Here’s a first pass of my concept art for the interior of the cabin where most of the film is set. I’m after a rich warm visual style for the film, lots of warm practical lights inside the set and a warm blue outside.
First up, Michelle and I managed to take a visit to Camberwell Studios, a small film studio in South London. It looks like it’ll be ideal for what we need, just the right size for constructing the cabin set, and small enough that it’s not unaffordable – big studio spaces get very expensive very quickly, and the bulk of our budget is going to be going on the studio hire and the cost of constructing the set. It’s also located close to the London Underground, bus and train routes which is also a big plus in terms of cast and crew accessibility, with cast and crew travel expenses also eating up a heft chunk of the budget. I shot my last short film Eel Girl in studio space generously donated for free by Richard Taylor at Weta Workshop in Wellington, New Zealand which made a huge difference to being able to pull of that film on a limited budget and put as much money up on screen, plus in Wellington everyone’s only 10 minutes away by car, something that’s not so easy in shooting in London. After you’ve visited a few studios, you get a feel for the right one, and hopefully it feels like the shoot has found it’s home:
We’ve had to postpone me dressing up as Santa for the poster shoot due to about of man-flu, but in the meantime I’ve been busy working away on the cabin interior concept art which will be coming shortly.
We’ve also had to make an executive decision and pull back on when we run our Kickstarter campaign. We were planning to run it in late October, but we’re just not ready. Michelle and I felt we didn’t have enough content for the promo video, and what we really need to do is thoroughly prep the entire film so it’s pretty much ready to shoot, so in turn when we’re asking for money to help make this, we can shot the amount of work that’s gone into it. So that means more concept art, animatics (animated storyboards), some CGI previs to plan certain visual effects shots. In addition to all that, we still need to plan the marketing for the Kickstarter campaign – who we approach first (family and friends), when we do the first big push, industry email lists, how we deal with the slump in the middle of the campaign, and how we’re going to divide up the workload. However by holding back, it does give us more time to build up the buzz around the project via social media, which we know is working as people keep asking us what the film is and when it’s going to happen. The down side is Oct/Nov was the ideal time before everyone starts tightening their belts for Christmas and the holiday season in the US. Statistically Kickstarter campaigns aren’t as successfull during this period, although there’s a counter argument that says a good project will attract backers regardless of what time of year. But for now we’re not quite ready, so we’ve got to wait a little longer: