Friday, 18 December 2015
Tuesday, 15 December 2015
Tuesday, 8 December 2015
Thursday, 3 December 2015
Tuesday, 1 December 2015
Group: Remaining shot list for filler shots
1) POV shot at Stefan's house going round corner - 1st
2) POV shot running through clearing in woods reaching the road then whip pan looking down street - 2nd
3) Static shot on road in 3 different distances - 2nd
Homework for tonight
-re-edit the bar scene to put fire shot in before warning sign
-export and put .mov file on memory card
Tomorrow
-film remaining shots
-complete final edit
-export onto memory card
-bring to Mr. Fiveash and put on Premiere Pro
-export as xml
-go home and put in Final Cut Pro
-finish colour grading
-export and put on youtube
-done
2) POV shot running through clearing in woods reaching the road then whip pan looking down street - 2nd
3) Static shot on road in 3 different distances - 2nd
Homework for tonight
-re-edit the bar scene to put fire shot in before warning sign
-export and put .mov file on memory card
Tomorrow
-film remaining shots
-complete final edit
-export onto memory card
-bring to Mr. Fiveash and put on Premiere Pro
-export as xml
-go home and put in Final Cut Pro
-finish colour grading
-export and put on youtube
-done
Monday, 30 November 2015
BJ: Reflection on Shoot 30th November
Who, Where and When?
The shoot took place in the Sussex Arms pub down in the Pantiles on the 30th November. The whole group was present there without an actress.
What Went Well?
We managed to shoot a lot of very effective shots that gave us enough to fill the space on the timeline left by the previous bar scene. The steadicam shots look brilliant and went very well. We also managed to get some shots of the open fire that was in the bar, which conveniently linked with the theme of our video.
What Didn't Go Well?
The only disadvantage to this shoot was the fact that we could not get Martha back to be present in the scene. However, we got round this by shooting the whole scene as a POV shot.
Editing
In the editing process we decided to go for a lot of jump cuts, to increase the cutting rate, which was one of the pieces of feedback we got from our rough cut. We also clour graded in Final Cut Pro which enhanced the quality of the scene.
TW: Colour grading on Final Cut Pro X
We edited the bar scene on Final Cut Pro X.
Below is the colour correction settings we used for the scene - achieving a warm, surreal effect:
We then fiddled around with this saved setting on each clip to achieve continuity in terms of colour grading.
Examples of the effect below:
Below is evidence of the editing me and Ben did on Final Cut Pro X of the bar scene:
Below is the colour correction settings we used for the scene - achieving a warm, surreal effect:
We then fiddled around with this saved setting on each clip to achieve continuity in terms of colour grading.
Examples of the effect below:
Below is evidence of the editing me and Ben did on Final Cut Pro X of the bar scene:
TW: Reflection on shoot, 30 November
Above is the scene we filmed today. Following feedback that our previous bar scene was poor, we went back to the drawing board.
My role on the day
-To compensate for taking a lead role on previous shoots, I did not film most of the shots this time round.
-Instead, I was director. I described how I envisaged each shot and described what the plan of action for the day was. I had the final word on whether a shot was right or not. Using the shot list, I ensured all shots were performed and took on the role of optimising proficiency through bouncing ideas off one another.
-Having created the shot list myself, I ran through each shot before it was filmed (especially the shots with movement) before Ben or Jack filmed them.
Successes
-Unable to film with our actor, I created a shot list utilising the concept of the POV shot. All POV shots were executed well, with no camera shake, and at appropriate eye level by Jack.
-The lighting in all the shots made each rush look even better. Further utilised in colour grading, the scene has a very warm feeling.
-Visual motifs and mies-en-scene. The mis-en-scene in this scene is particularly good, caused by the authenticity of location. Furthermore, the ending transition from the 'WARNING' sign to the back of the self-designed numberplate are visual motifs for the rebellious nature of the girl and funk conventions respectively.
Even better if
-It would have been even better if Martha had been able to film, but I believe using POV shots deems definite camera excellence.
TW: Shot list for shoot 30th November
Inside bar
Establishing shot of pub
1) Tracking shot from outside pub walking in to the bar.
2) Close up front shot of beer being poured
3) Top shot of beer being poured
4) Shot looking down bar shows full beer left on bar (camera on table)
5) Tracking shot from bar to back door and out to the table out back.
