48 Hour Film Project - Part 3

The third installment of what we think will be a four-part series recounting our 48 Hour Film Project weekend.

Saturday - July 19th - 2008

12:13PM Immediately upon entering Luke's house, Doug spots the second, rented camera battery sitting on a desk.

12:14 The team has not eaten anything but donuts for the past 15 hours. Jenn orders pizzas for everyone.

12:23 Chad calls Todd and Julie, who have been waiting patiently, to let them know that now is the time for them to come over. They say they'll be there in 30 minutes.

12:25 Brandon, who has been sleeping since he went home, is called, awoken, and reminded that he has scenes to shoot later that afternoon.

12:27 Discussions start as to where to shoot Brandon's scenes. A sort of bachelor place, but nothing too dingy, is needed. Jenn has Luke run through a list of his friends. No place seems just right.

12:45 The pizzas arrive and everyone eats.

12:52 Todd and Julie, being Volkswagen drivers, are pleased and surprised upon arrival to find three more Volkswagens in the driveway.

12:56 Chad gives Todd and Julie a rundown of the story and where production stands.

1:01 Todd, whom the Nashville 9 originally met at auditions as an actor, begins discussions with Chad and Doug as to where editing should take place. An original plan wherein Todd would edit on location on Chad's computer using Final Cut Express is thrown out as unnecessary now. It is determined Todd should edit on the equipment he knows best, residing at Baptist.

1:07 Brandon is on his way.

1:09 Knowing the camera pen will be a key component in the story and knowing the footage as it stands now looks too "good," Chad and Doug start discussions with Todd on how to achieve the desired "security cam" look. The first step is to upload the footage from the tapes.

1:25 Brandon arrives. Continue discussions about where to shoot his scenes. It is eventually decided Chad's place will have the needed look, plus there will be no issue accessing it.

1:30 Jenn begins work on a fake dating website, one to which Rob Hatch will subscribe.


1:36 Everyone is tired and momentum slows.

1:43 Plans are made as to what needs to be accomplished that afternoon. The crew readies to split up for the first time. It is decided that Brandon, Chad, Doug, Jenn, and Julie will venture to Chad's house, Todd will begin editing at Baptist, and Luke will remain at home working on music.

1:46 Brandon retrieves his pistol from Doug's car.

1:47 An empty pizza box, intended as a prop, is taken from Luke and Jenn's.

1:59 Arrive at Chad's house. Brandon, Chad, and Doug head inside to scope out the location. After looking at every room, it is decided to utilize the kitchen and living room. Unfortunately or fortunately for Chad, it is noted nothing will really have to be changed to make this resemble a suitable home for Rob.

2:13 Jenn and Julie arrive. All equipment is brought inside.

2:20 The first part of the scene will take place with Brandon standing between the kitchen and the living room looking at a computer. The set is lit and small props are found to reinforce character. A candle will be present for Rob to light and the calendar (the required prop) will be hung.

2:33 Start shooting. There is no dialogue for this scene; just action and movement. Brandon will walk into the living room, to the bar, light a candle, check the web site, mark off the day on the calendar, look for his pen, check the online site where live video from the pen is viewable, close the computer, and then open the computer to take another look. It is a complicated scene, but luckily the camera will remain stationary. All pressure to pull this off rests on Brandon.


2:45 Luke sits at The Frothy Monkey drinking his eighth coffee in 24 hours. He begins sifting through hundreds of Garageband drum grooves in an effort to find one suitable for various Ellen's Diner scenes.

2:56 After a few long takes Brandon's scene is gotten. The close-up of Brandon marking off a day on the calendar is quickly shot. A decision is made to do the first and only exterior shot.

2:58 Outside Chad's place, there is a debate as to whose car to have Rob appear as if he is arriving home in. Chad's next door neighbor Walt's purple Cadillac is suggested, as is Chad's other neighbors' car, a sporty black Honda with red rims. Jenn and Luke's Jetta is eventually agreed upon. Brandon will walk from the car and then enter through the front door. It is going to be necessary to pan. The shot is gotten in six takes. On the final take, Brandon closes the front door hard and loudly locks the deadbolt, an ad-libbed testament to Rob's affinity for security.


