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I also used mark in (I) and mark out (O) all the time, which I never really did before. I found this immensely useful as it feels much more organoid and time efficient than dragging in an entire clip and trimming it in sequence.
In this clip from ‘Blood Simple’, the video portrays a standard cutting pattern from person A to person B, occasionally cutting to close ups of objects or long shots of characters entering or leaving the scene.
In terms of audio, sound is dubbed and overlayed in such a way that the implied action of a character or event, both on screen and off, has consistent audio which maintains continuity and flow in both diegetic and non diegetic aspects. For example, when person B starts hypeventilating, the audio remains consistent when the camera cuts to Person A’s reaction.
Sandra spoke abut the role of the director, during production. Thedirectors responsibility lies in recognising his or her vision for the film. On the day of production, they are largely concerned with dealing with the actors, advising them on their characters and blocking, as well as making sure they are comfortable and happy.
Another great point made by Sandra, is the importance of a Plan B. This is a plan which has the sho list planned out in order of importance to least important in terms of lighting and scene groupings for a particular character. By doing this, if there is a problem during the day of production (for example, an actor is late), production can move forward by referencing the Plan B.
What did you do well?
I engaged with the course readings and explored the ideas presented through my work in the sketch project, essay and major assessment. I experimented with different ways of shooting sketch tasks which I feel expanded my understanding of non linear storytelling and as well as prompting me to be more bold with the decisions I made.
What have I learnt to do better?
I learned how to use the Korsakow programme, which I had never heard of prior to to project. Experimenting with non linear storytelling and abstract imagery also broadened the way I view video in general.
What could you have learnt to do better?
I should have made an effort to go to more lectures and broaden my understanding of what was discussed as opposed to just the readings. I also could have been more invested in the major assessment, defining exactly what the content of each clip would be as opposed to working around the environment and interview subject, which would have made a more complete and concise piece of work.
The lecture covered lighting, its different elements and constructive advise on how to consider lighting. I found this incredibly interesting, as despite being very aware of its importance, I was still very vague on the general process and technique of lighting. Most interesting, although now incredibly obvious, is the amount of actual gear required, as well as other things to consider like the amount of power required. In retrospect, the material covered in the lecture, and more so the tutorial, on lighting was invaluable to my experience shooting. Having a lot of our footage overexposed and generally unsatisfying (although I am very thrilled with the result despite this) has further highlighted the amount of control required to recognise the aesthetico one is hoping to achieve.
In Rabiger’s text, “developing a crew,” 2 points which stood out to me are:
The importance of rehearsing shooting and the process pre-production. Doing this puts the whole crew on the same page in terms of the vision for the project as well as allowing pele to get to know one anger and develop a dialogue which will make production smoother and more efficient. We did this to a limited extent, in our Lenny exercise 2. However, now in post, I feel more or longer rehearsals would have given us much more insight which in turn would have helped us develop a more polished product.
Another point, which I was already aware of to a certain extent, but enjoyed reading it in a succinct format, is the large and broad amount of responsibility of the director. As the director of my project, and having the project be my initial idea, I’m very attached to the story I’m trying to tell. Lucky for me I didn’t break down in an existential crises, which I credit to the enthusiasm of my crew and actors. This reading has highlighted bad habits directors can have, for example, neglecting the crew for the actors and vice verse.
Antonioni, Blow Up
This clip from Anonioni’s film, “Blow Up” is an example of the way in which direction and cinematography come together to create an effective and consistent flow and action. The amount of pre-production involved is evident throughout the clip. The variety of shots (close ups, medium shots and two shots) edited together tie the movement, or lack of movement, of the actors to create the illusion of a sequence of events in order. There is a lot of use of panning and tracking, a camera technique which requires harmony between the movement of the actors and the camera. In saying this, tone could assume that the director and cinematographer worked together in order to achieve the desired timing of each shot.