PARIS YOU GOT ME (2018) test

It is also the diploma of our production designer Marian – here you can see him buiding up the set for 3 weeks

And the rooftop scene  is also the Baby of our VFX Supervisor Marc Zimmermann he turned the green studio into the wide rooftopworld  of  an industrial Paris setting.

This was also the most ambitious scene concerning the part of tracking, setextension 

For this part we also  had to practise the choreography of camera with the dancers –

It is a 1 min plansequence without any cut. Where everything needed to be perfect and right in time 

ShootingDay Rooftop Scene
This was the most ambitious Filmset as our production designer Marian Korenika had to built up the rooftop set in 3 weeks

Preproduction Rooftop Scene
Concepting the Rooftop Scene with the team (DoP: Dominik Moos // Production Designer: Marian Korenika // Director Julie Boehm // VFX Supervisor: Marc Zimmermann). We wanted to built a scene of an industrial Paris setting between the two Wold Wars.

Here are some photos of our shooting day here at the Bärenwiese
As there was no shop next to the park we had to combine it with a shop in downtown of Ludwigsburg

It was a quite sunny day– so there were lot of shadows and reflections on the illusion painting too – so I had to do some retouching afterwards to keep the illusion effect    

For the preproduction I did a lot of iterations planning the illusion painting . It is an ANAMORPH PAINTING what means, you can only see the dangerous abyss / the artwork from the right positon.
A Symbol for the misunderstood artist.  

This is in Berlin – with my art colleague Enrico Lein where we painted the illusion painting

Concepts – this epoques starts with a dark hallway, where the protagonists communicate by tapping on the floor. The sound waves deconstruct the room.

The intro shot is full CG Environemenet and was created by VFX Artist Aleksej Skrypnik. The rest of the cubism was life action filming in the set of our production designer in the albrecht ade studio

There is also a mattepainting behind Ksenia to enlarge the scene.

In the epoque of the cubism it is all about deconstruction: There is also a dance battle in the end with a follow spot (moving lights).

Photos of the preproduction

Score

The film was already shot with pre-produced music so the dancers had a better feel and also the proper tempo for each specific scene.
Later during winter 2017/2018 the demos were replaced with the final score of our film musician MARIUS KIRSTEN.
The recording sessions took place in Budapest (Budapest Scoring Orchestra), Switzerland (accordion) and Los Angeles, where we were lucky to get Johnny Britt, who played the trumpet in LaLaLand, too.
The score was also mixed in Los Angeles by Wolfgang Aichholz.

It was very tough production including a crowdfunding campaign.
After the shooting we were very grateful to win the Caligari Production Price.
So finally we could afford a real music orchester.

One of the hightest awards for our film was winning the “Best Score in a Shortfilm” for Marius Kirsten at the “Deutscher Filmmusikpreis” in 2019