1010112savannahjames

[1010112savannahjames]

FLM235 Blog 4

What have I learnt throughout this period - post production

During this phase of post production for scene 2 I’ve learnt a lot more about editing. I’ve never really edited a music video (besides my own) before. It’s been very interesting learning all the short cuts from Alex, after we had a editing session together i’ll never edit the same. I didn’t realise how much the mouse confuses things, Alex showed me an easier way of syncing footage but it still confuses me a bit. Emma wanted the story to of the video to have 2 gradis which required a lot of stable shots, multiple takes and costume changes. In order to do this the camera needed to be stable and locked off, so that in post you can underlay the footage and crop the frame so that both images appear on the screen. This gives the illusion that there are 2 gradis. Learning this trick was tricky at the start, but after a few play arounds I am completely confident in this editing trick. I’ve learnt that with music videos its not only want the director wants but what the artist wants as well. I’ve learnt a lot about gradi and how he see’s the world, I’ve built a friendship with him and I hope to work with him again in the future.

What tasks have I undertaken in my production role?

The tasks I’ve undertaken as an editor in this phase has been…

I’ve viewed and marked all the rushes so that I know which takes are good.

I’ve named and commented on each clip so I know what the clip is and can if it goes out of focus ect.

I’ve synced all the footage to the song and market which parts go where.

Brainstormed with Emma and Gradi on what clips suit certain parts of the song.

I formed the rough cut with Alex, who helped me learn about the structure of a music video.

listened to the song a million+ times

I’ve formed a edit that makes sense and is ready for exhibition :)

How could I improve upon my undertaking of this role?

I can always improve on my editing skills, I can’t wait till I’m at the point where I can do things really fast with shortcuts. I plan to buy a better keyboard and a gel that has all the short cuts marked on the keys. I’m going to spend my break learning more about editing and watching tutorials. So that I can hopefully come back with better skills. I could also improve my knowledge on data and coding stuff I know its related in someway but I’m still not sure how. That side of computers confuses the hell out of me, I want to be able to understand not only the lingo but problems that I might face with my computer and others. I also want to work on my time management skills, post production is probably the most time consuming thing about film making. If I don’t know how to do something I want to learn how to manage the time required for me to learn it.

What challenges has my group faced during this period?

There ain’t many challenges that we have faced as a group in this phase. One that I can think of is Gradi not giving us the master track until after all the footage was synced. This kinda stumped the formation of the rough cut, the song wasn’t too different but it changed the vibes of the footage. It took some time but  Alex, Emma and I figured out a way to make it work. There are a lot of challenges I’ve dealt with as an editor, one of them being syncing the sped up version of the song too footage that has no audio of the song. Let me explain. So there is a shot of Gradi rapping the sped up version of the song across the street. We set up the camera on one side of a busy road and Gradi was on the other side. I was on the same side as Gradi playing the song sped up by 150%. The plan was to shoot this in 50p and slow it down in post to match the song played at normal speed. Because we were shooting from across the road there was no song for me to sync it too. I spent a lot of time painfully watching his mouth move in slow motion to try and sync the footage, it was extremely satisfying when I finally got it right. Another challenge I faced is the mental insanity of listening to the same song over and over again, not just talking about in post but everyday of shooting as well. The last challenge I’ve had to overcome is sleep deprivation, I’ve been working on multiple projects this trimester all of them in post, so balancing the time I put into each project is tricky. I edit into the late hours of the night and normally have to wake up pretty early to get more work done. Ive tried my best to manage this but sometimes it gets the better of me.  

Have we overcome these challenges? How?

Persistence. A lot of persistence. All of these challenges come with the job of film making, persistence is the key to over come them. I think everyone in my crew understand this and is willing to work together to overcome any obstacle. Everyone pulls their weight and and if they can’t they ask for help.

In what tasks has my group succeeded? Why did we succeed?

I think we all have collaboratively made something of substance. We succeed with the concept of the music video by preparing the shots ahead of time and thought about post in the process. Emma successfully communicated her and Gradi’s vision to everyone involved which made working together easy. The shots are well thought out and look great. We succeeded in a way I thought wasn’t possible. Everyone was on their shit and we got the job done. I’m really proud of what me and my group has made. I think this will be a nice instalment to my show reel and i cant wait for people to see it!

[1010112savannahjames]

FLM235 Blog 3

Challenges faced in post production of scene 1

Reflecting on the final stages of post- production for scene 1, I am very happy with the end product. Not saying that its perfect but, it’s pretty good for what it is. We had our session with Andy and the actress, she was great given that she hadn’t read the monologue prior to the recording. The voice over changed the whole feel of the scene. My recording was more like the the original cool girl scene, very serious and a bit dark. With this new voice over it was a bit lighter and fun even. Bilan and I were stumped with the music, Andy was already working on something that we hadn’t heard which was based off the original scene. Michael suggested switching up the music to have more of a Juno vibe, I told Andy about this 2 days before the due date. I was worried I put to much pressure on him and that he wouldn’t be able to do it. Somehow he managed to pull through, with the help of his mate, they created a great little song with an amazing harmonica. I couldn’t be happier with how the sound turned out the music is amazing! and all the foley was recored by Andy, he did a great job! Emma spent some time on the colour grade and did a excellent job given the time restraints, I know that she still needs to go back at some point before exhibition to really make the colours pop. 

Preproduction scene 2 

What have I learnt throughout this period?

Our preproduction for scene 2 started almost before the preproduction for scene 1. I’m not sure on the exact time, but Emma, Alex and I were approached by Gradi a tri 6 student who is completing his capstone. Part of his final project is a music video for one of his songs from his EP. This is the first time I’ve worked on a serious music video, by serious I mean, amazing ideas, cool story lines and crazy editing tricks. I’ve learnt that there is a lot more to music videos then I expected.  

