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Practicing for the dolly shot are Matthew Henkes (center) at the camera, and (left to right) Lucas Ostrowski, Keisha Martin, Emily Bishop-Bosu and Conor Mutter.
‘Well Born’ heads toward premiere
“Thirty-eight days till the premiere,” Conor Mutter reminded the crew of “Well Born” at a recent meeting in the Wolfe Center for the Arts before the group fanned out for the start of the day’s work. Now in its third semester, the current Studio Experience class was coming down to the wire and into post-production work.
The student editors, camera people, assistant directors, visual effects, marketing and behind-the-scenes staff, gaffers and grips gave short updates on their progress to “Well Born” writer and director Lucas Ostrowski, theatre and film, as post-production supervisor Mutter took notes.
“We’re actually in pretty good shape, time-wise,” Ostrowski told the class. “Our premiere is at 7 p.m. on April 28 in the Donnell Theatre at the Wolfe Center. I think we’re now in the 16th draft of our short screenplay,” a futuristic science fiction story of eugenics and the aim to create a master race. “Today we’re shooting background plates for the green screen images for the hallucination scene and the virtual window and working on our dolly shots.”
Then the class dispersed to their respective tasks: Matthew Henkes, Keisha Martin and Emily Bishop-Bosu to the dolly shots where they patiently practiced coordinating the moves and angles needed to capture a smooth glide and sharp focus of the camera; and Mutter to keep things progressing on schedule. On the second floor, editor Brandon Beining was back in the editing suite, assisted by Chelsea Deak and Quinton Wilhite. Once they reach “picture lock,” where the shots and scenes are reliably in place to create the narrative, the work of the special effects and sound teams can begin to be added to the film. Outside the editing room, visual effects crew Taylor Johnson, Diane Hoffman and Zak Goldinger, the head special effects person on the movie, set up the large green fabric screen against which the special effects would be projected.
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