3:12 Head back inside to get more shots. Todd calls Julie to let her know that he has emailed Chad some manipulated camera pen footage.

3:13 The team reviews the footage from Todd. Originally, Todd had been asked to manipulate the footage into something like security footage—black and white with jumping frames. The footage he's sent over is faded and looks like old TV. It's a perfect look, better than asked for, and everyone agrees this is the way to go. Julie calls Todd and tells him to send over the two other clips.

3:25 The first part of Brandon entering the house (from the interior) needs to be shot. He will walk down the hall and into the kitchen. There are shirts hanging, drying on hangers on a closet doorway in the hall. Doug tells Chad to leave them there.

3:37 Doug decides he wants to get an overhead shot of Brandon opening the refrigerator. Plus one looking straight on. And another as a close up. The empty pizza box is placed inside the refrigerator. Fortunately or unfortunately for Chad, nothing else in the refrigerator needs to be changed. The empty pizza box nicely complements the nearly empty outdated milk, overturned box of baking soda, and lone cup of yogurt. The shot will consist of Brandon opening the refrigerator, taking out the yogurt, and then going to the computer. Brandon asks if he can eat the yogurt when shooting is finished.


4:04 Todd calls Julie, letting her know the remainder of the camera pen footage is being sent. Jenn has also completed the fake website. Chad checks his email and the footage is received, then made ready to appear on the computer screen for the next shots. Reverse shots of Brandon looking at the screen are shot.

4:23 The next two scenes are to be shot with Brandon on the couch eating cereal and watching television. Brandon disappears upstairs and returns wearing one of Chad's shirts and a pair of Chad's boxers. Brandon later admits that while shooting these scenes he attempted to stick his gut out as much as possible. Wearing a shirt that's too small definitely helped the desired effect along.

4:32 Brandon must eat a bowl of cereal. The only milk in the house is a few days past expiration date. Chad gives it a smell and decides the gamble must be risked. A hungry Brandon doesn't seem to mind so much.


4:38 Start shooting the scene. Brandon improvs a spoon salute to the computer screen, an act that will become a classic of "Ellen's Diner."

4:45 Move on to the next shot. Brandon is to be watching television, with the camera offering the perspective of the television and Brandon looking straight into the lens. The lights are gelled blue. Various reflectors and diffusers are waved between the lights, but the desired effect eventually comes with Julie flickering the lights.

5:07 Preparations begin for the last scene. For the past few hours Doug and Chad have been discussing the possibility of implementing a dolly zoom when Rob realizes he's not talking to Rachel. The logistics are discussed, but it appears the shot will be unnecessary and a bit complicated.

5:16 It is decided that Brandon should "dress up" for this scene, Rob's call to Rachel/Kat. Chad and Brandon go upstairs to find some clothes. Chad picks out an ill-fitting and non-matching dress shirt and sports coat for Brandon to wear. They return downstairs and Brandon takes his place. Once again a computer masked as a prop will be used to supply lines.

5:29 Doug begins to design the lights for this scene. He attempts to create something that will compliment the fantastic lighting from Kat's scene. It is decided Brandon will be tinted in red with the candle burning off to the side.

5:47 Chad takes a look at Brandon and decides he is missing something. Chad goes outside and then returns with a flower. He places it on the lapel of Brandon's sports coat.

5:53 Start shooting.

5:58 Luke begins writing piano and guitar parts for the scoring of the film. He begins to fear that the score is starting to take on a distinctly techno feel. He stops working with the drum loops.

6:32 Doug wants to get a tight shot of Brandon's feet tapping nervously on the floor.

6:55 Word circulates that dinner’s on the way to Luke & Jenn's.

7:01 Doug suggests getting a close up of the flower while Brandon is wearing it. This sequence is to be used for the title screen.


7:11 Start cleaning up. Not knowing that Chad's disposal is not working, Julie dumps almost a full bowl of cereal into the sink. Brandon, who was originally using the disposal when it broke over a year ago, suggests that maybe all it needs is to be reset. It does.