What tasks have I undertaken in my production role?

My role is editor, I know this job is heavy involved in post-production so I tried my best to help come up with ideas, organise and help out on set. We didn’t have a production designer, there was little need for props but I helped out in the field when it was needed. I data wrangled after every shoot and made sure that footage was alright. So far I’ve synced all the footage and I’m working with Emma on the rough cut.  

How could I have improved upon my undertaking of this role?

I can always improve my editing skills I’m not a master at it. I only just started learning about 4 mouths ago, and that was with editing documentary. I know music videos require a lot of quick cuts and skilled editing tricks. I’m watching as many tutorials as I can to really wrap my head around the different styles and approaches that come with editing. I think the main way I could improve my skills would be to memorise the short cuts on premiere pro. I tend to edit the slow way because I’m still starting out, But I’ve noticed that I’m getting faster the more I do it. 

What challenges has my group faced during this period? Have we overcome these challenges? How?

It has been pretty smooth sailing with some minor issues, Gradi is great to work with and knows how to be on camera, But he tends to be a Little late to set. First day of shooting at the record store, he was an hour and a Half late. He rocked up at rush hour and the store/cafe was packed. We ended up rushing to finishing filming because the store was so busy and the manger was getting upset. Luckily Gradi was good with direction so it didn’t take too long to get what we needed. Another challenge we faced was the day of the car wash shoot, we needed Gradi, some dancers a costume change and some of Gradi’s friends for this shoot. Unfortunately both of Gradi’s friends where preforming that night and couldn’t make it to set. It worked out better visually and time wise. Less people means less onset disturbance everyone on that set was focused and ready. Gradi and Emma wanted to shoot parts of the music video in Gradi’s home town Wodonga, which is a 3 and a half hour drive away. Everyone was keen to do it, I just didn’t realise how far away it actually is. It was challenging for me and I think everyone else as well to travel that much in one day and spend the whole time shooting. We were all pretty tired and cranky. 

In what tasks has my group succeeded? Why did we succeed?

I’m really happy with how this music video is turning out, I feel privileged to edit Alex’s footage. It looks amazing! Alex rented the whole tech store it seemed, all the shots are well lit and framed nicely. Teianna’s been super helpful with her organisation and location scouting skills. Her onset presence is professional yet fun and she gets shit done. It’s been great seeing Emma in her element, she really knows what she wants and how to communicate that with everyone involved. I’ve been on set everyday helping out and documenting the behind the scenes stuff. It feels good to not be directing. Gradi has been super helpful and great to work with. It’s been interesting seeing Gradi’s and Emma’s vision come to life, I hope I can give it justice in the edit. I feel like we all work really well together and in a way it feels like the dream team. 

[1010112savannahjames]

FLM235 Blog 2

What have I learnt throughout this period?

In the production/postproduction phase, I’ve learnt that you need to focus on your role and if you need help ask. Having one main role on a production works better then having two or more. You really need to dive into it and do the research required to execute your job the best you can. I found myself mentally stumped on set, I prefer documentary where it is ok to “not know” something. Directing a narrative I feel like you need to know everything and sometimes I didn’t. There where a lot of things I over looked as a director and as a producer, because during preproduction those things didn’t matter in my head. I was too busy worrying about the other thing e.g getting the right location. I’m thankful that Bilan helped me with all the paper work and organisation for this scene, I would have been more mentally drained with out her. There are so many things I look back on after watching the rough cut and think “ oh why didn’t I do that?!” and “ oh I should have said that to Rose! That would have been better” or “ omg we don’t have another take of that was was I thinking?”. But I guess thats just part of the process. In the future I know to not take on too much and really focus on the role I am doing. I knew that I could successfully direct and produce, I just didn’t think how hard it would be mentally switching between the two.

What tasks have I undertaken in my production role?

I can't tell you how much my brain juggled between roles during this production. I was consistently worried about time and the logistics of the scene. I was also stressed about the scenes story and how it was changing based on the choices I was making in a unclear head space. I know this is a lesson I should have learnt from the test shoot, but given the amount of work required for this scene it was unavoidable.  

During this production phase I have …

Finished the production bible with all the necessary forms and agreements.

I directed the scene to the best of my ability with the help of my crew. I am really grateful my crew was able to help me when I was stumped on set.  

I organised 5 different locations and how they would work with certain time limits. Locations had to be slotted for certain days to minimise unnecessary travel.  

Help source props and dressing the set. Sam was working for the first half of one of our shooting days. I set dressed the bathroom scene and organised the props and outfits that needed to be in each shot.

I workshopped with Rose before the shoot to minimise the time required for each shot. I made sure she understood what was being shot and what she would be doing. I talked to her about the story in Gone Girl and the scenes that happened beforehand, this gave her a better idea of what was happening in the film.

I made sure my crew was on the ball and not lolling about. I think the locations and scene settings where very different compared to everybody else’s scenes, this made It easier for people to get distracted on set. I made sure people knew when to be serious and when to have fun on break.  

How could I have improved upon my undertaking of this role?

I could have improved by delegating more tasks to my crew members, this would minimise my workload so that I could focus on the story and what I was trying to say. I felt that it wasn’t their role and everyone was pretty swamped with what they needed to do for the shoot. Luckily Bilan was more then happy to help me out. I did as much research as I could to prepare for this scene but my creative mind was clouded. Once I saw the edit for the first time my mind was clear, and I thought of so many ideas on how to make it my own. Next time I direct anything I’m going to isolate myself, do my research and figure out what I want before hand.

