ODIE opens where Austin looks its most beautiful and least forgiving: Zilker Park and the free side of Barton Springs, where a handyman named Odie wakes up 294 days into life on the street. A spotlight on the park that plays the film's first face.

Photography ends where the movie begins: the dream sequences. Scenes 1, 24 and 53, shot silent at 60 frames per second, Kenzie Klem as Monica, and a final wrap after 17 shoot days and 674 takes.

An appendix to the reshoot day: a tiny insert unit, seven takes of montage material on a shared roll, and Odie walking through Austin one more time.

Pickup week begins with a full reshoot of Scene 15. Thirty-one takes, rolls A030 and A031, and a small lesson in what it means to care more about the movie than the calendar.

The main stretch was supposed to end Friday night on Elmont Drive. The rain had other ideas, so it ended Saturday night instead. Same time, same place, one day later.

The main unit wraps back at the Sunrise Homeless Navigation Center: Scenes 70, 76, 77 and the 78 series, 42 takes, and a camera note for the ages on the very last setup. A few small pickup days remain.

The film's final act begins, downtown on the Trinity block. Scenes 69, 71, 72 and 75, a lean 26 takes, Mirtha Martinez as Miss Vaughn, and Roderick McDaniel's return.

The biggest page count on the original board finally shoots: clinic interiors at Trinity Center on East 7th, Scenes 37 through 41, 52 takes, and a receptionist character who shares my name.

Angela's interiors, Scenes 61 through 64, shot inside the actual home of Mathew Mitchell, the actor who plays Gerald. Forty-eight takes, a pre-lit set, and the strangest location credit of the shoot.

The shortest company move of the shoot: a few blocks from the H-E-B lot to the Depot of Homes set off Aldrich Street. Scenes 57 through 60, J.J. Fernandez as A-Train, and real driving work in Angela's car.

Disc golfers and roller-rink regulars in the background, a stunt fall, and the most brutal continuity puzzle of the shoot. Scenes 52 and 54 through 56.

Scenes 26 through 29 at the Sunrise Homeless Navigation Center, a real working facility, shot low-footprint alongside the community it serves. The most important day of this diary so far.

The transit day: Scenes 31 through 33, 38 takes, and a single camera roll. ODIE is a movie about crossing a city, and today was the day the crossing itself got shot.

Downtown exteriors on a holiday, a mid-day company move to Mueller Lake Park, 67 takes, and Syd Goin's first day as Blu, one of the most visually distinctive characters in the picture.

The schedule got reshuffled, and the crew rolled with it: 69 takes on the downtown apartment cluster, Scenes 43 through 47 and 49, a week ahead of where the original board had them.

Scenes 18, 19, 23 and 25 at Lake Travis Pawn & Jewelry, a working shop on Ranch Road 620, and the longest drive of the shoot so far. Worth every mile.

The heaviest day of week one: seven and five eighths pages at the overpass off North Pleasant Valley, Gerald and Trixie's spot, and a crew that parked at Rosewood Park and walked to work.

A quieter, heavier day: six and five eighths pages inside the Manchaca Shelter set, Roderick McDaniel's first day as Mr. Anderson, and Mathew Mitchell arriving as Gerald, styrofoam cup and all.

ODIE begins. Dean Stanfield wakes up as Owen Harper above Barton Springs, the crew logs 85 takes across the Zilker cluster, and our script supervisor writes one word in the margin: Perfect.