7:33 Pack everything in cars and head back to Luke and Jenn's.

7:45 Arrive at Luke and Jenn's.

7:52 Doug's wife, Mim, and son, Graham, arrive with food for everyone from Baja Fresh. Everyone eats.

8:04 Todd informs Chad that he has imported what he discerned were the best takes. He jokes with Chad about his slating work.

10:00 It is decided that Todd will take Julie home and then head to Baptist to begin editing. Chad and Doug will join him after making a quick trip to the Hustler store to pick up some props. Brandon goes home to sleep. Luke remains at his house and decides to sleep.

10:20 Chad and Doug arrive at the Hustler store looking for some furry handcuffs. Doug, who claims to have never been there, seems to know exactly where he is going.

10:23 Many pairs of handcuffs to choose from. Chad and Doug pick out a nice zebra-striped pair and make their way to the check-out counter.

10:36 Chad pays for the handcuffs. As Chad and Doug leave, the cashier says, "Enjoy 'em, boys."

10:41 Head toward Baptist. Chad calls Todd to find out exactly where they need to enter. Todd gives directions and says he'll meet them outside.

10:53 Chad and Doug park in physician's parking at Todd's direction and meet Todd outside a side door at Baptist. Todd leads them downstairs to his editing suite, down the hall from the morgue.

10:54 Todd tells Doug he'll have to move his car to avoid being towed. Doug leaves, relocates the car to the seventh floor of a parking garage across the street, then returns. He calls Todd to gain entry into the secure building.

11:00 Todd has already begun editing. The short is looking great. Todd gives Chad and Doug a quick tour of the facilities.

11:13 Back to editing. Due to the sporadic and chaotic process that Chad has chosen for slating scenes, much of the footage needs to be watched in order to determine which takes are to be used. Todd edits as they watch.

Sunday - July 20th - 2008

12:02AM Luke has given Todd some coffee from The Frothy Monkey. Todd makes some coffee.

12:35 A break in editing occurs. The original "pen cam" footage is needed. It resides on Doug's laptop back at Luke's place. Doug leaves to retrieve it.

12:50 Doug arrives at Luke's. Luke is asleep on the couch, at least until his dogs, Vega and Mike, announce Doug's arrival to everyone living along the I-65 corridor.

12:51 Luke asks Doug how it's going. Doug says fine and Luke returns to the couch.

1:04 From his vantage point working at Luke's dining room table, Doug cannot see Luke but can see the TV screen. The screen is displaying a TiVo menu page for a "Scrubs" episode.

1:17 While dragging and dropping files from his laptop to an external firewire drive, Doug periodically dozes off for seconds at a time. He considers laying his head down for a quick nap but soldiers on.

1:26 The same "Scrubs" menu page is still visible on the TV screen. Doug silently curses Luke for sleeping.

1:55 With Firewire drive in hand, Doug returns to Baptist and calls Chad to gain entrance into the side door. Both Chad and Todd arrive to open the door, using the opportunity to take a break from editing. Doug utters two sentences to Chad and Todd. Todd looks at Doug and says, "Are you speaking English?"

The Stamina Tour

It's a funny thing. People often ask me if I've ever done anything like this Nashville 9 project before. My immediate thought is always "no one in their right mind would ever do anything like this." Then I remember that Chad and I did once tackle a project that had odd parallels to this one.

It was called "The Stamina Tour." Chad had super-long hair and a beard. He and I were working as a Painter and Maintenance Technician at a Hendersonville, TN apartment complex. It was back in Sept/Oct of 2001. I remember when we first moved to Nashville, we were trying to figure out a way to get our band to play as many shows as possible in as many places as possible- without having to take too much time off of work. We came up with this idea to do 60 shows in 30 days across 22 states. We figured we'd start in Nashville and end up in New England. We did the whole thing to raise awareness of an often misunderstood condition called "Chronic Fatigue Syndrome" - more specifically CFIDS.