What challenges has my group faced during this period?

I think I did quite well organising the shoot, there were no real problems on set. The biggest challenges so far have been…

Time Management, we ran behind schedule one of the 3 days.  

The weather, the forecast said heavy rain on the day of our car shoot.

The actor not knowing how to be directed.

Have we overcome these challenges? How?

In what tasks has my group succeeded? Why did we succeed?

On our biggest shoot day we ran behind time, we were filming the Bathroom sequence in the morning at uni then the motel sequence at night. We started at 11am and wrapped around 11pm, it was a 12 hour day. It didn’t help that the motel gave off holiday vibes and everyone just wanted the lounge and have fun. But we were all professional when we needed to be and we got the job done before midnight, everyone wanted to help out as best they could.

That Night we checked the weather to see what to expect for following day car shoot. The prediction said thunderstorms on and off all day starting at 7am. There was talks of postponing the shoot to a later date, it didn’t seem realistic to shoot a car scene in a thunderstorm. I checked the weather for the suburb we where shooting in, and it said the rain would start later at around 10am, which was our original call time. It would be incredibly hard to organise everyone to return to film at a later date, so I decided we go to the location early at around 8am and if its starts raining heavily we will postpone. Thankfully we got to the location and it was just overcast with slight wind. It only rained for about 10 minutes that day and the lighting was perfect for the car sequence.

My friend rose is not an actor, she is willing to help me out with a lot of things and don’t get me wrong I think she did really well in the shoot. But.. the voice over didn’t go as expected. Rose in real life speaks with a lot of emotion, and thats what I thought I would get from her. One of the main reasons I chose her was for her voice. When we got into the session Emma and I tried to get some emotion out of her, it worked in the practice reads but once the mic was on all we could hear was monotone. We thought we had left with something to work with. We went back to the studio to listen and edit the audio, all the takes were shockingly bad, unusable bad. We were stumped “what do we do now?” We still had the mic so Emma did a take and I did a take, so we had multiple options. After showing the audio to Bilan she thought my take was the best out of the 3 so my take is in the current edit. I was not impressed with this, I didn’t want my voice on a loud speaker at exhibition. I networked my way around uni and found a Tri 2 female actor with a great voice, I have a audio session booked with her for Monday wish me luck.

I think my crew and I have done a great job with this scene! It still amazes me that we accomplished a 85 shot scene in 3 days with 5 different locations on a tight budget. We have all worked really well together and I cant wait to see the finished product.

[1010112savannahjames]

FLM235 Blog 1

What have I learnt throughout this period.

This is the first time I feel like I have ultimate say, and it’s terrifying. I have realised that I am better at taking direction then giving it. I’m learning more and more that directing isn’t about control, its about guiding the collaborative process. At times I feel like I should know what I am doing, but in all honesty I don’t. I’ve never directed before and being in a group of strong female film makers who have all previously directed is a bit daunting. I’m learning how to detach from my emotions in order to give better direction without judgement. I know that my crew doesn’t judge me, I just need to feel more comfortable on set. I’ve learnt that being as organised as possible is extremely important, before the test shoot I had some family tragedy and organisation flew right out the window. But luckily I planned a little and we had enough information to film the scene. I’m having fun learning more about my crew and how we work together, also learning about my self and how I communicate. I know I need to learn more film terms so that I don’t waste time trying to explain what I want in the frame. I know that I am more the capable of directing and producing this scene, I am learning how to be patient with my self and others.

What tasks have I undertaken in my production role?  

This trimester I feel like I have taken off more then I can chew. Producing and directing at the same time is a bit challenging but I think I’m handling it alright. In the past 3 weeks I have…

Copied the original Gone Girl script and edited it to fit the scene I want to recreate.

Memorised the monologue.  

Blocked through each sequence to help me understand the placement of the camera and subject. 

Organised to the best of my ability the test shoot which I think went better then expected.

Spent hours on the phone trying to get location agreements. I now have all locations locked in except the supermarket.

Marked up a action script and a monologue script. I thought it was pointless to mark up an actual script given that the scene I have chosen is a montage. I feel that its important to focus more on action for the shoot days because the dialogue will be recorded.

I’ve started forming the production bible and delegating jobs to each role in order to get the ball rolling.

I have found an actress who I think suits the character I was to represent.

I’ve brain stormed alternatives for shots that I think are unachievable. Emma and I are currently working on a storyboard.

After editing the test shoot I’ve realised what kind of shots me as a editor would want to see/edit. This has helped think about how I want to capture this scene, it has given me ideas on how to recreate the scene and make it my own.

How could I have improved upon my undertaking of this role?

Being a Director and a producer comes with its challenges. One of them being switching between logical mind and creative mind. I’ve spent a lot of time planning and not enough time discovering creative ways to recreate this scene. I think instead of overwhelming myself with both of these mind states, I should allow myself time to switch between the 2. Knowing when I need to produce and knowing when I need to direct. I found the test shoot difficult because I was directing, producing and the first AD, I was too worried about getting the shoot done on time that I didn’t focus on the creative process. I know now for the real shoot I need to be in the moment more and focus on whats happening now, rather then worrying about if we are going over time.

What challenges has my group faced during this period?

Because this scene is a montage with multiple locations and a tricky high budget car sequence, the 3 biggest challenges have been…

Trying to find and get agreements for locations.

Figuring out how to shoot the car sequence.

New roles for everyones!

Have we overcome these challenges? How? • In what tasks has my group succeeded? Why did we succeed?