Outside
6) Top shot of ash tray with fags in it (same composition as beer being poured top shot)
Car park
7) Panning down shot starts at top of 'WARNING' sign pans down to the floor
Nearby road
8) Panning down shot starts at top of car pans down to show number plate saying funk then pull focus to the road in other half of frame
Props -
-car number plate
-ash tray
Establishing shot of pub
1) Tracking shot from outside pub walking in to the bar.
2) Close up front shot of beer being poured
3) Top shot of beer being poured
4) Shot looking down bar shows full beer left on bar (camera on table)
5) Tracking shot from bar to back door and out to the table out back.
Outside
6) Top shot of ash tray with fags in it (same composition as beer being poured top shot)
Car park
7) Panning down shot starts at top of 'WARNING' sign pans down to the floor
Nearby road
8) Panning down shot starts at top of car pans down to show number plate saying funk then pull focus to the road in other half of frame
Props -
-car number plate
-ash tray
JD: Reflection On Shoot 30th November
Who? Where? When?
The shoot took place in and around the the Sussex Arms Pub in the Pantiles in Tunbridge Wells, the whole team was present, Myself, Ben and Tom. However we were without our Protagonist.
What Worked Well?
Every shot that we set out to take was shot, and to a high standard. and all of it was the correct length, enough to fill the gaps in the timeline. The steady-cam shots look fantastic, and their POV nature means the audience will be position directly with the protagonist. also, by chance the fire had been started in the bar, giving us a good method of making the scenes coherent.
What Didn't go well? and problems?
As I have said, our protagonist was not present, meaning we needed to find a way of shooting a whole scene without her, we overcame this by shooting the whole thing as POV. In the only hot we needed her for was just a shot of her hands, so Tom painted his nails and stood in.
My Role
I was responsible for the set up of the steady-cam equipment, and was the person responsible for filming all the moving steady cam shots. As well as the shot of the beer being poured behind the bar.
The shoot took place in and around the the Sussex Arms Pub in the Pantiles in Tunbridge Wells, the whole team was present, Myself, Ben and Tom. However we were without our Protagonist.
What Worked Well?
Every shot that we set out to take was shot, and to a high standard. and all of it was the correct length, enough to fill the gaps in the timeline. The steady-cam shots look fantastic, and their POV nature means the audience will be position directly with the protagonist. also, by chance the fire had been started in the bar, giving us a good method of making the scenes coherent.
What Didn't go well? and problems?
As I have said, our protagonist was not present, meaning we needed to find a way of shooting a whole scene without her, we overcame this by shooting the whole thing as POV. In the only hot we needed her for was just a shot of her hands, so Tom painted his nails and stood in.
My Role
I was responsible for the set up of the steady-cam equipment, and was the person responsible for filming all the moving steady cam shots. As well as the shot of the beer being poured behind the bar.
Thursday, 26 November 2015
TW: My role in editing, 23rd - 27th November
Re-editing bar scene
-Following feedback that the bar scene was our worst, due to - a plain white background, lack of camera movement, and some shots being out of focus, I decided to re-edit the bar scene.
-We would have planned to re-film the bar scene but our main actor, Sam, has shaved his hair off, ruining this possibility.
-Therefore, I have re-edited the scene using mostly close-ups to convey the events at the bar. Removing out of focus and shots, and increasing the cutting rate has improved the scene.
Edited the running in the woods scene
-Together, me and Ben edited the woods scene. By writing down the minutes:seconds where we wanted to cut beforehand, we effectively intercut the running scene to ensure a synchronisation between visuals and the soundtrack.
-We slowed down some of the footage to 25fps (mainly the shots of her face) to position the audience with her, and kept some of the footage at 60fps so that when the pace of the song kicks up - this is evident in the visuals.
Practicing colour grading
-We have decided we are going to perform colour correction in Final Cut Pro X, as it has more proficient controls than Adobe Premiere.
-Following this, I created a practice colour grading, kind of 'trailer', for our music video:
-Following feedback that the bar scene was our worst, due to - a plain white background, lack of camera movement, and some shots being out of focus, I decided to re-edit the bar scene.
-We would have planned to re-film the bar scene but our main actor, Sam, has shaved his hair off, ruining this possibility.
-Therefore, I have re-edited the scene using mostly close-ups to convey the events at the bar. Removing out of focus and shots, and increasing the cutting rate has improved the scene.