We would drive ourselves. We would set up and break down our own gear. We would sell our own merch. We would even book the entire tour ourselves. We rented a van- then wrapped it. We were a band then- Jordan's Wake. We were trying to sell our newest albums: "Lip," and "The Best I've Disappointed." People thought we were crazy. But on September 19th 2001, me, Chad Morgan, Brandon McDonald, and our drummer Jason Hintz hit the road. We played 2 shows per day for 30 straight days (over 12,000 miles) and actually broke even on the trip! It was one of the most memorable experiences of my life. I realized that the preparation and build-up for the "Big Project" ended up being significantly harder than the project itself.

My one biggest regret of that project: No one knew we did it. Sure, the colleges and venues knew we were there, but thats about it. Such a great idea and we never got the word out. This time, I really hope to avoid that mistake. Thank you to everyone who was a part of that Stamina Tour...and thank you to everyone who is a part of The Nashville 9. This project is bigger, crazier, and even more daring than the last one. But if you're wondering if we're going to go through with it...take heart and know we've got a good track record!

This is us (Jordan's Wake) with member of CFIDS about half way through the tour. We had a chance to play at Amos' Southend in Charlotte, NC.

This is Jordan's Wake. L-R: Jason Hintz, Luke Sheets, Chad Morgan, and Brandon McDonald

This is the route that we took for The Stamina Tour.

--Luke

blogged down in San Diego

Let my first blog be an explanation of my love for Nashville. I grew up on Cape Cod, spent year and a half in Romania, seven in Boston, my last two in San Diego, and am on my way to NY or LA. Yet, somehow this city keeps dragging me back. I'd like to say it is the hospitality, or the music, or even the beautiful women (Jenny Moss being the most beautiful), but I think it is something that lives in the intestines of The Music City. I can't say I have ever met a person there who has failed to make there life a story worth hearing. Whether you fail, succeed, reinvent, or move on, it seems that you all find a way to make it interesting. Because of that, there is always a chance to learn something in Nashville and because of that I haven't met many defeated people. If a person's story can interest you than they are never done. The Nashville 9 is the best idea I've heard in a long time.

The 48 hour film festival is a perfect example of this. My two best friends, Chad Morgan and Luke Sheets left Boston years ago as quality people and quality artists, but thanks to your city, they are even more interesting than ever. Throw Brandon into the mix and I'm not quite sure they can be stopped (I mean, did you see that mustache). Add in a set of headphones, some whisky, and a few good stories, and I'll be happy to spend my November in Nashville, Tennessee.

48 Hour Film Project - Part 2

A blow-by-blow retelling of The Nashville 9's 48 Hour Film Project weekend...

Saturday - July 19th - 2008

2:05 AM It's a relief to get the first shot out of the way. Any tensions ease and the team cranks everything up a notch.


2:42 The first setup of the first scene is completed. Area nightclubs start letting out. Residents start returning home through the Encore foyer. The team works hard to keep the pace moving, allowing residents to pass through the set between takes. Two inebriated couples enter but refuse to pass through the set toward the elevators despite repeated opportunities. Eventually they explain that they are not residents, but simply came inside to see what was being filmed. They leave.

2:45 A later scene that also uses the Encore foyer—Rob's call to Lance—is set up. Although it has not been determined where to use the required line of dialogue ("My brother had one just like that"), the team decides, as a joke, to misuse the line periodically within the short before ultimately using it correctly. Lance gets first crack at it.

3:15 Brandon returns with props (cordless phone, day planner, pen). He spent $28. He doesn't give back any change. Granted, he did tell Chad he would only need $30.

3:30 Doug realizes that the wide angle lens is still at Luke's house. Luke departs to retrieve it.

3:40 All foyer shots are complete. The team moves back upstairs.


3:45 Hall shot. It is decided this would be a perfect time for a dolly. A baby pram is broken out. The 4'x2' "slate" is placed over it. The tripod and camera are placed on top of that. Test runs show that this is going to work out great. Brandon pulls the "dolly" to match the speed of Michele as she walks down the hall to her doorway. Doug follows the dolly, with Chad, Luke, Jenn and Jenny behind. Brandon puts a mark on the floor so he knows where to stop to correctly frame the shot wherein "Rachel" and "Kat" meet. Luke is handling the boom and mic. His jeans swish too loudly on one take. Later, while reviewing the footage, editor Todd will point out that the shadow of the boom is plainly evident in this scene as each hallway light is passed.

