Originally me and Jess we supposed to meet up for a check tomorrow (Friday) but we rearranged for today, which luckily managed to sync with an edit tutorial with Chris.
Before meeting up with Chris, Jess and I discussed her progress thus far, what she had cut from the initial 20min copy and what we could do to reduce the current 18minute copy even further.
At 2:30pm Chris came to evaluate our progress and gave some useful tips about transitioning of scenes and what was just completely unnecessary to the progression of the storyline, an overall way of thinking to help make decisions about cutting shots and scenes.
My next meet up with Jess in on Tuesday 1st April
Thursday, 27 March 2014
Tuesday, 25 March 2014
Assembly
On Friday I met with Jess and we sifted through the footage as she transferred the finished labelled footage from the Mac I used in uni to her own Mac.
On Monday Jess and I met up with Owen, where he handed over the sound files so that Jess could start syncing them after the initial assembly. After that I talked to Owen about what I wanted over the next few weeks whilst the Film was in the picture edit stage. Mostly to research horror films and their sounds and techniques they used
Today I met up with Jess and Neil so that we could look at the Assembly Jess had done. This initial assembly was around the 20minute mark, so we had a lot of work to do to get it to a more appropriate length
On Monday Jess and I met up with Owen, where he handed over the sound files so that Jess could start syncing them after the initial assembly. After that I talked to Owen about what I wanted over the next few weeks whilst the Film was in the picture edit stage. Mostly to research horror films and their sounds and techniques they used
Today I met up with Jess and Neil so that we could look at the Assembly Jess had done. This initial assembly was around the 20minute mark, so we had a lot of work to do to get it to a more appropriate length
Thursday, 20 March 2014
Research: Editing Techniques in Psychological Thrillers
The genre of Ridley, I would class under psychological thriller, and with this comes certain codes and conventions that need to be met. Although it is usually my aim to try and distort as many "rules" as possible, one still needs to have a basic understanding.
A lot of psychological thriller require the audience to have a degree of suspense the entire was through, as though they are holding their breathe waiting for something to happen. It is the job of me and the editor to create this suspense.
Editing for suspense is a simple technique. It's about understanding what the audience wants to see, and then not giving it to them right away. If you were editing a movie in which a group of friends decide to spend the night in a haunted mansion, you wouldn't show the ghosts right away, you would build up to the moment of reveal.
-VIDEO EDITING TIP: BUILDING SUSPENSE [Last Accessed 03/06/14]
http://www.videomaker.com/videonews/2010/12/video-editing-tip-building-suspense
In terms of Ridley the suspense comes from what Ridley is going to do in the end; Make his own choices or continue to be bullied by Jeffrey. We can achieve the suspence by creating moments within the film that make it seem that Ridley is leaning one way or the other, only to snatch the moment back from the audience, and prolong the decision until the climactic point in the film.
I started to look at trailers that have been recut to be a different genre to analayse the importance of when to cut and how shots can be fit together to give an alternative interpretation. This was also a good method for exploring the importance of a good sound design.
Of course editing a trailer is different from editing a full movie, but the art is the same; Taking certain clips to display a certain story, the story that I as a director want the audience to see, feel and believe. It is up to me to decide If I want the audience to sympathise with the characters, to feel nothing for them, or to make them feel like they are an arms length away from the action and events.
A lot of psychological thriller require the audience to have a degree of suspense the entire was through, as though they are holding their breathe waiting for something to happen. It is the job of me and the editor to create this suspense.
Editing for suspense is a simple technique. It's about understanding what the audience wants to see, and then not giving it to them right away. If you were editing a movie in which a group of friends decide to spend the night in a haunted mansion, you wouldn't show the ghosts right away, you would build up to the moment of reveal.
-VIDEO EDITING TIP: BUILDING SUSPENSE [Last Accessed 03/06/14]
http://www.videomaker.com/videonews/2010/12/video-editing-tip-building-suspense
In terms of Ridley the suspense comes from what Ridley is going to do in the end; Make his own choices or continue to be bullied by Jeffrey. We can achieve the suspence by creating moments within the film that make it seem that Ridley is leaning one way or the other, only to snatch the moment back from the audience, and prolong the decision until the climactic point in the film.
I started to look at trailers that have been recut to be a different genre to analayse the importance of when to cut and how shots can be fit together to give an alternative interpretation. This was also a good method for exploring the importance of a good sound design.
Of course editing a trailer is different from editing a full movie, but the art is the same; Taking certain clips to display a certain story, the story that I as a director want the audience to see, feel and believe. It is up to me to decide If I want the audience to sympathise with the characters, to feel nothing for them, or to make them feel like they are an arms length away from the action and events.
