PREPS & TESTS

Preliminary set-ups and experimentations for the real thing...

Here is a test shot of an idea featured in my storyboard in which I imagined a low angel from below as Tobi and Maz drag the slab in the mill up before entering its depths. By laying a Manfrotto reflector frame across two background stand kits we projected a stock image of some rafters to the underside of the reflector. Then by placing a section of wood with a square hole cut into it between two tables directly below the reflector, we positioned the camera pointing upwards underneath the hole using a low hi-hat tripod to let the camera to rest as close to the floor as possible...

Kian's mood boards...

Based on the lighting styles above from The VVitch (2015) and The Witcher (2019) the following clips show us trying to recreate similar tones for the bedroom scenes using Tungsten lamps and the Blackmagic Ursa 4.6K camera...

https://filmfreeway.com/projects/1909200

https://filmfreeway.com/projects/1909203

A special effects test shot produced by Jake Mowat depicting how the billowing smoke might look when Tobi and Maz escape from the village as Coryn and Elise burn at the stake...

Finally, below is an Animatic I produced to give a sense of how the individual components may come together in the scene where Tobias and Mazarine discover the buried artifact. The clip uses a rough musical sketch by my brother Louis Carr, voicework by Jake Mowat and Tilly Warburton and sound recordings taken from the actual location at West Soar...

I have asked my brother Louis to compose the score, passing onto him a handful of mood tracks taken from film scores including the two from The Blood on Satan's Claw and The Neon Demon that I used in my mood reel. The soundtrack will contain two distinct pieces: one more traditional and the other driven by a pulsating synth rhythm, but both subtly related in theme somehow via chord structure or shared melodic cue.