I’ve spent a lot of my time on the phone and in real life talking to people to try and get permission to use their locations. So far we have a get away car from a friend, a motel room for the night and a bathroom. I’m still in the works of finding the last location which is a supermarket. We have all come together and looked for one that would be suitable. We are currently waiting on 3 to respond and if they don’t pull through our back up location is south Melbourne market.

The car sequence has seemed tricky from the start, but with the test shoot and speaking to multiple lectures, I’m confident in Emma’s ability to capture this scene. We have been looking into ways we can shoot out of and inside the car with no rigs or jibs. We may have to do another test shoot inside the car just to be prepared for the shoot. I’m confident that we can make it work!  

Everyone is my crew is doing a role completely new to them this tri. Seeing everyone step out of their comfort has been very refreshing. Emma who has been a writer/director in the past is learning heaps of stuff about cinematography and teaching me through the process. Bilan and Sam who have both directed in the past have been teaching me a lot about directing and they have helped me feel comfortable in making my own choices as a director. They continue to surprise me with what they bring to the table giving there roles. I’m sure its challenging for everyone doing something that is completely new to them. I think as a crew we work really well together, any problems that arise aren’t problems for long because we all work together to find the best solution. 

.    

[1010112savannahjames]

FLM225 Blog 3

Reflection Blog

Out with the Old has probably been the smoothest production I have every worked on.

It wouldn’t be a student short film without problems though.

From week one our crew was set on making a documentary about Filthy Rat Bag, a upcoming Melbourne artist and her influence on social media.

Unfortunately the day before practice pitching Filthy Rat Bag dropped out of our production and my crew was left with no back up. From the start I was iffy on weather or not she was actually going to help us with the documentary. I had a gut feeling that it wasn’t going to work out. Filthy Rat Bad had a upcoming art show on the 30th of august, and I thought it would be a great opportunity to document her journey. She felt at the time that it would have a negative impact on her work, and that she wouldn’t have enough time for us to film her. In retrospect I should have been looking for alternatives after receiving multiple late replies. As a team we come together to try and find a solution, luckily a family friend of mine was closing down her and her sisters antique shop and agreed to let us document the process.

The only issue with this was that the closing date was coming up fast, our crew crammed 4 weeks worth of pre production into one night in order to pitch the next day. Once we received the green light it was go go go for Emma, Sam and I.

It’s a bit tricky letting go of a concept you spent so much time working on, only to have it thrown out the window. It was a blessing in disguise, I found it incredibly easy to work with Jen. There was no issues with time and place, Jen worked around us and kept in clear communication with me throughout the whole process. (which was incredibly refreshing) I am extremely grateful to have had Jen help me on this project, I think if it was anyone else there would have been a lot more issues then there was.

I was heavily involved in preproduction and postproduction with my only real job on set being a runner/data wrangler. I spend a lot of time forming a better relationship with Jen and the people around me, I did this so I could have a better understanding of how to represent the true story in the editing suite.

On the day of the auction shoot we were in a rush to get to the location, class had finished at 3pm that day and the gear pick up was at 4pm. We all agreed to get to the location before 5pm in order to set up before the auction starting at 6pm. I had organised two audio students Susan and Sam to record sound for this shoot. Everyone arrived on time and as we were setting up we realised that there was no F8. There was no blaming and everyone remained calm, the auction was set to start in 40 minutes and Susan and Sam agreed to go back to uni and get an F8. While they were gone we set up the cameras and recorded what we could, Emma and Sam both had cameras from uni and I brought my own DSLR.

Susan and Sam got back 5 minutes before the auction started and set up as quickly as possible. It wasn’t until I got to the computer and realised that the recordings didn’t match up with the footage. The auction sequence was a nightmare to sync and if we had been more organised and had more time to plan on Location the auction footage would have been more useful. All that stress for a lot of footage that couldn’t be used, Emma’s camera had a dead pixel and all of her shots have a little purple dot inside the frame which is hard to ignore, most of my shots where trash in comparison to the SAE cameras, and a lot of Sam’s shots had the boom in it. Not all useless though because of that day I feel like we have a great ending for our film and a fun credit sequence. I do feel bad that Susan and Sam who had to stand for hours only to use maybe 10 seconds of their audio.

On the days leading up to the closing of the shop Sam had booked all the equipment that was needed in order to have a smooth shoot day, she booked out the camera with no dead pixel, a tripod, 2 road microphones, a boom and a F8. There was some sort of tech department mishap where online it said the F8 was available and on the day of pick up it wasn’t. Instead we hired out a older version of the F8, I called Susan to check if she knew how to use it. Susan said she didn’t know but would do research so she was prepared.

On the shoot day we arrived early to give her some time to practice using it before we started shooting. It looked like something fresh out of the 80’s and she was very confused on how to use it. We called up the tech department and they said we could easily plug the road microphones and the boom into the camera and record audio that way. After some trail and error it was a success, the audio recored with the footage. This made my job easier in post with no need to sync.

For the closing day we wanted as much coverage as we could get, Emma asked V to help out with shooting. While sam focused on Jen and the main characters of the shop, V went to shoot costumers, rooms and cut aways. He got some amazing footage on his Canon 5D  and we ended up using more then we thought we would. At the time I don’t think anyone thought it would be an issue a camera is a camera right? This proved to be one of the biggest challenges for me as a editor. Trying to match the heavy contrast and bright saturation of V’s footage to the flat S-log footage Sam captured was incredibly difficult. I don’t think I will ever make it look consistent but I’ve tried my best with the time I had to make it not as jarring. This taught me a lot about editing and how colour can completely change the feeling of an image.