Tuesday, 18 March 2014
Logging the Footage
Our editor is working on another project as well as ours and so because the first week of our first post production coincides with the final post production week of the first group, the editor Jess asked me to help her log and label the footage.
Me and Chris met up and we went through the process of transferring everything from his hard drive onto the mac.
Then went through the process of putting everything from the mac into Avid Media Composer 6 in the most organised way possible; I labelled three separate bins and started the importing process. After Chris left I then went through each shot and labelled them according to the clapperboard prompts.
This was an easy enough process, though there were times where we had to go off Shot List, but I labelled them as clearly as possible and had previously spoken to the editor about it.
During this process I noticed that a lot of the theatre scenes were very Red. This was due to a lighting fault in the establishment, which has been previously described.
Hopefully these will be able to be colour corrected later on as there is no chance of a re shoot. The next step is to hand the footage over to Jess on Thursday.
Me and Chris met up and we went through the process of transferring everything from his hard drive onto the mac.
Then went through the process of putting everything from the mac into Avid Media Composer 6 in the most organised way possible; I labelled three separate bins and started the importing process. After Chris left I then went through each shot and labelled them according to the clapperboard prompts.
This was an easy enough process, though there were times where we had to go off Shot List, but I labelled them as clearly as possible and had previously spoken to the editor about it.
During this process I noticed that a lot of the theatre scenes were very Red. This was due to a lighting fault in the establishment, which has been previously described.
Hopefully these will be able to be colour corrected later on as there is no chance of a re shoot. The next step is to hand the footage over to Jess on Thursday.
Tutorial With Neil
Today was just a short catch up with the progress we had made and any problems I had encountered along the way, which was ultimately none.
We then discussed sound:
Setting up ADR sessions with the actors as soon as possible if it was necessary.
The use of underlying tone; having a sort of low rumble the whole way through
Using silences, and how silences can be used to break down a soundscape and build it back up again
Neil also suggest that it might help me to draw a sound map when I watch the assembly.
We would next meet to watch the Assembly with the editor next Tuesday.
We then discussed sound:
Setting up ADR sessions with the actors as soon as possible if it was necessary.
The use of underlying tone; having a sort of low rumble the whole way through
Using silences, and how silences can be used to break down a soundscape and build it back up again
Neil also suggest that it might help me to draw a sound map when I watch the assembly.
We would next meet to watch the Assembly with the editor next Tuesday.
Friday, 14 March 2014
Talks with the Editor
I met with Jess, whom I haven't had much of a chance to speak to during the pre production and production phases as she is editing another project.
I talked to her about what kind of footage we had captured and any problems that may arise as well as the tone and feel I wanted for the edit. I then whet through specific dates that wanted to see drafts of the film.
Hand Over Footage: Thursday 20th March (As I would be logging the footage)
Assembly: Tuesday 25th March
Assembly/Rough: Friday 28th March
Assembly: Tuesday 25th March
Assembly/Rough: Friday 28th March
Rough: Tuesday 1st April
Rough/Final: Thursday 3th April
Final: Sunday 6th April
Final: Sunday 6th April
Sound Handover: Monday 7th April
Tuesday, 11 March 2014
Production Day 4: Outdoor Shoot
Our final day of shooting (which was originally supposed to be our first until I pushed it back to this week) was of the two outdoor scenes. We had previously scouted these areas and so all we had to do was get going.
Location 1: Outside Strip Club
The main problems faced in these scenes were as follows
-It was cold and one of the main actors didn't have a coat on in the scenes and so we had to keep him as warm as possible between takes.
-Filming outdoors meant curious passers-by
-We filmed near a round about and so the constant sound of cars
Location 2: Park
Owen said he would have a listen to the sound and let me know if we would need our actors for any ADR later on. Aside from that we again got everything we needed and worked around one of the main actors having to leave us at 11:00pm.
Thursday, 6 March 2014
Production Day 3: Theatre Day 2/2
Today was incredibly manic.
We started off with the same problem as the day before, whereby the staff didn't know how to work the stage lights. This time they couldn't get help from the guy who did it before and so the only light we were left with had a red tinge to it. The woman couldn't work out how to change this, and ultimately it was this or nothing.
Whilst I was working with this issue I had the actors start rehearsing for the next scene and set out where I wanted the camera/lights and the action area with the crew. Although a lot of running around was involved everything turned out okay.
The second phase of the day was filming the audience and sadly we didn't have as big as an audience as expected, but it was still great of people to come along and support us.
After that time drew closer quicker to 5:00pm, and so it was a bit tight getting in the killing scene as well as a few other mandatory pick up shots. We managed to push things till 5:30pm which was when the actors needed to leave. And at the end of the day the important thing is that we got everything we needed from the theatre.
