Eie Kie Yeo

Link to The Final Piece.
Link to The Final 1.5mins Piece.

FINAL PROJECT UPDATE 1

Today, my group has started planning and brainstorming ideas. After discussion, we decided to do a horror genre. Then we began to discuss about the camera shots, camera movement or what kind of vibe we wanna go for. We came up with the idea of time traveling, traveling from places to places. Cindy mentioned like a couple walked into a restaurant, and when they opened the door, they went into a different place. And Paul suggested that we could’ve used lift instead, because lift would be a better looking shot than in a restaurant. Therefore, we started using lift as a transition to connect our shots.

 

FINAL PROJECT UPDATE 2

Today, we started to look for locations. We went to different lifts around RMIT. We wanted to look for as many lifts as possible. Possibly some bright and some dark lifts. And we decided to use the lift in building 56.

We started to play around with different cameras to see which one suit the best. We borrowed a Sony x17 and an audio recorder. I’ve learned how to set up the lighting, operate the camera, and use a boom mike. And most importantly, I’ve gained experience on directing a short film. I’m pretty proud of it even though it was just a uni project, but it was a good stepping stone for me if I want to get into the film industry in the near future.

 

FINAL PROJECT- UPDATE 3

Due to the first time where we filmed at building 56 has failed, the lighting wasn’t good, the shot didn’t look beautiful, thus we had to look for a new location.

I have always been a thinker and a creative person. I like to visualize and make up some movie scenes that I created on my mind. Throughout this course, I have sharpened my critical analysis skill and creativity. The projects made me think and made me continuously asked “why” and “how” on many different levels. E.g. where should i put the lights to enhance the shot, how should I place my camera so that I’m shooting from the right angle to make the scene looks good, what background music should I use on this scene, how should I cut and mix these two clips together so they flow smooth and well. Also, by doing this, I have learned to develop my own filming style. When I look at the short film I made in the previous semester, I realized I’m now better at shooting from the right angle, and better at connecting multiple clips together. You could say I have learned to film with my creative juices, which has drastically taken my film-making to a new level.

At the end, we had figure out that the lift should just be a quick scene or a quick transition, and we shouldn’t be using it as the main prompt. So we decided to change the name to “Meng” (meaning: dream)

 

FINAL PROJECT- UPDATE 4

Editing Day

I have learned that background music plays an important role when it comes to post-production stage. I tried playing around with different sounds while editing the clips. Using different types of music gives a different mood of the scene. Even when the scene was meant to be scary, but if the sound was not used in the right way, it wouldn’t have been scary anymore.

There was no conversation in the film, so we did not use boom mike. And most of the audio we decided to search online. For example, the lift breaking down sound, the ghost screaming sound, background noises and intense suspense background music. However, we recorded the sound of the wind and the sound of the swing.

 

INSIDIOUS SCENE (DECONSTRUCTION)

Insidious demon scene “Tiptoe Through the Tulips”:

The characteristic that makes this scene from Insidious demon so effective is the wonderful use of contrasts throughout all aspects of production. The production design creates a magical world where we can easily believe that “none of this is real”. We see the two distinct spaces. The downstairs of reality and the upstairs of fantasy.

Starting with soft, eerie music, we realise that something is seriously wrong within moments. Initially the camera is quite static, the setting is harsh, but real. Concrete steps, clean lines and two frightened humans. All this seems normal enough, but the red lighting, mist and sound suggest otherwise. The performances are small and subtle – we are already at the edge of our seats, but we have no idea why.

When the music changes to “Tiptoe through the Tulips”, the cheerful happy tune becomes even more disturbing because it seems so out of place. It is the juxtaposition of the sound that increases our fear. The camera starts panning, cutting between shots and moving in unusual ways. No longer static, the camera never stays on one shot for long. Instead it glides, swerves and spins. The set is magical, beautiful and yet threatening. The use of low red lighting constantly reminds us that this is not an innocent setting, but rather a hellish one. The movements of the demon are never subtle. The imagery, sound and motion create a feeling of instability, disorientation and even motion sickness.

Then we return to the scene below. Suddenly there is silence and even the breathing becomes palpable. We know the stakes, we are secretly terrified that time will run out. This is the moment that stretches and lingers to build up our fear for the final reveal. We just start thinking they may escape when suddenly the two spaces collide. The demon upstairs looking down on his prisoners is a memorable climax after the slow build of tension.

The cinematography is stark. The two quick cuts and the sudden change in soundtrack once again creates a contrast to the previous part. And this is what shocks and haunts the viewer: the cutting contrasts suddenly coming together.

