I always give every member of the crew a list of ingredients for the project at hand. Drivers, PA's, AC's, Boom, etc. all get one. As Doug Arne likes to say, "All for One, One for All". So, I thought I share it with you.

BIKERCHEF 351
LIST OF INGREDIENTS

PHILOSOPHY:

The show is about people, love of life, celebration of differences, beauty in man-made machines, Zen of the road, being in the moment.

Spontaneity is the key. Charles Ives once told us to get our ears out of the easy chair

It is about finding harmony in extremes, in differences, Yin & Yang. It is also about making whole discoveries out of separate halves. Macro/Micro relations. Internal/External relations.

Actions, Story points, and Sense of Time need not be literal, but must always be ORGANIC.

Humor is the spice of life.

Cooking is the greatest act of love one can do for his fellow man. We take that for granted.

BREAKING BREAD. LAST SUPPER. GIFT GIVING.

HIGH ENERGY, KINETIC, SWOOSHING, FREQUENCY 2000,

COMMANDO CREW ETHIC, BUT WITH ARTISTIC SENSIBILITY.


SHOT LIST SYNTAX:

BIKERCHEF VISION.

BC, SOUS, OTTO COOKING AS WELL AS GUEST ENJOYING THE FESTIVITES.

1. FISH EYE.

2. DUTCH ANGLES.

3. EXTREME ZOOM WIDE TO SNAP ECU.

4. RACK FOCUS.

5. SPEED CHANGING. FAST TO SLOW IN A FLASH.

6. SWOOSH PANS. TURNING ON A DIME.

7. FREEZE FRAMES.

Note: These motiff shots should be established and used for important story points before we go into complete BC Vision at end.


BIKES ON ROAD.

1. CAN BE BROKEN DOWN AS TAKES. WE SHOULD DO NO MORE
THAN FOUR TAKES. IT’S IMPORTANT NOT TO EXHAUST BC, SOUS, & OTTO BEFORE INTERVIEWS.

2. MUST ALWAYS BE SHOT AS BEAUTY SHOTS. CHRONOLOGY OF TIME IS NEVER AN ISSUE. THE LANDSCAPE, THE BIKES, THE JOURNEY IS TIMELESS.

3. TWO CAMERA FRONTAL. B CAMERA WIDE, A CAMERA PANNING
SINGLES.

3. TWO HANDHELD FRONTAL SINGLES.

4. SIDE ANGLE WIDE AND B CAMERA TIGHT.

5. JOHN BRITT 3/4 Shot

6. V-MAX HANDHELD SHOT.

7. TRIPOD VISTA SHOTS. BIKES COMING AT US, SWOOSH PAN AS THEY LEAVE US.

8. HELICOPTER WIDE DOWN ON BIKES. GOD SMILING ON THE DEEDS.

9. MAGIC OPERA SHOT.


LOCATION SET UPS AND EXT. B-ROLL SPICE.

1. PAN TILT OFF GROUND OR DOWN FROM SKY INTO WIDE MASTER OF
IMPORTANT TOME LOCATION (GOAT FARM, ETC.)

2. CLASSIC WESTERN FRONTAL WIDE TO CLOSE DISMOUNT SHOT. BC,
& SOUS WALK ON OPPOSITE SIDES OF CAMERA.

3. B- CAMERA QUICK HANDHELD OF BC GETTING OTTO OUT OF SUN AND GIVEN BOWL OF WATER WHEN NEEDED. BC & SOUS PREPARING FOR ENTRANCE.

4. B-ROLL TEXTURE SHOTS OF LOCATION. SET THE STAGE, FIND THE
EXTRAORDINARY IN THE ORDINARY. ALWAYS THINK EXTREMES.


INTERVIEWS -CINEMA VERITE STYLE

1. A CAMERA ON BC & SOUS, B CAMERA ON INTERVIEWEES. IT’S ALL
SPONTANEOUS, CAMERAS MUST BE FLEXIBLE TO CATCH THE
MOMENT. YOU DO NOT HAVE TO ALWAYS STAY ON A FACE.

2. B-ROLL. AMERICA MOST WANTED REENACTMENTS OF THE INTERVIEWEE IN THE PROCESS OF DOING THEIR THING.

3. CANDID STAGED SHOTS OF SOUS AND BC LISTENING TO INTERVIEWEE.

4. SLOW ZOOM IN ON BC EYE TAKING IN INFO. CAN BE USED AS
TRANSITION.

BIKERCAT JOB

1. RAT POV OF OTTO ENTERING LOCATION AND LEAVING.

2. HUMAN POV DOWN ON OTTO WITH INVITE.

3. OTTO POV UP ON INVITEE.

4. FAUX PAW INSERT SHOT.

LAST SUPPER SHOT. SLO MO

1. WIDE WHOLE TABLE FRONTAL. BC AND SOUS BRING FOOD TO GUESTS. B CAMERA TIGHT GETTING BEAMING FACES, ETC.

OPENING/CLOSING SHOT

1. WIDE TELEPHOTO COMPRESSION. LAWRENCE OF ARABIA SHOT.
BC & SOUS RIDE FROM THE DISTANCE TOWARDS CAMERA OR
LEAVE CAMERA FOR EXIT.

2. STOP IN MIDDLE OF ROAD TO LIGHT CIGAR. EXTREME WIDE TO
TIGHT CLOSEUP. SERGIO LEONE OR REVERSE. LIGHT CIGAR UP CLOSE THEN RIDE OFF INTO DISTANCE.

EXTRAS:

1. OVER BC ON TOME AND OTTO.
2. BC GETTING SIGNALS FROM TOME RADIO.