3:46 Chad, having already slated the foyer scene as Scene 1, remembers that this hallway scene is actually the film's first scene. With the actual "slate" being used as part of the rigged dolly, he audibly slates this scene as Scene 0.

3:59 Dolly shots are complete and are a success.

4:05 With the camera's first battery running low on juice, Doug is unable to locate a second battery he rented. It is suspected that it is at Luke's house, but Luke has since returned with the wide angle lens and the team decides to make do with AC power. The wide angle lens is never used in filming.

4:17 The Great Debate begins. Whose scenes to shoot first? Michele has to work at 4 pm the next day. It is decided to shoot her first.

4:23 The team moves into Chan's corner unit. The city and sky look amazing through Chan's huge windows. White-balancing the camera for the tungsten rental lights shifts all the industrial lights outside to a deep blue. Perfect for the color scheme already established. Chan is in bed. Attempts are made to be quiet, but those are thrown out after 5 minutes.

4:25 The script is still not finished and these lines—Kat's phone conversation with Rob—cannot be improvised. A mad rush is made to finalize at least this scene. The sun will be here in less than an hour.

4:33 No time for Michele to memorize her lines. She reads them from a computer made to look like a prop.


4:37 The connection between the two main characters will be sparked by nostalgic memories of the same breakfast establishment. The restaurant needs a name. Brandon throws out Ellen's (his mother's name) Diner. Perfect.

4:38 To stay awake, Michele starts drinking Coke. The crew must wait 5 seconds after every drink for her to belch loudly.

4:45 The team can't get over how great it looks outside through the camera.

4:50 At this point, the crew repositions in Chan's place for a scene involving Rachel borrowing sugar from Kat. This scene will later be cut from the story, but for now it is shot. The slate hasn't been used for nearly an hour. Chad, working on the fly, begins to do his best to develop some sort of scene/shot order. Scene 4 is followed by Scene 4 1/2. Scene 4 15/16 is soon reached.

5:16 One of the actresses notices that the time on the stove's digital clock, which is visible in the next shot, isn't appropriate for the time of the scene. It is adjusted. Seconds later, the crew realizes there are also digital clocks on a microwave and a coffeepot that must be corrected as well. Clocks are changed. This strict bowing to continuity will later turn out to be all for naught, when it is realized in final footage that Luke's face can be seen in the reflection of the perfectly time-synched microwave. This can certainly be chalked up to a rookie mistake on Doug's part. It should be noted however that both people handling Continuity were, at this time, asleep in the next condo over.


5:23 Shooting begins on the "borrowing sugar scene." Although this is designed to be the climax of the entire short, there is still little knowledge of how get to this point in the script, let alone come out of it. It is decided to continue shooting. Continuity will be addressed in the next scenes.

5:33 It's starting to get light outside. Luckily all shots that are facing the windows in Chan's place have been completed. Still, the approaching dawn is beginning to wreak havoc on lighting.

5:38 Still haven't gotten in a correct reading of the required line, "My brother had one just like that." It is decided that this line, when used, will increase the connection of the two main characters. Both Rob and Kat will have brothers and both brothers must have "had" something similar to an object that resided at Ellen's Diner.

5:41 Michele suggests a stuffed alligator.

5:42 For some reason everyone agrees with her.

5:44 Michele will say the line as she is walking back from the front door to the counter.

5:53 After three takes she delivers everything perfectly—except for the required line.

5:54 Chad informs Michele that if she doesn't get the line right they are going to get kicked out of the competition.

5:55 The next take is perfect. It's a wrap for Michele.

5:56 Everyone heads back to Jenny's condo. Jenn and Jenny act as if they haven't been sleeping for the past half hour. They fool no one.

5:58 Michele lies down on the couch.

5:59 Michele is asleep.