 

CONJURING VALAK PAINTING SCENE (DECONSTRUCTION)

The Conjuring 2 Valak Painting (FULL SCENE):

This is amazingly detail orientated film making. A normal home. A woman. Natural lighting. A very slow build. Every second is planned and savoured. Until suddenly nothing is ordinary any more.

We open on our lead, who is likeable, protective of her daughter and brave. We as the audience want her to survive unhurt. We are also introduced to the “ghost” or “apparition” very early in this scene. It is a wonderful image: the strong black and white figure framed in the centre of the shot at the end of the long corridor. Then she disappears, setting the scene for everything that follows.
The realism of the design is disconcerting. Costuming and set are so detailed, muted and evocative, we feel we are in the house with her. This is enhanced by the fact that all the shots are handheld – we become the camera, walking through the house on carpets that muffle the sound. The moment the music starts, terror sets in.

Once the shadow appears the power shifts and we pick up speed. Up until this point there were not many quick cuts, now the scene jumps from cut to cut much faster. Things start moving and the camera moves with it, suddenly shifting into a new space.

We realise that despite the realism of the house, this is all a dream. Or is it? The simultaneous scenes suggest that although this is taking place in her subconscious, it is controlling her and therefore is real in some way. It is the very uncertainty of it that keeps us hooked throughout this long, but gripping scene.

 

THE RING (DECONSTRUCTION)

The Ring – best scene as a horror movie:

As the title mentions, this is a horror movie from start to finish. We sense that things are going wrong, but there is nothing that anyone can do to stop it. The television screen within the film is a clever technique to align us as viewers watching the film with the male lead who is watching the television.

The set is designed to be forgettable. The costuming is muted. It is not important, it should not distract from the main focus: the television as the centre of events. The only other interesting props are the photographs on the wire fence, but those are used to frame the television, to place even more emphasis on it. We are so focussed on this screen that we barely notice the ringing telephone or the discordant soundtrack.

There are no handheld shots and no imperfect wobbles. The camera glides, pans and zooms deliberately and smoothly. Nothing distracts from what is happening on screen. The camera only focuses on two things: the television and his reaction to the television. The acting is exaggerated, the fear obvious. Intercutting to the racing car and the desperation in her voice as she urges him to pick up, just adds to the drama.

This entire scene is heightened. Nothing contradicts the horror of it. There is no cheerful music, fantastical set or understated acting. We never for a moment doubt that this is reality or that the figure is going to be monstrous. And when it is, we are not surprised, but we are still disgusted, as anyone watching a horror film should be.

 

CONJURING ANNABELLE SCENE (DECONSTRUCTION)

The Conjuring Annabelle Scene:

This carefully orchestrated scene seems almost choreographed to the soundtrack. The sound of wind and thunder lead us into the scene. And throughout the entire section the sound accompanies and highlights every movement, every thought and every shift. We are engrossed and enthralled as we follow the little girl throughout the house and into the room.

The cinematographer favours long shots when the little girl is in shot. This increases her vulnerability, making her seem smaller than she is and extremely fragile. In contrast, supernatural events are framed in extreme close-ups, distorting the image and making it grotesque. The camera movements are mostly slow and controlled, making use of equipment such as tracks and dollies to keep a clean feeling throughout.

What is interesting is the use of camera angles to show that things are out of alignment. Shooting up the stairs or down into rooms, tilting the camera to the ceiling when the black dust starts falling and moving around the lamp to reveal the chair. Everything that happens is enhanced by the contrasting normality of the set design and costumes. Another choreographic touch is the way we gain momentum throughout the scene. Actions become more frantic, the music picks up pace and the editing becomes more scattered, jumping between the girl, her grandmother and her parents.

What is wonderful is the reality of the performance. It undercuts the horror and thereby helps us as audience to believe that what is on screen is really happening. A wonderful nuanced scene, expertly edited and all tied together by a fantastic score!

 

FINAL PROJECT- COLLABORATION REFLECTION

I used to like working alone and find myself difficult to engage in group works. Because I just feel better off working alone as it would have no drama or conflict at all. However, in this project, I love and enjoyed working with my group and crew (actors and actress). Throughout this project, I’ve learned that networking and communication are really important. Without the people, the film would never even happen. Only if you have a crew, and work well together as a team, things can only get going. A good communication between teammates are essential too. My teammates and I have a Wechat group chat where we keep each others updated of when the next shoot is, who is or isn’t available on that particular day so that we can arrange the best time for all of us to meet up, also sharing ideas and discussing. After all, it wasn’t bad to work with people at all. At least when I was stuck at some points where I had no idea what to do next, I’ve got someone to help me out.

All three of us were the directors, producers and cameramen. We took turn to play different roles at different scenes.

I feel like I have not just largely expanded my film-making skills, and not just something that is related to academic, but more of a life experience.

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