Edited the running in the woods scene
-Together, me and Ben edited the woods scene. By writing down the minutes:seconds where we wanted to cut beforehand, we effectively intercut the running scene to ensure a synchronisation between visuals and the soundtrack.
-We slowed down some of the footage to 25fps (mainly the shots of her face) to position the audience with her, and kept some of the footage at 60fps so that when the pace of the song kicks up - this is evident in the visuals.
Practicing colour grading
-We have decided we are going to perform colour correction in Final Cut Pro X, as it has more proficient controls than Adobe Premiere.
-Following this, I created a practice colour grading, kind of 'trailer', for our music video:
TW: Reflection on shoot, 24th November
My role during shoot
-Due to time constraints and the fact I had performed a location recce the day previous, I took a leading role with filming. This was because I had already previsualised the shots, enabling optimum efficiency.
-I also took on the role as director, describing the non-verbal communication we wanted from the actor, and instructing the crew on what the next stage was, where they should be standing, whether we needed additional equipment, etc.
-Lastly, I encouraged creative decision making, despite time constraints. One example is, filming the running shots, I asked if anyone had any suggestions for a more interesting shot size. Ben suggested a low-angle close up, which we performed, and have put into the video, as it looked great.
Successes
-Unlike our previous shoot, where weather inhibited the proficiency of filming, there were perfect weather conditions for our shoot on the 24th. Slight sunlight shining through the trees ensured good lighting, and lack of rain meant shots were not blurry or difficult to perform.
-Because of this we filmed from a range of angles and shot sizes, definitely achieving camera excellence. This was particularly evident in the use of the steady-cam during running shots.
-Another example of technically excellent shots were when we placed the camera on the floor to achieve a worms eye shot. Utilising pull focus in conjoinment with this was particularly effective.
-The shoot also went very well in terms of editing. The crucial shot - first part of the jump into the swimming pool, was a shot which much precision was necessary. Using a screenshot of the jumping in the pool shot, we managed to achieve the same composition and framing which allowed a proficient action match to occur. Furthermore, the steady nature of camera movement due to the steady-cam enabled proficiency for intercutting during the running scene from varying camera distances.
Failures
-Again, time was the primary limiting factor. This meant that some shots could have been perfected, such as very slight camera shake. However, the negative effect this brought has been neutralised through intercutting, allowing the weak parts of the shots to be cut out.
-Due to time constraints and the fact I had performed a location recce the day previous, I took a leading role with filming. This was because I had already previsualised the shots, enabling optimum efficiency.
-Lastly, I encouraged creative decision making, despite time constraints. One example is, filming the running shots, I asked if anyone had any suggestions for a more interesting shot size. Ben suggested a low-angle close up, which we performed, and have put into the video, as it looked great.
Successes
-Unlike our previous shoot, where weather inhibited the proficiency of filming, there were perfect weather conditions for our shoot on the 24th. Slight sunlight shining through the trees ensured good lighting, and lack of rain meant shots were not blurry or difficult to perform.
-Because of this we filmed from a range of angles and shot sizes, definitely achieving camera excellence. This was particularly evident in the use of the steady-cam during running shots.
-Another example of technically excellent shots were when we placed the camera on the floor to achieve a worms eye shot. Utilising pull focus in conjoinment with this was particularly effective.
-The shoot also went very well in terms of editing. The crucial shot - first part of the jump into the swimming pool, was a shot which much precision was necessary. Using a screenshot of the jumping in the pool shot, we managed to achieve the same composition and framing which allowed a proficient action match to occur. Furthermore, the steady nature of camera movement due to the steady-cam enabled proficiency for intercutting during the running scene from varying camera distances.
Failures
-Again, time was the primary limiting factor. This meant that some shots could have been perfected, such as very slight camera shake. However, the negative effect this brought has been neutralised through intercutting, allowing the weak parts of the shots to be cut out.
Wednesday, 25 November 2015
BJ: Reflection on Shoot 24th November
Where, When and With Who?
On the 24th of Novemeber the group and Martha filmed at the woods at the top of Southborough. This shoot was vital in filling the gaps in our final piece so needed to be executed perfectly.
What Went Well?
