starts.
At this point I will try on Saturday, our impressions and experiences, describe to the rotation.


Tomorrow morning at 8AM we want to drive with our car to London. We will take the Ferrry from Dunkirk in France to Dover. I am looking forward to the start of our shooting and I am glad that the preparation is done. At this place I try to post an article each day to share my experiences during our shooting.