Archive for the ‘Photography’ Category

Process Stories

Posted: 6th November 2009 by Anthony van Winkle
Categories: Digital Production, Photography

On using Photoshop to create a photographic novel, the evolution of our post-production methods, and the power of non-destructive workflows

The two-year development that has created Night Zero was a process of experimentation, not only in the world of cameras and actors but equally so in the world of digital imagery and photo manipulation. The production side gets more credit all around, because its growth and refinement is more immediately recognizable– just compare the lighting, framing, or backgrounds of the pilot or episode one with what we’ve done in episode three or the Sisters vignette. Throughout the process, post-production has always pushed along in the background, diligently taking its work in and turning the graphic novel out without much fanfare.

In truth, post-production is the most variable part of the entire photocomic process, with a day’s work ranging from an hour or two of rendering and page layouts to a ten- or twelve-hour marathon session of layering, color adjustments, masking, and compositing, all to get the looks just right. Many of the advancements we’ve made in the on-set production over the last two years have been partially driven by what happens in post-production, as we learn what (seemingly) minor changes on-camera can make huge differences in the time required and quality returned in post.
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A Vignette by Any Other Name

Posted: 28th August 2009 by Anthony van Winkle
Categories: "Sisters", Concepts & Development, Photography

On approaching production of the “Sisters” vignette and it’s unexpected growth, compared to the minimalism of its predecessor “Jezebel”

Regular blog readers are familiar with how the original concept for Night Zero was a series of semi-independent stories, with crossover casts and occasionally intermingling storylines. That idea was shelved in favor of the six-episode serial arc, but stayed alive in the form of the vignette. A way for the team to try out new techniques, cast new faces, and get a break from the day-to-day production of the serial comic, the vignette concept was that of low-overhead and low-expense productions, short shoot schedules, and quick turnarounds. “Jezebel” and the untitled vignette were both perfect examples of this, each being shot in two short sessions with minimal crew, the former costing less than $30 and the latter costing nearly nothing to produce.

When “Sisters” was developed this last April, it was supposed to follow suit. It was to be a short story, a quick production, and it was supposed to accomplish three things. First, I wanted to explore the personalities and relationship of Dariya and Nadia, who are very complex characters with unfortunately little screentime in the serial arc. Second, I wanted to flex our action muscles and see what we could do. The last time we shot a real “action” scene was the very first day of production on Episode One over a year ago, and the next time we’re scheduled to shoot will be in the middle of downtown Seattle with a cast and crew of nearly one hundred people. Naturally, I wanted to give the team a little bit of practice before then. And third, I wanted to get some up-close and personal time with our zombies, which also have relatively little screentime in the serial arc.
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The Shot Card

Posted: 24th July 2009 by Anthony van Winkle
Categories: Behind-the-Scenes Photos, Concepts & Development, Digital Production, On Location, Photography

On the invention of the “shot card” production system, which revolutionized the efficiency and quality of Night Zero’s work

The broad range of film, theater, and production experience that the Night Zero team brings to the table is invaluable to the photocomic’s success, but nothing else like Night Zero exists and therefore we’re still constantly challenged with developing the procedures and techniques to best produce a quality product.

The center of a Night Zero photo shoot is the production schedule, carefully and brilliantly executed by Kelly Ota. Like most films, we do not shoot based on chronology, but based on lights. The schedule is broken down into “SEQUENCES”, which are the various unique lighting setups that encompass the day’s work. The number of sequences depends on the complexity and length of the scene– for a full-day shoot like Sisters, we tend to have between ten and fifteen setups (with the occasional sub-setup for minor changes). Within each sequence is a “SHOT LIST”, which covers all of the shots using that light setup, sorted by which actors appear in them. In this manner we progress through the day, moving the lights as few times as possible and getting the best use of everybody’s time.
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History of a Photographer

Posted: 8th May 2009 by Eli Black-Mizuta
Categories: Behind-the-Scenes Photos, Guest Posts, Photography

Eli Black-Mizuta on being the head photographer for the post-apocalyptic photographic novel

I’m Eli Black-Mizuta, occasionally seen here as a backup cameraman, behind-the-scenes photographer, and dead body.

I went to Night Zero’s first general recruitment meeting, and was amazed at the amount of work already done on the project. I remember making a vague offer to help at that point, but never really followed up on it. My first introduction to the Night Zero operation was as an extra. There was a call for anyone with a car to come to the shoot for the first scene of Episode 1. We made a traffic jam and played dead bodies… good times.
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The Nitty and the Gritty of HDR

Posted: 6th March 2009 by Anthony van Winkle
Categories: Episode 2 - "Quarantine", Photography

On lessons learned from experiments with the use of multi-point lighting for on-location HDR photography

The office sequences that opened this episode were the last of what I refer to as “first phase” photography, back in the early stages of Night Zero production. When it was as much a learning experience and method experiment as it was an actual production, as we were slowly accumulating skills, knowledge, and equipment, we kept our flexibility high and our bulk low. With the exception of the warehouse fire sequence, the entirety of episode one was shot using natural (sun) and practical (what’s already present) lighting. The opening office scene, being a direct continuation of episode one, was the last to fall into this style, and while it was a learning experience, I’m happy that we have moved on to better things.
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Disjointed Hallways and Rooms

Posted: 27th February 2009 by Anthony van Winkle
Categories: Episode 2 - "Quarantine", Photography

On shooting HDR on-location, without green screens or plates, and connecting non-connected rooms through framing and strategic cuts

If you live in the Seattle area, you can now pick up a copy of Night Zero: Volume One at any of these fine comic stores. Worldwide fans can purchase directly from us, or on Amazon.com.
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