I think the reason for a lot of the issues we uncounted as a crew was from lack of time and equipment knowledge. Everyone in my crew was doing a role that was completely new to them, and with the shop closing down fast we didn’t have as much time prepare. I think we all did well in making this documentary with newly discovered skills and a short time frame.  

It is extremely tricky to predict what will happen when you are documenting real life.

I believe it is very important to double check the gear before you leave uni, it is also vital to make sure the gear you need is available for the shooting days. I think a little research can go along way, just knowing what you want to shoot on and how much time you need can make a huge difference in the outcome.

[1010112savannahjames]

FLM225 Blog 2

Sound is more important than picture in documentary 

I believe that sound is equally as important as visuals in documentary. Sound gives us emotion and the picture gives us information. I’m learning more and more that sound can impact the way we interpret visuals.

Music for example, can access emotions unconsciously. Different types of music can give images a whole new meaning. Even if the music is playing softly in the background we can gather the tone and feel of a scene. Knowing this has really helped me in my editing process. When watching the current rushes and forming sequences I can gather ideas for tones and feelings that can be enhance with music.

Sound effects and mixing are just as important as the score. Sound effects help build and create story. In a scene with someone walking into frame, the sound of a door opening and closing will prompt their entrance. Little things like that make the cuts less jarring. Mixing those little sounds into the picture creates a story that is easy to understand. Without those little bites of audio the images can look off and not always make sense. We need those little sounds to make the connection of what is happening on screen. Sometime audio has imperfections like background noise or crew members speaking. It’s easier to understand the story if the audio is clear. Mixing can fix some minor problems.  

I find atmosphere recordings very important not only for the editing process but to establish a sense of the environment. Having 2-3 minutes of background noise can help make sense of footage that has no sound. I found that if the subject is in a crowded or loud space like the South Melbourne Market, atmos recordings can be used to make the transition for audio cuts smoother. There is no sudden silence, the sound remains consistent. I’m sure if I knew more about audio and understood the software, I’d be able to make the audio transitions a lot smoother and unnoticeable.  

Audio recordings help us get an insight into the subjects thoughts and feelings. In a interview it is important to record clear audio of the person speaking. The interview can hold the whole story, making it easier to place all the pieces together.

During the making of the market documentary, I experienced the role of sound recording. I had never realised how much work goes into recording audio.

From the minute I put the head phones on I was transported into this crazy sounding world that drove me a bit insane. I could hear everything and nothing at the same time. I could pin point where I needed to place the boom to get clear audio. I practiced focusing my ears to hear certain things and listen out for any problems coming through both microphones.

It was a bit maddening hearing different sounds in each ear. It felt so refreshing to take the head phones off and hear normally again. The whole experience messed with my head a bit, I wasn’t responsive to people who spoke to me because I couldn’t hear them unless they spoke into the mic. There was this one moment where our interviewee said something really important to our story and right as she said it someone wheeled a huge trolley cart by. The sound almost defended me. I was so focused that my whole body shuddered.  

I now have a lot of respect for people in the audio industry who deal with that on a daily basis, but I guess they are just a different type of human who enjoys it.

This exercise has made me realise how important clear audio is to documentary and film. Given it was my first time, I did mess up some of the audio files by not holding the boom and cable properly. I had this realisation later when it came to editing. Some of the audio files had crack sounds and some audio waves were quieter in some parts. I was still experimenting with the perfect space to hold the boom without getting it in the frame. I am extremely grateful that we have audio students helping us in our main documentary. I have realised that there is more to audio that meets the ear. It is great to have people who know what they’re doing on set. Not only do they stand for hours holding a boom, but they would go a little bit mad with all the things they hearing. I don’t think I would consider a job as a sound recordist, although I know it’s good money. Hopefully one day I’ll wrap my head around this whole sound aspect of life, but for now I know I’m better with visuals.

Once I understood that I could read visuals in audio, it made it much easier to understand. Syncing footage is a lot quicker when I can visualise a loud point. Looking at how the sound is represented with visuals helps me understand it a little better, but on the field I don’t think I can trust my ears.

I think sound is extremely important to not only documentary but life in general. The ability to hear and respond to things changes us as people. We can feel and learn though our eyes and ears, which can impact the way we are to ourselves and others. Learning from what we experience is what documentary is all about. A documentary is a representation of a story in real life so of course sound is important. Visuals are equally as important, when both come together the experience becomes more realistic.

If a documentary was just images in sequence, it would communicate a completely different message. Sound and image work together to mould a story.

[1010112savannahjames]

FLM225 Blog 1

Each Mode of Documentary has its own relationship to truth.

(Some of my quick thoughts on truth)

The meaning of the word true is “fact” or “reality” but what is truth?

Every person on this earth has a different truth, something being “true” to some might not necessarily be true for others.

The same event could play out with different people witnessing it and each person will interpret what happened differently.

“Truth” is based on you own personal thoughts, experiences and beliefs.

Truth, to me, is something that holds it’s own integrity.

Is something really true if there is no consistency?

The Observational mode of documentary was originally created to capture “Truth" in the most genuine way possible. To observe a reality with no interference. Eventually the mode evolved to create more of a story, with characters and events unfolding on screen.

With this evolution came the slight altering of “truth”. Instead of one camera observing a subject it’s a whole film crew. Having a film crew follow you around can be a bit overwhelming, especially if it’s for extended periods of time. This makes me question whether or not the subject is genuinely themselves on camera. If you consciously know you are being filmed at any given time, couldn’t you change how you behave?

The subject could react differently then they would if the camera wasn’t there. So in saying that we never really know the subjects truth, we are viewing their truth from a altered perception. This mode calls for structure, a beginning, a middle and an end.