6:04 Missy asks if she can go home and let her dog out or if she should stay, get her scenes shot, and then go home. Chad decides to send Missy home now, knowing they need to get Brandon shot, home for some sleep, and back for shooting later in the day. Missy leaves.

6:07 Work begins on Brandon's scenes inside Rachel's apartment. Sunlight is no longer a problem as these scenes take place during the day. The original idea was to have Rob Hatch be a bumbling, comic character. This would explain his leaving the camera pen inadvertently in the condo. A decision is made to instead make Rob a sympathetic, near pathetic character and to explain his leaving of the pen with a distracting phone call from his boss.

6:33 With no actual security system to work with, Brandon improvises. During a shot in which he opens and inspects the electrical panel, Brandon unexpectedly flips a breaker off and on. After Chad says, "Cut," Doug asks Brandon, "You do realize that you could have cut power to the camera, right?"

6:51 Missy returns.

6:53 Rules dictate that a maximum of two cameras may be used. Luckily, Chad has his small Sony DCRPC350 with him. It is decided that this camera will serve as the camera pen, and the resulting footage will be converted to black-and-white in post-production to give it a security camera look.

7:24 Brandon is getting tired. He says he's leaving in 8 minutes. Doug has a great idea to do a selective focus shot, beginning with Brandon exiting through the door and ending with the camera pen still sitting on the counter. It's a little difficult to pull off, but after four takes, they get it.


7:35 Brandon's still here. His scenes are near finished, or so Chad keeps telling him.

7:42 Brandon is finished and Chad releases him. Brandon has no car at the Encore, so Jenn volunteers to take him home. She also volunteers to fix pancakes for everyone at her and Luke's house. Unfortunately, it doesn't look like shooting at the Encore will be finished any time soon. Jenn and Brandon leave. Brandon, who has a license to carry a concealed weapon, accidentally leaves his handgun on Jenny's counter.

7:43 The group starts shooting Missy's scenes. Missy is wearing clothes used in the "borrowing sugar" scene. She is asked to change back into her "work" clothes. As she changes, it is remembered that some needed shots of her in her previous attire should have also been picked up. Surprisingly, though, little time is wasted when Missy, in a feat rivaling Superman, changes in roughly 20 seconds. Once again Missy is asked to improv her lines. It is also decided that this would be a good place to again misuse the required line and it would be another nice opportunity to utilize the camera pen. The shot is completed, but after 7 takes.

8:23 Time is running short. Jenny's brother will be at her condo in less than 4 hours to tear out the carpet and put in new floors. The crew must be out by then and cannot return for any pickup shots. The next few hours are going to prove difficult. There is no script for this part; just some vague ideas about camera pen footage. Also, the daylight is really pouring in the windows, and Jenny's floor-to-ceiling wall of windows, although a great selling point for her condo, are going to prove hell on a crew trying to shoot day for night. Doug lies down on the ground.


8:25 Chad lies down too, so as to better talk to Doug about what they are going to do.


8:27 Jenn returns with a dozen glazed Krispy Kreme donuts.

8:31 A sort of plan is drawn up detailing which pen shots to try.

8:33 Michele is moved from the couch to Jenny's bed. Michele continues to sleep.

8:35 The first shot will be of Missy eating cereal. The Sony camera is placed on the refrigerator, shooting toward the counter. Real cereal is used. No audio is needed for this camera pen shot, and Luke later notices in the final film that the boom pole and mic are resting in plain view behind Missy during this scene.


8:41 The next shot proves to be a little more tricky. The pen must make its way from the counter to the refrigerator. Missy will start writing on a pad while seated at the counter, remember something, put the pen behind her ear, get up and walk to the refrigerator, take the pen from her ear, write on a pad on the refrigerator, and then place the pen on top of the refrigerator. The logic and logistics of this sequence somehow make perfect sense to everyone.

9:00 Chan wakes up in his apartment only to realize that all of his kitchen clocks read 3:48 pm. He begins to panic, fearing that he has missed an important 1 pm pool party. After a disorienting moment, he silently curses The Nashville 9.