We started off with the same problem as the day before, whereby the staff didn't know how to work the stage lights. This time they couldn't get help from the guy who did it before and so the only light we were left with had a red tinge to it. The woman couldn't work out how to change this, and ultimately it was this or nothing.
Whilst I was working with this issue I had the actors start rehearsing for the next scene and set out where I wanted the camera/lights and the action area with the crew. Although a lot of running around was involved everything turned out okay.
After that time drew closer quicker to 5:00pm, and so it was a bit tight getting in the killing scene as well as a few other mandatory pick up shots. We managed to push things till 5:30pm which was when the actors needed to leave. And at the end of the day the important thing is that we got everything we needed from the theatre.
Day 2 Theatre Call Sheet (Production Day 3)
[http://www.scribd.com/doc/210273626/Call-Sheet-Theatre-Day-2]
(Done by Tom Hesford the Producer)
Wednesday, 5 March 2014
Production Day 2: Theatre Day 1/2
We only had two days to get everything we needed out of the theatre scenes, each day had a 9-5 schedule.
When we got there, we were met with the first problem. The lighting technician had recently retired and the staff didn't know how to operate the stage lights. They had to call someone external in to rectify this. Chris and I went up and told then how we wanted the stage lit.
We also brought the dedo and kino lights with us which we used as well but it proved hard to position because of the areas of the stage we wanted filmed.
Originally intending to get rolling at 9:30 we didn't start till an hour later. This was a problem because one of the actor needed to leave at 12:00pm for a 1:00pm start at work. Luckily we didn't keep him to long after the time he had to leave.
Aside from that the day went smoothly, and it was a shame the actress we had playing the character Zoe wasn't available on the Wednesday otherwise we could have fit in one of her scenes. I did get a chance to explore the rest of the theatre space so that I could plot where to use for tomorrows shoot.
The first day went well, and now it was the complicated scenes of Day Two left to get through.
When we got there, we were met with the first problem. The lighting technician had recently retired and the staff didn't know how to operate the stage lights. They had to call someone external in to rectify this. Chris and I went up and told then how we wanted the stage lit.
We also brought the dedo and kino lights with us which we used as well but it proved hard to position because of the areas of the stage we wanted filmed.
Originally intending to get rolling at 9:30 we didn't start till an hour later. This was a problem because one of the actor needed to leave at 12:00pm for a 1:00pm start at work. Luckily we didn't keep him to long after the time he had to leave.
The first day went well, and now it was the complicated scenes of Day Two left to get through.
Day 1 of Theatre Call Sheet (Production Day 2)
[http://www.scribd.com/doc/210273628/Call-Sheet-Theatre-Day-1]
(Done by Tom Hesford the Producer)
Saturday, 1 March 2014
Full List of Pre Production Material
SCRIPT
Written by Tom Hesford (The Producer) and edited by myself
Ridley Final Script
MARKED UP SRIPT
Put together by myself, I originally started out doing it section by section based on what scenes we were shooting, but then altered it to contain the whole script as this meant I could make sure certain shots coincided with what we would shoot on another day.
Ridley Marked Up Script
Web Link: http://www.scribd.com/doc/213882933/Ridley-Marked-Up-Script
SHOT LIST
Chris set up a Sky Drive account for the Shot List, where he wrote part of the second scene, before I took over wrote the restt and when he came to do the storyboard he would make slight changes to certain shots that were unachievable.
STORYBOARD
Was drawn entirely by Chris. Some shots were not drawn in because we needed to see the location before we could creatively realise it, as Chris pointed out to me, although I have an idea in mind and a shot list, it may not be possible to do.
AUDITION REEL
Filmed by Chris
Written by Tom Hesford (The Producer) and edited by myself
Ridley Final Script
MARKED UP SRIPT
Put together by myself, I originally started out doing it section by section based on what scenes we were shooting, but then altered it to contain the whole script as this meant I could make sure certain shots coincided with what we would shoot on another day.
Ridley Marked Up Script
Web Link: http://www.scribd.com/doc/213882933/Ridley-Marked-Up-Script
SHOT LIST
Chris set up a Sky Drive account for the Shot List, where he wrote part of the second scene, before I took over wrote the restt and when he came to do the storyboard he would make slight changes to certain shots that were unachievable.
STORYBOARD
Was drawn entirely by Chris. Some shots were not drawn in because we needed to see the location before we could creatively realise it, as Chris pointed out to me, although I have an idea in mind and a shot list, it may not be possible to do.
AUDITION REEL
Filmed by Chris
DIRECTORS NOTEBOOK
This is where I planned out each scene and shot to take with me on set. The general layout is Location: The Scenes/What Happens: How many shots. From there it is a case of me making notes prior to production, based on any adjustments I decided would be necessary in the rehearsal time. As I also took this book with me on set it also has notes on, how to change the shots/alternatives to film as a handy source of reference.
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