The filmmaker needs to find a story within the footage, the subjects truth changes with editing. The audience has no idea what happens when the camera turns off or what footage gets removed in post. That truth, lies with the subject and the filmmaker.

Obersvaetional mode gives the audience the ability to enter a world that is not their own, an insight into a life that holds a story. Even if the story might not have consistent truth, it is still a story that is worth being told.

Expository mode is more a ‘truth’ being sold to the audience by ways of manipulation.

This mode speaks directly to the audience, it is to push an opinion or pose an argument in order to convince the viewer of a certain belief system. This mode uses voice-over that insinuates a role of authority, as well as interviews with experts who have extensive knowledge on the topic. The viewer is more likely to agree with a statement, if it is coming from a source who has experience in the field being explored.

This mode uses evidence to persuade the audience into siding with the argument, not giving much leeway for the viewer to see the opposing side of the issue. Convincing a audience of a story that might not be the ‘truth’ for the viewer. This poses the question of what the truth actually is. There are two sides to every argument.

Evidence needs to be provided from both sides in order to drawn a conclusion. And even then, the truth is either subjective or objective, there is no real answer.

Consistency is key to truth, Expository documentaries shows consistent evidence to make their point. It leaves the viewer no time to question what is being said.  

Unless the audience has prior information on the topic to question the argument, it is easy for a viewer to be persuaded by the evidence being shown. It is up to the audience to decide whether of not there is truth in the story.

Participatory mode is a way for the audience to learn with the filmmaker, and draw their own conclusions from the experience. This mode shows the filmmaker themselves being the protagonist in the story. The filmmaker is on a goal to determine the truth of a subject. The filmmaker, like their audience, has no prior knowledge on the topic. 

The audience is experiencing every event with the filmmaker. This gives the audience the ability to trust the filmmaker in finding the truth. It opens up a connection between the viewers and the filmmaker, giving the audience time to think about what is unfolding on screen. This mode has multiple long and short interviews, The filmmaker must question everything in order to find the real truth. The interviewee must hold their truth to further explain the topic.

If the filmmaker finds inconsistency with the statements or facts made, It is up to them to continue questioning until they have reached turning point. Depending on what ‘truth' is said, the filmmaker can ether disagree or go along with the evidence provided. This can change the direction of the story and give the audience an isight of opposing facts and options. The end result is the audience and the filmmaker making up their own thoughts and beliefs on the topic, all based on the information provided by the experience.

The Poetic mode of Documentary shows the subjects truth, through the filmmakers truth while relating to the audiences truth. Poetic documentaries are abstract, with the story being told manly though visuals, sound and rhythm. It can be hard to interpret the truth that is coming across. The rhythmic editing gives the viewer room for thought and self reflection. Moods and tones are created to make the audience feel a certain way. Visual associations are important in this mode, our brains associate the visuals being shown with our own memories and feelings. Space is given by the rhythm, the audience has enough time to think and relate what they are experiencing to an emotion. It is a impactful way to tell a story. The meaning of the story comes from the visuals juxtaposing and the truth comes from your own association of the subjects getting contrasted.

There is creative space for the filmmaker to create their view on the subject matter though editing. The use of editing and sound can manipulate the way the audience views subject matter, allowing space in their own minds to alter their perception of a topic. Poetic documentaries can be confronting and beautiful. It helps the audience open up their minds to think and feel in a different way. This allows the viewers own truth to be shown through the documentary.

[1010112savannahjames]

FLM215 Blog 4

Do you feel you have come a long way since the beginning of the trimester?

I feel like I’ve come along way from script writing. I’d safely say that i am not the person i was walking into the first class on day 1. I never thought i’d be able to write a 10+ page script. I never thought it could be any good, but with the workshops and the guidance of the people around me, I’ve created something that I’m proud of. Getting feedback for something that came from my own brain which was extremely personal was a new experience for me. It made me realised that learning film is a collaboration with people who are interested in what you have to say. Jumping into a role i had never done before challenged me to adapt to different types of work and different ways of learning. Working on a bigger set. With a more professional environment then anything else I’ve worked on was a challenge and i think I over came it well.

Do you feel you challenged yourself enough?

Definitely! So many challenges have been faced! Pitching was definitely a channeling part for me, I’ve always kept under the radar when it comes to uni. Always sitting in the back row and keeping to myself. I later realised that it wasn’t going to serve me. I tried my hardest to make connections and open myself up to the people in my class. Standing in front of my peers and expressing my self and my ideas is so terrifying but i got through it. Although i didn’t pitch my script I pitched for my crew role as director for OK Home. It was challenging to get up and speak, let along be followed by someone who pitched for the same role. I realised if i didn’t have to confidence to speak in front of people, how was i going to direct? I accepted the fact that i wasn’t going to direct. I wasn’t ready. Instead i jumped head first into the role of Production Design. I had never done it before and it was a massive journey for me to go on.

What challenges arose from your production/ tasks/ role etc.? How did you overcome this issues?

One of the biggest challenges I faced in preproduction was sourcing what i needed for the shoot. I spent most of my time doing research and searching for suitable props that were affordable. The most important prop i needed to source was the home pod. As soon as i was giving the role I came across a website that had cheap electronics. I purchased a white speaker that i planned to modify with a small camera lens and the logo. On the day of the cinematography workshop i received a email informing me that my order had been canceled. It was due to the product not being in stock even though I doubled checked to make sure they were in stock. I realised I couldn’t trust the internet anymore and that it would be better for me to source the props in real life.

