Dream Dare Do

Previsualization

Dream Dare Do

Previsualization

We see...

A dark, hollow, empty space. A corridor. A silhouetted figure walks alone. Coach is deep in his thoughts as he walks down the tunnel. He stops at the edge of the field. Lights on. Revealing Notre Dame Stadium. Empty. Asleep. Coach walks out to mid field and gazes out at the expanse. Cut to glimpses of game moments, like dreams in his mind’s eye. The past. The journey.

Heart + Stories + Dreams + Why + Future

Home . Heart . Past . Roots . Exclusive . Private. Notre Dame . Drive . Desire . Mentors . Faith . Dreams . Tradition . Students Difference . Purpose . Fans . Why . Fear . Path . Want . Motivation . Values . Coaching . Stories . Mission . Future . Academics Fit . Identity

Links to reference material to help visualize mood, theme, and style.

Links to reference material to help visualize mood, theme, and style.

30 for 30 Kings Ransom - Better quality here on Netflix if you have a Netflix account.

For scene in empty stadium/space. Inner dialogue--a coach’s private head-space. Just the beginning, opening scene of Wayne Gretzky revisiting his old arena. A place that holds so much meaning for him.

I Am Second - Jeff Fisher and Shawn Johnson

For authentic reflection and possibly the look of the "voice over" studio set with each coach. A setting that is a little surreal; the inner-dialogue, the coach's intimate and personal head-space. Also notice below some reference frames from the Tony Dungy - I am Second video.

For mood and, if we want to go with a 'hyper-real' concept for some settings and flashbacks. Love the editing style and pacing. Also LOVE the sunlight at twilight (late golden hour) of the outdoor pool scene. This is the twilight look we want in the stadium with Coach Kelly. The high and wide 'dark pool' scene might be too hyper-real as a look or style for our concept.

Concourse scene. Coach walking. silhouette or dramatic lighting.

Gate Scene. The ‘gate’ the men’s bball team uses to enter the court. Coach walking, arriving/entering the court.

Court scene. Coach walks to sideline and stops to look around. Then a lighting change? Then coach continues to stroll out onto court. Stops at center court.

Coach leaves. Empty arena. Lights out. (may or may not use this in the final edit, but it would be good option to have in the can for a transition or final denouement.

8:30 AM Crew arrives, walkthrough and load-in

9:00 AM Court Scene Setup - Coach walks in from "Gate" or concourse. Stops at sideline. Walks out to center court and stops to reflect.

10:00 AM Gate Scene Setup (if time allows) - Coach walks from concourse to the "Gate"; the opening tunnel that the players come out of to enter the court.

NOON break for lunch (on your own)

1:30 PM FIM crew setup studio for Brey

2:30 PM Brey arrives at FIM studio

3:30 strike studio set.

4:30 PM Setup Concourse Scene & final rehearsal & screen test shots

6:30 PM DINNER BREAK

7:30 PM Brey arrives at Purcell (crew in position and ready to roll film)

8:30 PM wrap.

Jodain - Executive Producer

Dustin Maust - DP

Adam Tarwacki - B-Cam/Ronin

Joel Graves - C-Cam/Focus puller/Grip

Cody - Producer/Director

Jeff Myers - BTS photog/Grip

4:00 Crew arrives to setup.

8:00 PM Muffet arrives at Purcell to begin filming.

9:00 PM Wrap.

Gate Scene. The ‘gate’ the women's bball team uses to enter the court. Coach walking, arriving/entering the court.

Court scene. Coach walks to sideline and stops to look around.

Upper concourse and gate walking in and then down to lower seats

A "sea of blue seats". Coach sitting alone in the bleachers.

Team bench where coach is pacing, crouching, sitting.

6:30-8:30 PM. Rehearsal with small crew. Need tunnel lights turned off. and concourse lights turned off. and will need to turn stadium lights on and off using cues from the shoot director (cue stadium lights via walkie talkie or cell phone).

5:00 PM. Crew arrives at Stadium to set up cameras and lights (not huge lights—just a few—probably in the tunnel and in the concourse). Need tunnel lights turned off. concourse lights turned off, and will need to cue stadium lights on and off via walkie talkie.

7:15 - 7:30 Coach Kelly and Beth arrive at FIM studio to record chair conversation.

7:35PM Coach Kelly and Beth arrive at stadium to film B-roll scenes.

8:00 PM wrap.

Concourse scene. Coach walking alone. Slow, contemplative. As if 'discovering' this space.

Gate scene. Coach walks through Gate 11 stops at top of ramp and pauses to 'drink it in' and reflect. He sees great moments from the past in his minds eye.

Bleachers at the 50 yard line. Coach has a seat--a rare moment alone. though it's rare for him to be in the stands, he enjoys the different perspective. And so he becomes more introspective. Problem solving. A positive moment.

Tunnel to the field. This is his world. The familiar. But tonight, it's not lost on him. He takes it slow and enjoys each step as he walks down from the gate to the turf. Stops before the goal post. Looks around. it's dark, and quiet. A sleeping giant. he draws inward again. Head down now. deep in thought. Then suddenly, LIGHTS ON. draws his attention up and out. Awake. So then he walks out to mid field--the 50. the Monogram.

High & Wide as lights come on and coach walks out to the 50 yd line. Need to do this action twice. The second time after clearing all crew and cameras except Coach Kelly--We can hide in the tunnel while he walks from north end zone to the 50.

Images from our scouting walkthroughs to show composition, lighting, sun, and shadows.

Images from our scouting walkthroughs to show composition, lighting, sun, and shadows.

7:15-8:15 PM is our most preferred lighting conditions. Golden hour into twilight gives soft colors and naturally diffused shadows.