For this project, Corrin and I made a quick film of me talking to my inner self to show that we know how to do a split screen. For this project, I was an impromptu screenwriter. The pre-production and production were done in one day, and post-production was done in a day.
This video was used to learn how to do a split screen.
Choices that I personally made were the camera angle, setting, and script.
Doing this project in practically one day was definitely a challenge, however, it was a great learning experience for making a project with a limited amount of time. I was an impromptu screenwriter only because I had written the script at the filming location. Since we only had one day, we took about 20 minutes to brainstorm and 20 minutes to film. This caused me and the cinematographer to rush through steps like storyboarding, scriptwriting and blocking. We did all of these things, however, we did it through communication instead of a physical copy. This project shaped how an editor’s work can be perceived because when I worked with the editor, we both realized at one point I was talking over myself in one of the split screens. If we hadn’t fixed it, it would have sounded terrible to the audience. We edited down the left side split screen so it would neatly fit into the film and make sense in the film’s content. Overall, this was a positive, yet challenging experience because we created a funny short film with a lot of restrictions. We were able to overcome these which made us more resilient to filming challenges in the future.
For this project, I took a compilation of about 10-second clips that I shot on my trip to Portland, Oregon and made it into a one minute video. I did this because I wanted to play with the idea of progression in a story through short clips to get from Point A to Point B in a fast and attention-grabbing way. I have always loved the idea of doing progression in a story at a fast pace with sharp cuts and short clips. This video is the attempt of that idea.
I have been thinking about doing a fast-paced montage for a while to include in one of my films. A montage that stands out to me cinematically is the Wet Hot American Summer montage. This montage is so memorable not only because its a spoof of montages, but also the pacing of the montage makes it stand out. The comedic element of the montage is supposed to be memorable because having a reaction or feeling to something helps an audience learn more.
What I learned from this project is that I should have more in between clips to make the transition from Point A to Point B more orderly and cleaner. I was not able to film all day, so I had to put the clips in an order that would make sense to the viewer. However, the time of day and shadows make it obvious that the clips are not in order. To help with this problem, I think I will storyboard next time what clips I want to film at during certain times of the day.
Corrin and I originally planned to make a different match cut video, but after that version flopped, we decided to have some fun with the production and make a silly dance video. We made the beginnings and ends match up as much as possible. We did this to make the flow of the video as smooth as possible so that the audience could easily follow my movements into the next scene.
The idea of doing a video focusing solely on match cuts was exciting for me because I had the ability to play around with creatively switching scenes. The filmmaker intentions I had with this project as a director was making the flow of the video as smooth as possible because I wanted the audience to be entertained and engaged with watching the short clip. To do this, I had to focus on the blocking of the scene, and I did this by making sure the camera angles didn’t deviate much from the other scenes and that the beginnings and ending of a scene would match up with another scene.
What we did for pre-production was simply talk about what we were going to film since we had limited time to do this entire product. We only had three days to film for a week-long project. This left us little time to storyboard and write a script. This method did not work for us because we realized that not thoroughly thinking about our ideas and our goals lead us to make the first attempt of the film unusable. This was our second attempt, which worked out a lot better. For production, we went around the school filming me dance in different places. For post-production, I edited the five clips in order so that beginnings and ends of the clip matched up to the one before.
What I learned from this project this that match cuts are a great way to play with the visual storytelling of a film, and that I hope to implement match cuts in further productions. I also learned from this project that pre-production time is very key for a team to communicate their goals for any project and that more time in the future needs to be given for pre-production.
The two core film production roles I have the highest ability in is Director and Editor. My first choice would be the director, then editor. Core skills for both roles include:
Director – responsible for the artistic and logistic aspects of the production, visualizing the script and guiding the other individuals involved in the film in order to fulfill their artistic vision, leadership, ability to compromise, composed in difficult situations.
Editor – responsible for assembling the raw footage, selecting shots and constructing the film in order to meet the artistic vision for the film, sense of rhythm, ability to use editing software, communication with team members.
The only role I would need more practice on in using editing software as the editor. I haven’t worked with all of the options that Premiere Pro offers with editing.
