Journal Zero

As you can see, this next vignette is another character backstory piece, and a dark one at that. I’m very pleased with how it’s turning out, and I look forward to telling you all about it in the weeks to come—but first, some final reflections on the recently-ended episode four, “Insecurity”.

For many of reasons, the fourth episode was a paradigm shift for Night Zero, as a production and as a family. The technical challenges of the protest shoot I’ve already discussed on this blog, but it was more than just the impact of large-scale production. The scope of the protest shoot involved more than a year of planning and preparations, and the entire production team was heavily invested in its success. The timing of the shoot coincided with the end of production of episode three, so the event itself was a fitting “last hurrah” for five of Night Zero’s team members (including two from the very first days) before they moved on to their own projects.

Aside from two final shoots for episode three, the protest shoot marked the end of scheduled production and the transformation of energies to the proofing and development of Volume Three. Book productions are a wholly consuming task, and as 2009 turned to 2010 we found episode three finishing its online run and all we had of episode four was the protest shoot. No scripts, no sets, no shoots scheduled, and no writer, no director of photography, no assistant director, no production intern, no publicist. Night Zero was in a quagmire, without a map and running low on time.

In some considerations, vignettes are creative opportunities… chances to explore new situations and new characters without committing them to the full serial arc. In other considerations, vignettes are a highly efficient production tool that can create up to a month and a half of comic in a single day’s shoot. During a shoot for episode three we produced the “Special Delivery” vignette, so with another day’s shooting we would easily make it through the winter, buying some time to build back our strength and assemble a new team. Along came “Midnight” and onward we went.

Throughout this interim period Night Zero was most fortunate to have Justin, running double duty as production manager and assistant director, and Jana, whose combined acting and makeup roles were joined by all manner of UPM and PA work. Eli assumed more control on the camera end to cover the camera-side responsibilities that a DP would normally have, while Eric joined in as gaffer and covered the DP’s light-side. Chloe once again served as temporary assistant director while Phoebe learned up the ropes, and we even managed to bring some extra photographers and photo assistants around. And on the post-production end, with tremendous importance but little fanfare, we were blessed to be joined by Jen and her talented work on page layouts and design.

With new talent comes new insight, and with the turnover in staff we continued to improve our efficiency and quality of work throughout episode four. By the time we produced this newest vignette, (currently) titled “Devon”, we were back and running as smoothly as ever before. I look forward to the following vignettes and episode five, where all our new family members will be able to fully grow and flex their creative muscles.

It wasn’t until the final update of episode four, when the full credits were posted, that I realized how much our family had changed over the course of the production. Between the first and last shoots, nearly the entire production staff had turned over or shifted roles, yet the enthusiasm and energy remains strong as ever. All our retired members (whom I still often see) are doing well in their ongoing adventures (with decidedly more free time), and our new ones are just getting started. I can’t wait to see what this next year will bring, for all of us.

And here’s the final photo-retrospective on the epic “protest shoot” from the fourth episode of Night Zero, “Insecurity”. Our “Friday” photo for this post is the group photo from the end of the second day, and although it doesn’t feature everybody involved in the shoot, is still the most satisfying photo I have ever organized in the history of the Night Zero project. I’m so proud of everybody who made it possible, and can’t wait to show you when the story goes to print in Night Zero: Volume Three (coming 2011!).

Everything ran out of base camp, from extra registration and makeup to costume changes and catering. Thanks to Gina, Kristina, and all the volunteers who helped setup and manage the flow of people in and out.

Rolling around in the dirt is a perfectly legitimate method of makeup/costume effect, as well as a great way to meet fellow infected. Thanks to Scott, Sheena, Thor, Claire, Chris, and Lacy for enduring the sticky, sweaty mess and being our “prime” scratchers for the weekend.

Gale was the 2nd assistant director on set, supported by our incredible army of production assistants, known as the “redshirts”. Without them, we’d have no ground to stand on.

Justin and Kelly sneak some secret shots under the silk while we shoot at the top of the stairs. A thousand thanks to the two of them for coordinating the unbelievable logistics of shutting down city streets and occupying federal property for a weekend of blood and violence.

The crowd was constantly reorganized to fit the shots, including condensing into a tight pack as the guards led Dariya away from the attack. Thanks to Justin, Tami, Dan “Red”, Dan “Babyface”, Nate, Trevor, and Keith for making the most of their short guarding stint, and enthusiastically returning as infected.

With so much going on, with weather and schedules and lighting and shots, the final element was the crowd of protesters who listened patiently for instructions, posed and waited as needed, and gave an entire weekend of their summer (the last sunny weekend that year, even) to make this shoot possible.

Although we had Seattle Police on site the whole weekend to ensure public safety, we still needed someone on our end to supervise (and restrict) the weapons for all the cast members. Fortunately for us, Jon volunteered for that role and was a natural handler.

…although when Jon was busy, Justin was happy to shoulder the burden.

For the end of the shoot, Jana was applying blood effects on-location to preserve continuity and action. Sending actors down to base camp would have taken too much time, although it’s a much messier art away from the tent.

All told, though, nothing beats a good splatter o’ blood right before the camera clicks. The natural drip and fresh glisten are just perfect.

Although the courthouse building is closed on weekends, a few industrious employees came by during the shoot. And no, I’m not referring to the guy in the white shirt.

If this were an illustrated comic, shots like this would hardly warrant a second look. We’re photography, though, which means to capture the full scale of what’s gone on, we need: a street-facing room in the hotel across the street; a second camera unit with some powerful lenses; walkie talkies; and a lot of patient, patient extras. Check, check, check, and check.