We hit some pretty major snags yesterday. The entire day centered around only two shots, both of which went spectacularly wrong, with a major continuity error on one and an effects gag that failed to perform as required on the second. But we got what we needed for our VFX wizard Trevor Harris to fix the latter digitally in post-production, and because we are so far ahead of schedule, we were able to reshoot the other scene today.
It’s a testament to our amazing cast and crew that things are chugging along so smoothly. Even when we get thrown a serious curveball, like we did yesterday, we’re able to roll with it and get what we need.
Today we had our first special effects shot of the film.
We’re incredibly lucky to have Everett Byrom III as our special effects supervisor. Everett’s worked on dozens of major films, including Dante’s Peak, Armageddon, Jurassic Park III, and the Spy Kids franchise. And true to form, he knocked it out of the park.
We won’t go into too many details, but we got the whole thing in one take, kept everything safe, scared our neighbors from half a mile away, and left a heck of a mess for our art department to clean up:
Mother nature strikes again. The gloomy weather on our first day of shooting in Austin couldn’t even compare to what awaited the Found Footage 3D cast and crew upon arrival in Gonzales, TX. Due to the remote location of our primary set, the only way to get there is via mostly-unpaved country roads. It turns out that these roads are extremely susceptible to flooding, meaning that the extremely heavy rainfall from the previous day had essentially turned them into small rivers.
So what did we do? We drove straight through them, of course.
Picture’s up on Found Footage 3D! Early Sunday morning cast and crew arrived at the home of our Executive Producer Joe Woskow in Austin, TX, which was our first location (Derek’s home). Despite the grey weather and a few delays, the hard work of the cast and crew kept production ahead of schedule and then some, letting us shoot an extra two hours of improv scenes.
Charles, Steven, and our DP Drew Daniels figure out how we’re going to light this spot at night from two hundred yards away. You know, without making it look like we’re lighting this spot from two hundred yards away.