Skills and Interests in a Team
What I would want in core production team peers is differing ideas and the solid knowledge of whatever position they do. I want my teammates to have differing ideas because I love to conversate about ideas and people who aren’t willing to share ideas don’t typically work well in teams. I also want someone who is a knowledgeable screenwriter or cinematographer because those are roles I’m not as familiar with and the strong knowledge of the craft, the better and faster the team will work.
Goals I have as a filmmaker and director is that I want to be able to clearly convey a message and develop a distinguishable style of film. I want to be able to accomplish this because I believe all great directors have a “style” that fits with their films.
Core Team Members
Members I would want on my team would be Corrin K. first and anyone else that can work hard. A team consisting of me and Corrin would move faster since we would have 2 roles to ourselves, but I am open to working with anyone.
My favorite thing about Edgar Wright is how he uses visual comedy in his films. Most comedy films nowadays rely on dialogue to get jokes across to the audience. What differentiates Wright from other directors is his use of visuals. Using the frame to have things enter and leave unexpectedly, using music to synchronize actions and perfectly timed sound effects are all comedic styles that no other director does as well as him. The visual comedy he uses is arguably funnier than just dialogue because it gives the audience something to work with other than two characters cutting back and forth to each other saying quirky things.
Hollywood’s Most Famous Gothic Cinematic Style: ‘Burtonesque’
What my team and I made was a remake of a scene from the Disney movie Hercules. It was a mostly a blocking project because we wanted to make the remake as similar as possible to the original. We used the original script and a storyboard that looked almost the exact same when compared to the clip. I was the director and editor and I also controlled tone. I wanted to control the saturation of the film so that it conveyed meaning to the audience.
Terms and Concepts
1. Controlling the Gray Scale
There are three ways to control the tone, or brightness, of objects in a shot:
Reflective Control (Art Direction)
Incident Control (Lighting)
Exposure (Camera and Lens Adjustments)
2. Coincidence and Non-coincidence (of Tone)
Coincidence and non-coincidence of tone refers to the relationship between the tonal organization of the shot and the subject of the shot
The coincidence of tone occurs when the tonal range reveals the reveals the subject
Non-coincidence of tone occurs when the tonal range obscures the subject
3. Contrast and Affinity
Remember the principle of contrast and affinity can occur within the shot, from shot to shot, and from sequence to sequence
Block, Bruce. The Visual Story: Creating the Visual Structure of Film, TV and Digital Media (p. 128).
What I learned is that editing makes tone really easy to control, and that tone can really stick out in a film if it is controlled correctly. I worked on making sure the audience could feel how Hercules goes from feeling hopeless at the beginning to feeling like he can find a place where he belongsat the end. An area I could personally improve on is making sure that the brightness of the screen matches the order of the film. There is one particular scene where the tone is still gray but the brightness really stands out.
For this project, I had to secretly record a conversation so that I could write a screenplay of said conversation. I did this so that I would have realistic dialogue to use when I was writing. Having realistic dialogue is important because that is something a lot of screenwriters struggle with. Using the dialogue recorded, I wrote my screenplay with permission from the people having the conversation.
What I learned is that writing dialogue using a recorded conversation makes the conversation seem more natural than just writing. Having just a random piece of audio would probably help with writing dialogue because then there would be a reminder that people talk over each other, stutter and mumble in everyday conversation. Using resources like recording dialogue helps screenwriters make conversations more relatable and natural in films.
What I did for this project was that a scene from The Wind Rises was taken from Youtube and stripped of all it’s audio by Mr. Le Duc. I was then tasked with making my own foley and sound effects to put into The Wind Rises clip to make new audio for the clip. I made the sound effects then put them into the original clip to have the same visuals as the movie just with my original sound.
Film Before Foley and Sound Effects
Film After Foley and Sound Effects
Sounds and Written Descriptions
Audio Signal Chain Terms
“Sound is Half the Picture” – Steven Spielberg
Signal Chain – At the source, a microphone converts sound energy into analog electric signals. This signal is carried down a cable and into a preamp on an audio recorder or camera where it is converted into a digital file.
