2:23–2:48Final ChorusVoid — arms spread (wings plate for post), pull-back
⚖️ Concept · Two Worlds, One Song
The Shoot = Two Scenes
Two setups, each with heavy coverage — cut against each other in the edit.
Scene 1
The Void
Spiritual prison. Extremely dark, backlit, silhouetted, cold blue-teal, heavy haze, crushed blacks. Held → released → risen (wings in post).
Scene 2
The Living Space
Real life. Over-the-top dramatic living room, extreme contrast, heavy bloom, warm gold, red-drape accent. Stillness → the verse → letting go, sung direct to lens.
❄️ Look Dev · Scene 1
The Void — The Look
Light to this. One hard top-beam through thick haze, camera on the shadow side. She stays near-silhouette — rim light reads her, never a flat key. Protect the blacks. Cold blue-teal throughout; the only warm light allowed in is the altar candles and the wing-gold at the payoff.
Push it dramatic. Blast the window and let it bloom, keep the haze thick, crush the shadows to nothing. Warm gold key against cool shadow, red-drape accent in frame. In the breakdown the room strips bare and the grade cools for the ending.
THE VOID · HELD — posture-held in the beam, the struggle, the release (acted), the book · song 0:26–1:27
🎞️ Scene 1 · Board B — Risen
THE VOID · RISEN — the open book, letting go, she rises, arms spread (wings plate for post), pull-back · song 1:27–2:48
🎞️ Scene 2 · Board A
THE LIVING SPACE · REAL LIFE — sleepless on the couch, the book, sings direct to lens · song 0:04–0:50
🎞️ Scene 2 · Board B
THE LIVING SPACE · THE PAST — the verse in the pocket, optional photos, prayer, light killed on cue · song 0:50–2:48
📋 On Set · Non-Negotiables
Director's Notes
1
Two looks, protected.Void = cold, dark, backlit, hazy. Living space = warm, contrasty, blooming. Never let them bleed into each other on set.
2
She holds her mark — the camera moves.Beam center in the Void; couch/coffee-table in the Living Space. No crossing the room; endings are camera pull-backs.
3
She only sings to lens in the marked setups + eye close-ups.No mic — direct address. Everywhere else the camera is unacknowledged.
4
Haze in every setup.The beam and the bloom only exist because of atmosphere. Keep the hazer running.
5
One prop: the book.Plus optional loose photos if the studio has them. Everything else — wings, pages, environment — is a post pass; the boards show the clean capture.
6
Emotional arc.Void: held → released → risen. Living space: numb → grief → letting go. Both land on release.
🪄 Post Vision · After the Shoot
The Effects, Over the Top
Nothing here is shot on the day — these are the comp targets, built from the final boards. V-B9’s clean arms-spread plate grows the wings; the page-storm lands over the Void’s high-wide.
V-B9 + Post
The Wings
White-gold wings unfurled from her spread arms — gold rim through the feathers, loose feathers drifting the beam. Comp over the clean plate.
V-A9 + Post
The Page Storm
Hundreds of torn pages swirling down the shaft like slow snow, catching the cold beam, settling on the wet floor around her.
🎞️ Post Board · FX Pass A
FOR THE EDITOR · THE PAGES — comp examples over the clean capture, source setup IDs per frame · song 0:26–1:38
🎞️ Post Board · FX Pass B
FOR THE EDITOR · THE WINGS — gold earned from 1:52, wings over the clean V-B9 plate, light-flood ending · song 1:38–2:48
✅ Ready for Tomorrow
The Shoot, at a Glance
2
Scenes / Looks
4
Board sheets
40
Setups covered
2:48
Runtime
Full-resolution boards and the two look-locks live in the project folder. AI effects — wings, page storms, environment — are a post pass; tomorrow is real camera, real light, real performance.
SHOOT DAY · JULY 18
The Plan
One space, no company moves. Vista Prime Studio · load in/out 9a–9p.
9:00ACall · Load inDrive to the studio, arrive by call time, load in.
AMScene 1Plan and shoot Scene 1.
MIDLunchRaven runs for lunch — funds provided by the director.
PMScene 2Plan and shoot Scene 2.
by 9:00PLoad outWrapped and out of the building.
C
Cassy (Artist) — wardrobe, makeup, your own props beyond the studio supply: books you can shred, photos (framed or not), personal effects. Bring (or find someone to bring) a Bluetooth loudspeaker.
S
Stan (DP) — bring everything. Shooting anamorphic — your current camera is fine. Bring a laptop; the director brings a USB-C solid-state drive for transfer.
T
Tyler (Crew) — supplemental lighting and grip staged in the car — only comes in if we need to poke a light in a corner or Stan's kit taps out.
R
Raven (Crew) — float for Stan, Tyler, and the director; lunch run when it's time.
Leighton Silvestro
Director · 813 454 5592
Vista Prime Studio
956 Jack Calhoun Drive · Kissimmee FL 34741
July 18 · 9a–9p
Load in / Load out
FOR STAN · OVERHEAD PLOTS
Lighting Diagrams
The two builds, from above. Full recipes, ratios, and haze discipline live in the DP Lighting Guide.
SCENE 1 · THE VOID
One hard top-beam over her mark + backlight through haze. Nothing else — the dark does the work. V-B9 shot clean as the wings plate.
SCENE 2 · THE LIVING SPACE
Window blast through sheers is the key; amber practical for depth; red drape kicks the frame. Key-kill on cue closes the video.