The biggest challenge for me on set was communication and standing my ground. I was kicked off set a lot, and due to this some of the props are missing from the film. On the first day i didn’t realised I needed to be on set and double check the frame. I am good and following orders and I did everything that was requested of me on set. This came as a disadvantage for me because most of Tasks I was doing was cleaning other peoples mess. I didn’t make a big deal out of this and I probably should have. I washed time cleaning when I should have been set dressing. I had to clean before and after every set dress. I think this is because the set was a house and people treated as such.  

What was your role within the film and did you undertake this role/ duties to the best of your ability?  My role was production designer for Ok Home. I have never worked as a full production designer before. I have done some PD for films that I have made solo, they were only minor things like costume. This film was insane so many things that I had to think about like props, where to get them? clothes, work books, logo stickers etc. I never though I'd have to re create and a half eaten meal. I thought the role would be more about set dressing and less cleaning. I soon found out that the being the production designer means that you’re everyones on set bitch. I followed orders and did everything to my best ability.

 What soft/ technical skills could you have improved upon, and how will you implement these changes in future?

I need to improve my communication skills. I need to develop my confidence while working in a team. I want to work on being more approachable, in order to help people when they have problems in any stage of production. For communication in the future, I want to make sure people understand what I’m saying and were I’m coming from. In terms of developing confidence it’s a process that is ongoing everyday. The more experience I have the more confident I will be in my own ability.  

Did you work cohesively with your team? If not, how did you overcome these conflicts?

I’d say I worked really well with my team. We all got along well and understood each other. The only big conflict I can think of is when V forgot the laptop on the last day of set. I responded in a way that if me and V weren’t friends would have been taken very badly. I over came this conflict by apologising. We both knew we were in the wrong.  

Is your film finished? If not, what do you still need to complete?

After seeing the final film before exhibition, I was blown away with how much the film had improved. It’s definitely finished but its not complete. If that makes sense. There are still some things that need improvement. The audio needs to be refined and I think it could be cut down a bit. In a perfect world, it would be nice to reshoot some of the scenes. I know that we will continue to work on this in the future and try to make it the best film possible.

That’s all from me for now. Thank you for everything. 

[1010112savannahjames]

FLM215 Blog 3 - Exhibition

Seeing Ok Home on the big screen was amazing! I felt nervous knowing everyone in the room would see it and have their own feelings about it. I was interesting to see how a live audience would react. It was nerve wracking knowing that there were  people from higher Tri’s in the audience with a higher skill set then me. 

Once the the credits rolled everyone was clapping and it felt nice to even get a big whistle from the back row. I feel like people really enjoyed it. I got positive feedback from all my crew members and family. My mum love it but my brother did say that he hated the actress and didn’t care that she was trapped in the house. It was a great night i really enjoyed seeing all the documentaries from Tri 4 it gave me an idea of whats ahead next Tri.

[1010112savannahjames]

FLM215 Blog 3 - Trailer Edit

With my trailer edit i wanted to stay with the story. I wanted it to start slow and dramatic. I wanted to work the intensity up and up until the end. I tried my best to copy a Hollywood film trailer, with a green ratting slide at the start and a credit slide at the very end. It was hard to find music to fit this film. All the music i found was ether too dramatic and epic or too tech sci fi. The original royalty free track went for 2 minutes, I had to cut the music in half and rejoin it so that it ended on a climax. I’d say my inspiration for this trailer is the Black Swan trailer. An audio track from later in the film being played over a dramatic scene from the film. The music and scenes getting more intense as the trailer progresses, while not giving too much away from the story.

https://vimeo.com/267730001

https://youtu.be/5jaI1XOB-bs

[1010112savannahjames]

FLM215 Blog 3 - Cross Collaboration

Working with audio students has been really fun. I’ve never done it before and i can safely say I’ve got a bigger persecutive of the audio world. Working with Stephan and Zayn has been great, they were very patient on the shoot days and understood a lot about working on set. I worked with Stephan doing ADR for the scene where the tv changes, he was very organised set up the mic and got the footage on screen so i could see what i needed to say and when. It was a fun experience to go into the studio, seeing the big mixing boards and talking to someone who actually knew what he was talking about. I’ve learnt that audio is something to not take for grated. People who work in audio have extremely important jobs that make the films great. I am extremely grateful to have worked with audio students, i got to see what it takes to recored good sound. I realised that i could probably never get my head around the world of audio. How could i ever work with something i can’t see? I hope to one day learn more about audio and how it works.

[1010112savannahjames]

FLM215 Blog 3 - Film Edits

The first edit of the film surprised me, I had only seen a number of shots from production. After seeing the assembly edit i was impressed by the amount of shots taken. It was interesting to see what shots Tim chose to be in the final product. The fine cut needed to be tighter and i could see that Tim and Daniel were struggling with the cuts. The film had too much breathing space. I went into the editing suit to give them some fresh eyes. I noticed in scene 5 there was too much time before the next scene and said to cut it as she leans back in the chair. Tim cut it and it worked so much better. I watched the final master film yesterday having not seen it after adding audio. I was blown away with the added dialogue Emma recorded, it made the story work so much better and i got chills. The score worked really well and the intensity is there. The sound the home pod makes when its activated sounded a bit like a Mario game but it works well with the tap scene. All up i think the film makes sense, looks amazing and sounds great and I’m very happy with it. Its pretty good for a film that was made in 13 weeks. With any film there are still some things that need work, like some of the audio tracks and the green screen. But all up I’m very happy with it and I’m so proud of my crew.

[1010112savannahjames]

FLM215 Blog 3 - Film Shoot

Day 1 was more stressful then i thought it would be. Not saying i was stressed but everyones energies were on the stressed side of the spectrum. Which definitely rubbed off on me a little.  

