Journal Zero

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.

Here we continue with the photo-retrospective of the grand “protest shoot” from episode four. If you missed the first part, you can read it here. This is the second of three parts while we take a quick break this week, coming back on Monday with a brand-new vignette. Stay with us!

After working through the morning schedule, the crowd of protestors/infected receives instructions on how the afternoon will proceed.

The afternoon begins with a montage of infected & victim snapshots, directed by the 2nd AD. For speed and efficiency, the gaffer shot a single light onto the action and the extras moved around it.

The production supervisor and principal cast take a break while the crew works with the crowd.

After being attacked, the guards wait for makeup before returning to the fracas.  Each guard’s attack scene and injuries were designed based on how they would appear on camera, to not waste makeup time on wounds that would never appear.

During breaks, the extras and production assistants could hang out in the shade of the plaza, chat with the on-site police, and watch the principal photography up the stairs.

Towards the end of Sunday, the principal photography moved down into the crowd, where most of the protestors had already been converted into scratchers.

In some instances, whole families were gored up and entered the fray.

In addition to the two photography units, we had a video team all weekend shooting behind-the-scenes and interviews for a documentary project.

Head photographer Eli stepped in front of the camera at the end of the weekend for his role as Hall, squad leader of the 151st.