Single System Setup (Combined Video and Audio Production) – Audio is fed directly into the camera and recorded with the image.
ADVANTAGE: Recording audio with video means there is no need to sync up the footage in post-production.
ADVANTAGE: This can be a huge time saver especially in tight turnaround situations like the news or documentary.
With a camera designed for broadcast that has robust and professional audio inputs and a preamp, the single system also avoids the cost purchasing additional recorders.
DISADVANTAGE: If you don’t have a camera with high-quality audio inputs, like a DSLR camera the sound quality will be lower.
Double System Quality
ADVANTAGE: It does not have to be attached to the camera.
ADVANTAGE: Higher audio quality.
Digital audio recorders have some great features that make for better recording.
ADVANTAGE: Higher sampling rate.
When an analog signal is converted to digital, the smooth analog curves of the wave signal have to be quantized
DISADVANTAGE: You will have to sync the audio in post-production, but you can use slates to line up the audio on each shot or use sync programs, so long as you record a scratch audio track on your camera.
Sampling Rate – Number of times the waveform is sampled, per second, determines how accurate the digital representation matches the original analog waveform.
More measurements = more accurate sound reproduction.
Measured in kilohertz (1000 Hertz) – not to be confused with the frequency or pitch of a sound wave.
Analog Signal – Analog recording methods store signals as a continuous signal in or on the media.
The signal may be stored as a physical texture on a phonograph record, or a fluctuation in the field strength of a magnetic recording.
This is different from a digital recording which digital signals are represented as discrete numbers.
Sample Rate Values (Low) – 11 kHz – 11,000 times per second.
Used for low-quality internet voice transmissions.
DISADVANTAGE: Doesn’t sound very good, but barely OK for voice.
ADVANTAGE: Small file sizes.
Sample Rate Values (Middle) – 44.1 kHz – 44,100 samples per second
Used for CD quality audio.
48 kHz is the standard for digital video.
ADVANTAGE: 44.1 kHz and 48 kHz reproduce the full frequency range the human ear can hear.
Sample Rate Values (High) – 96 kHz. Twice the sampling rate of 48 kHz
ADVANTAGE: The extra resolution just sounds better to many.
96 kHz seems to be more translucent than 48 kHz.
ADVANTAGE: Having extra resolution makes post processing 96 kHz audio easier.
Bit Depth – How many different values of amplitude each sample can be.
With 16-bit audio – each sample can have one of 65,536 values – that’s 2 to the 16th power. Most professional cameras and codecs record.
ADVANTAGE: Dedicated audio recorders can deliver greater bit depth. They can record at 24 bit which gives each sample 16,777,216 possible values.
ADVANTAGE: 24-bit resolution contributes to a translucent, higher quality sound.
DISADVANTAGE: DSLR Camera’s, like the Canon EOS series, can only deliver 16-bit depth.
Foley and Sound Effects Terms
Foley – Sound made for a specific scene. Usually, sounds are for footsteps, Cloth, and Props
Most of all movies use foley/sound effects made after production
Production Audio focuses on dialogue but can be rerecorded in post-production with something called Loping or ADR
Ambience – Psychological cue for space
Always record a minute’s worth of ambience on location to get the feel of the area
Library Effects – Prerecorded sound effects, often difficult or expensive to obtain
Foley had its roots in Vaudeville, which was influenced by the English Music Hall
Sound effects were used to highlight gags
Orchestras used to provide sound effects and music for plays
Late 1920’s was when films started to move from silent to having talking pictures
Jack Foley had the idea of watching a film and making live sound effects to be used in the film, groundbreaking idea for the time
What I Learned and Problems I Solved
What I learned through this project was how to use the application GarageBand. In the past, the class used Premiere Pro for editing and sound. Using GarageBand was helpful for me because now I have another application to you for editing. Problems that I solved were during the foley process. When I was making the sounds, my team and I didn’t know what sound we wanted for the houses. To solve that problem, I started playing around with random things in class to find out that a powered off keyboard making a good house moving sound. This was a problem solved because we needed a sound for the houses.