We managed to get every shot we planned to get in no time at all, and they all came out better than we expected. One of the toughest shots was the jumping shot, as we had to get the exact same composition as the shot of her jumping into the swimming pool. However, we took as many shots of this as we needed and this gave us free choice over which shot to use as we had a wide variety. We also got some very good shots of her running that were put into slow motion and came out very well.
What Didn't Go Well?
We had to improvise with the jumping shot as the original idea of her jumping down a hole was not possible. However, we got round this by having her jump down a bank instead, which gave the same effect. We could have had some more variety in the shots we took of her running, as many were side shots, however we feel this is not that much of a negative.
Editing
We used a lot of jump cutting in the running sequence to give her running more of a sense of urgency. We also achieved this by increasing the cutting rate of the shots that were in normal speed. We alternated between shots in normal speed and shots in slow motion. For the jumping scene we felt that a plain jump cut did not look good enough, therefore we added a white flash to tranisition between the two shots, which made it look much cleaner.
On the 24th of Novemeber the group and Martha filmed at the woods at the top of Southborough. This shoot was vital in filling the gaps in our final piece so needed to be executed perfectly.
What Went Well?
We managed to get every shot we planned to get in no time at all, and they all came out better than we expected. One of the toughest shots was the jumping shot, as we had to get the exact same composition as the shot of her jumping into the swimming pool. However, we took as many shots of this as we needed and this gave us free choice over which shot to use as we had a wide variety. We also got some very good shots of her running that were put into slow motion and came out very well.What Didn't Go Well?
We had to improvise with the jumping shot as the original idea of her jumping down a hole was not possible. However, we got round this by having her jump down a bank instead, which gave the same effect. We could have had some more variety in the shots we took of her running, as many were side shots, however we feel this is not that much of a negative.
Editing
We used a lot of jump cutting in the running sequence to give her running more of a sense of urgency. We also achieved this by increasing the cutting rate of the shots that were in normal speed. We alternated between shots in normal speed and shots in slow motion. For the jumping scene we felt that a plain jump cut did not look good enough, therefore we added a white flash to tranisition between the two shots, which made it look much cleaner.
Monday, 23 November 2015
TW: Location Recce for filming, 24th November
Running through woods scene:
Our protagonist will run through these woods after fleeing the swimming pool. The distances between trees enables proficient intercutting from varying camera distances.
The tracking shots of her running towards camera will take place here, with the two trees at the end being the end point. Symmetry aids the aesthetic look of this shot.
Jumping down hole scene:
Above is the slope the protagonist will run down as she prepares to leap over a stream.
Below is the stream she will leap across:
Below reveals the setting of this location:
Filler shots:
Below is where we film her feet running past camera and then move into the orange leaves to transition into fire:
Below are some examples of nice locations to film her running. Getting the same composition in each shot and editing them together will give the elusion that she is running a substantial distance.
Group: Rough cut audience feedback
Successes
-white flashes are in sync with music and give fire more scary character
-slow motion running sequence looks brilliant
-editing on the guitar strokes is effective
-low angle shots and use of pull focus
-editing transitions are effective, especially the jump action match
Even better if:
-faster cutting rate in places
-some shots are out of focus
-final scene is unclear, intercutting with fire would make enigmatic resolution more clear
-white flashes are in sync with music and give fire more scary character
-slow motion running sequence looks brilliant
-editing on the guitar strokes is effective
-low angle shots and use of pull focus
-editing transitions are effective, especially the jump action match
Even better if:
-faster cutting rate in places
-some shots are out of focus
-final scene is unclear, intercutting with fire would make enigmatic resolution more clear
Friday, 20 November 2015
TW: Shot list for Tuesday, 24th
Scene 1 - Jumping down hole
-Close up of foot splashing puddle pan down valley in woods show her running
-Front tracking shot backwards running towards
-Close up looking slightly scared about to jump
-Shot from back with her middle composition jumping off bank
Scene 2 - Running through woods
-Close up of leaves on floor getting disrupted by her feet. Camera pans as low angle down the valley in woods and shows her running away.
-Front shot of running
-Front shot close-up of her running
-Side shot from near
-Side shot from medium
-Side shot from long
-Close up of orange leaves and her shoes brushing past - dissolve into bar scene
Filler shots
-close up of her eyes
-close up of home sweet home mat with her foot leaving it
-Close up of foot splashing puddle pan down valley in woods show her running
-Front tracking shot backwards running towards
-Close up looking slightly scared about to jump
-Shot from back with her middle composition jumping off bank
Scene 2 - Running through woods
-Close up of leaves on floor getting disrupted by her feet. Camera pans as low angle down the valley in woods and shows her running away.