9:11 Getting the camera pen's point-of-view angle to look correct from behind Missy's ear is proving harder than originally thought. Also, not as difficult as time consuming and tiring is the shooting of scenes featuring Missy from the camera pen POV and with the Panasonic DVX-100B. Most shots are tried at the same time.

9:37 The small things really count. A brainstorm by Jenn, Jenny, and Missy results in pictures of Missy and her friends on the refrigerator. A nice touch that really adds a lot.

9:44 Missy is asked to change clothes again. She puts on her pajamas. A debate stirs. Originally, Missy was to be in all neutrals or light pastels. The shirt she is now wearing is too dark. A compromise is made to shoot these scenes sparingly and while she is moving. The camera pen is arranged on the counter to get shots of Missy walking through the condo. Missy opens the fridge, carries laundry, and runs around the condo.

9:56 Sunlight is really becoming a problem. Up to this point, most shots have been away from the window, but now the camera must face a part of the room near the window. A scramble is made to hang blankets and darken the room as much as possible. The lighting situation is creating some horrendously unnatural shadows. Jenny produces every comforter, blanket, and large towel that she owns. Doug works furiously and near wit's end to resolve the situation. Missy changes clothes.


10:11 It's less than two hours before Jenny's brother arrives and the lighting issue is not looking promising. This is the tensest the set has been the entire shoot. Luke tries to bring some needed perspective to the situation by instigating a discussion to determine what shots are being attempted, what shots are needed, and what shots can realistically be filmed before noon. The crew stops and takes stock.

10:15 Chan appears, looking for sugar.

10:33 With the windows blocked and several lights, reflectors, and diffusers strategically placed, the lighting situation has become much more manageable. Just a few more shots left to go.

10:37 The group engages in a quick brainstorming session on how Rob and Rachel can live a shared existence while remaining apart. The idea of watching the same television show at the same time is agreed upon. Missy, after another wardrobe change, sits on the couch and pretends to watch the game show Jeopardy. She shouts out several questions. One key question is needed that she and Rob can both exclaim simultaneously. Luke suggests "What is the Rubicon?" Perfect. There's definitely no turning back, now.

11:02 Less than one hour before Jenny's brother arrives.

11:05 This will be the last sequence of shots. Rachel is to arrive home, answer the phone, and lounge on the couch. The entire sequence is to be captured with both the DVX-100B (in a panning shot nonetheless) and the DCRPC350.

11:19 After 5 takes, the first part—Rachel entering, answering the phone, walking to the couch, removing a guitar, and sitting down—is complete. Begin second half.

11:20 This scene must make it apparent to Rob that he is talking to Kat and not to Rachel. Originally, this realization was to have taken place with Rob overhearing Rachel ask Kat for sugar while viewing an empty screen. Since this Rachel and Kat sugar exchange—shot, but decided upon by the team not to be used—has been thrown out, it is determined that Rachel will still be without sugar, will get up to get more, will leave the phone on the couch, and will exit the shot while Rob continues to talk to Kat.

11:31 Less than one half hour before Jenny's brother arrives.

11:44 Last shot is complete and it's a wrap for Missy.

11:45 The group starts packing everything and heading downstairs. Chad says he'll take Brandon's pistol with him.

11:49 Chad leaves without the pistol.

11:51 Chad is confronted by a parking attendant, seeking $10 for Doug's car being parked in the lot. Chad talks his way out of paying for the time being.

11:54 Luke and Jenn make their way downstairs with the rest of the equipment. Doug wheels the baby pram full of equipment from the Encore building to his car. The parking attendant lurks nearby. Among the items in the pram is Brandon's gun. Coincidence or not, neither Doug nor Chad is approached again by the parking attendant.

11:57 The team piles into cars and returns to Luke and Jenn's to regroup and plot the next move. Time remaining till deadline: 19 hours, 33 minutes.

And you thought November was going to be crazy...

Hey, did everybody hear that Luke, Jenn, and Brandon went skydiving?

Way to not steal any thunder from the project, guys.

I may need you all to do this again, but with a script and Ken Renales.