Category: lectures

FINAL

    1. The ‘Paste Attributes’ function is a tool that I’ve never had to use before. It is a really helpful tool that can be used to speed up the colour matching process. For example, if I was to work on colour matching one shot and found that I had produced the best possible colour scheme, I would want to copy that colour scheme to other shots in my film. To do that, I would copy the first shot and paste the ATTRIBUTES to the second one, meaning that both would have the same colour grading. To do this on a MAC, the shortcut is Opt+Cmd+V, while on a Windows, it is Ctrl+Alt+V. I’d definitely recommend using this tool! Save’s heaps of time.
    2. To ‘Zoom’ in in a sequence, the shortcuts are:
      Zoom In = =
      Zoom Out

This was a very simple tool just used to make the editing process  faster/easier.

REFLECTION continued…

In this clip screened in the lecture from the Coen brothers’ ‘Blood Simple‘ describe what is happening in terms of the edits specifically in terms of the audio and video. Also name the different kinds of audio you can hear.

Quick cuts are used throughout the clip
, with a few shot-reverse-shot sequences that include over the shoulder shot types. All shots are taken from a neutral angle, often quite low (as if the camera is sitting on the table) until the male has been shot. Following that point, there is a cut to a high angle shot including camera movement, providing a nice break from the neutral, stable shots that make up the clip.

Crisp/clear diegetic sounds are heard throughout the clip.
E.g.
– creaking chairs
– lighter on table
– dialogue

While sound effects have also been added
E.g. – crickets
– creaking chairs
– sirens

 

Final reflection

Consider Sandra’s lecture “Directing Actors” and describe at least a couple of points that you took away from it (even if you’re not the director).

The first point taken from Sandra’s lecture was a helpful tip for the day of shooting. Sandra advised us to shoot all of our separate shots as planned in the pre-production process BUT to then shoot the entire scene in one shot as well. This one shot scene would serve as back-up for us if anything went wrong during editing and we needed to ‘fill the gaps’ with footage that made sense to the flow of the film.

Sandra’s second stand-out point was to ‘go crazy’ with our camerawork because our film does not have much dialogue. She said that cinematography plays a ridiculously important role in a film when dialogue is scarce.

Reflection 5

In this lecture we were introduced to (and told the difference between) hard and soft lighting. Hard light refers to direct, strong light that does not bounce off of objects but instead creates often-harsh shadows. An example of hard lighting is seen below:

hard lighting In contrast, soft light refers to light that originates from a diffused light source, and creates gentle lines with “gradual transition of the shadows from light to dark”.  An example of soft lighting is seen below:

Soft_Light_1 Since we will be shooting our own short film in an entirely outdoor setting, it is expected that soft light will dominate. However, given our script and story, we may choose to experiment with direct lighting in order to create harsh shadows and build suspense/contribute to the eerie mood that we hope to achieve. In this way, the discussion on soft lighting was relevant to our project.

 

From the lighting lecture…

Natural lightIn this week’s lecture, Robin discussed why lighting is one of the only production elements that does not have comprehensive literature dedicated to it. He suggested that lighting tends to be more of an ‘experience thing’, where the person in charge learns from experimenting with set-ups and getting on the job practice, rather than by reading chapters and chapters on the subject. I think that this is one of the stand out points from the lecture because it helps encourage us with our own experimentation, to follow our instincts and to see that there is no ‘right way’ to light.

Another key point from the lecture was that the location/lighting combination is extremely important, especially since lighting choices have the power to influence the mood, theme and look of a film. Paul spoke of planning our shots according to where the sun will be positioned in our location during our shooting times. Since the lecture, my Film-TV1 group has visited our own location in order to consider this and other logistical aspects. The point was therefore a really helpful one with regards to this project.

REFLECTION 3

From the week 4 lecture describe at least two reasons why we ‘shoot to edit’?

shootvideo1) We ‘shoot to edit’ because it provides us with more options in the post-production editing process and gives room for experimentation. When we shoot the same scene from multiple angles and locations, we are then able to mix-and-match that footage to find the perfect ‘fit’ and ‘flow’.

2) We also ‘shoot to edit’ because it provides a ‘safety net’ in that editing process. For example, if one of the proposed shots sketched in the storyboard does not turn out as planned on the day of filming, then the extra footage can be used to fill the gap and solve the problem.

 

Also in Week 11…

We spoke about The Oracle of Bacon in relation to the Six Degrees of Separation. It proved the point that Hollywood is a small world network.

We also discussed technological determinism, which led to a discussion on the affordances of particular technologies.

I thought that Adrian made a very strong point when he referenced the way that some forms of media “push back at you”. He used the example of essay writing, and highlighted that although we are expected to make an argument in an essay, sometimes it starts to fight back and forces us to re-evaluate everything that we had been arguing before that point. I’ve certainly experienced this in my own writing.

 

8

Take-away ideas from symposium 

  • Narratives do NOT define a game. They are not vital parts of gaming
    e.g.  there is no narrative in Tetris
  • Hypertext IS about narrative because stories don’t have an obligation of ‘winning’ like games do
  • Everything that communicates meaning is a text
  • We questioned ‘Does a network have a centre?’
    According to the Murphie and Potts reading this week, the Internet is “this vast network without a centre” = so they’d say NO 

7

“Authors cannot control the interpretation of what they write. Never have. Never will” Adrian

The strongest example I can think of links back to J.D Salinger’s The Catcher in the Rye (1951). Following a spate of assassinations/attempts, the book came to be viewed as some sort of ‘assassination trigger’. John Lennon’s murderer, Mark David Chapman, provides the greatest example.

“On the night he shot Lennon, Chapman was found with a copy of the book in which he had written, ‘This is my statement’ and signed Holden’s name. Later, he read a passage from the novel to address the court during his sentencing.” – Citation 

I doubt that Salinger intended for this when writing his infamous novel.

“As numerous murders have been speculated to be connected to the novel, the main character of the film Conspiracy Theory is a paranoid skeptic with an uncontrollable urge to purchase it.” – Citation