-Front shot of running
-Front shot close-up of her running
-Side shot from near
-Side shot from medium
-Side shot from long
-Close up of orange leaves and her shoes brushing past - dissolve into bar scene
Filler shots
-close up of her eyes
-close up of home sweet home mat with her foot leaving it
JD: Reflection On Shoot
On the 15th of November we filmed the crucial, jumping in the pool shot, deemed to be one of, if not the most important shot in the music video. we were determined to get this perfect despite the awful weather conditions and freezing cold pool.
What Went Well?
Despite the obvious difficulties associated with weather and lighting, the shoot did go very well, and unlike our initial thoughts we do not need to reshoot anything from the day.
Despite our obvious stress levels building up against time constraints, we were able to use all the equipment proficiently and without rushing. this gave us the opportunity to frame shots as we had always planned, and they displayed technical excellence through framing.
One shot in particular which I am proud of, is, or course, the jumping in the pool shot, we had one opportunity to get the shot right, as we couldn't have our actress jump in twice, as we only had the one costume for her, and with the temperature of the pool was freezing.
We also used the time we had at the pool to take some stills in an attempt to get the shot of water we needed for the digi-pack panel.
Difficulties and Downfalls?
Perhaps the most obvious difficulty was the atrocious weather conditions rain was combated by umbrellas, but wind put an end to that, so we had to make do with the built in shelter around the pool. however this sturdier shelter ended up causing yet more problems as camera movement was further limited. Weather also played havoc with the crucial fire shots, as the fires were hard to get going and hard to maintain once they were going.
Another factor was the very obvious and very problematic time constraints. The earliest we could get going was around 2 and that left us very little time before the night set in. meaning we thought we'd have a rush. In the end the only consequence of the time was making us galvanise ourselves into being even more efficient in filming than usual.
My Role
I had a dual role on the day of filming, as I was on screen as well as off screen, on screen I was drafted in to be an actor, playing one of the two bailiffs, wearing a balaclava to hide my face.
Off camera I helped planning the shots and at points I filmed shot, I was also in charge of getting the tripod set up, although due to the lack of a filming tripod, we opted out of using it too much. at points I was responsible to holding a brolly up for the camera. Although the rain put a stop to that. I was also in charge of getting the fires going to be in time with the shots.
What Went Well?
Despite the obvious difficulties associated with weather and lighting, the shoot did go very well, and unlike our initial thoughts we do not need to reshoot anything from the day.
Despite our obvious stress levels building up against time constraints, we were able to use all the equipment proficiently and without rushing. this gave us the opportunity to frame shots as we had always planned, and they displayed technical excellence through framing.
One shot in particular which I am proud of, is, or course, the jumping in the pool shot, we had one opportunity to get the shot right, as we couldn't have our actress jump in twice, as we only had the one costume for her, and with the temperature of the pool was freezing.
We also used the time we had at the pool to take some stills in an attempt to get the shot of water we needed for the digi-pack panel.
Difficulties and Downfalls?
Perhaps the most obvious difficulty was the atrocious weather conditions rain was combated by umbrellas, but wind put an end to that, so we had to make do with the built in shelter around the pool. however this sturdier shelter ended up causing yet more problems as camera movement was further limited. Weather also played havoc with the crucial fire shots, as the fires were hard to get going and hard to maintain once they were going.
Another factor was the very obvious and very problematic time constraints. The earliest we could get going was around 2 and that left us very little time before the night set in. meaning we thought we'd have a rush. In the end the only consequence of the time was making us galvanise ourselves into being even more efficient in filming than usual.
My Role
I had a dual role on the day of filming, as I was on screen as well as off screen, on screen I was drafted in to be an actor, playing one of the two bailiffs, wearing a balaclava to hide my face.
Off camera I helped planning the shots and at points I filmed shot, I was also in charge of getting the tripod set up, although due to the lack of a filming tripod, we opted out of using it too much. at points I was responsible to holding a brolly up for the camera. Although the rain put a stop to that. I was also in charge of getting the fires going to be in time with the shots.
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