We had planned to shoot scene 5, 1 and 2 which were some of the heavier scenes.

Scene 1 and 2 required the biggest set dress. The house needed to be messy to convey the message that Sarah lives a busy lifestyle and is focused on her work. These scenes also required 2 other actors and a van.

The set wasn’t very organised, everyone was stressed because we where running behind schedule. One of the extras was not able to make it till 2pm so we shot scene 5 first. I wasn’t aware of this and due to my lack of communication, Sarah wasn’t wearing the smart watch in this scene. We only realised this when we started shooting scene 2, instead of reshooting scene 5 we decided to cut that prop from the film.

I set up scene 1 and 2. We were running behind time Jayla was getting extremely tired, which was 100% understandable giving it was a very stressful day.

We only got through scene 5, 1 and half of 2, this challenged me to find a way to completely recreate the set at a later time. I asked Tim when we would do the rest of scene 2 and he said on day 2. Riki was on set which helped a lot with being more professional but everyone was a bit tense.

I was kicked off set a lot by the first AD which i thought was normal. One of the props i set up was in the hands of Jayla and was being shot with her holding it. This wasn’t in the script or part of the prop organisation. It didn’t make sense for Sarah to be on the phone and holding a magazine at the same time. I didn’t know how to say this to Tim, luckily Rikki stepped in and helped me get my thoughts across.

I understand that Tim was too into the film to worry about a small thing like a magazine. Rikki told me its important for a production designer to be on set. They are needed to double check the props and make sure everything in the frame works.

If i had of know i was allowed behind the camera from the start, the smart watch would have been included in the film. We wouldn’t have wasted time with the magazine which put us behind and impacted shooting the rest of scene 2.

Day 2 was a lot smoother then day 1, We shot scenes 3, 4, 6,7 and 8. The set was a lot more organised we prepared a head of time i think because no one wanted to repeat day 1. I was on set more to double check the frame and props but i still was kicked off after the check due to scenes being in small spaces and being to chaotic for Jayla to focus.

We seemed to be on time for the day, although there was a costume malfunction.

Jayla got spooked while doing her make up and got lipstick on her shirt. This set us back 10-15 minutes i took the shirt, spot cleaned it and ironed it ready for the scene.

We did run behind time and didn’t end up shooting the rest of scene 2. We got through a lot of scenes and shot scene 8 which gave us window to shoot scene 2 on the Sunday.  

Day 3 the call time was a lot later so everyone was chilled at the start but the vibes got very tense as the day progressed. We ran behind time but were as organised as we could be. The day revolved around Jayla and the story of Ok Home. Making sure the performance was as good as possible for the heavier scenes being shot later that day.  

I was approached by V who said he left he’s lap top at home. He didn’t think it was needed but it was the one of the most important props of the next 2 scenes. I over reacted and lost it! I said things in the heat of the moment and later regretted saying them. In the future i know to keep my cool and approach hard situations with a different response. I need to be more understanding and compassionate instead of going to anger. I apologised and we hugged it out.

My assistant came in handy drove him home to get it. while V was gone Alex helped Tim get B roll.  

As a Production Designer there is a lot of things i would do differently next time. I will have better communication with the DOP and make sure the props I’m getting are actually in the shots being taken. Prepare for mistakes that could happen on set like having an extra shirt incase of a spill.

I’ll make sure the crew understands my role and that i need to be on set.

Minor roles

My original minor role was assistant production designer on The Clock but due to the shoot being on easter i was only able to make the 3rd day bar shoot. I followed the direction given to me and helped make the bar look as bar like as possible. After i helped set dress i was asked to be an extra to help give the illusion that the club was full. With the loud music and massive amounts of people it was very hard to hear directing and i witnessed miss communication between crew members. They seemed to handle it well.

I know that i didn’t contribute as much as i was suppose to on The Clock because of easter, so i tried to make that up by helping out Them. The production designer dropped out and i knowing how hard the role of production designer can be i wanted to help out in that field.

I helped Sage set dress on the first day and then Sam needed extras.

The next day of the Them shoot i volunteered to be the blood splatter tester, the crew needed to see how the fake blood would look on Maddy and couldn’t risk testing it on her incase they needed another take. It was messy and itchy. I didn’t really think about the fact that i couldn’t wash my face until i got home which was a 2+ hour journey.

After seeing both shoots i realised how important being organised is. Having strong communication can be critical in stressful situations, and good shot list can help make the day run smoother.

[1010112savannahjames]

FLM215 Blog 2 - Green lighting Presentation

The green lighting presentation went better then I thought it would. I didn’t know what was expected. I knew my crew had it all sorted with paper work and all the things we needed in order to get the film made. We ended up getting a green light which wasn’t a surprise given we had put so much work into green lighting.

I don’t think we were ready to shoot at that phase because we didn’t have the actor we wanted locked in. I still needed to source some props and costumes,  not having an actor locked it made it harder for me to purchase clothing items.

Everyone is contributing to the production and our work is coming together. The communication is fine for where we are at now, but only time will tell the closer we get to shoot day. The producer and the director have been working non stop and are managing the team very well. I think we all need a little rest until shoot day.  

[1010112savannahjames]

FLM215 Blog 2 - Transferable Skills Meetings

I am aware that I need to improve my communication skills and I need to develop my confidence while working under pressure. I feel as production designer I was not given enough feed back. I needed to know that the job I was doing was acceptable. I just kept getting replies like “yep all good” I need to know what needs improving or a definite “Yes thats what we want”. So I know I’m doing my best.

I can work under pressure, I just need to learn to enjoy it more. If there is a deadline I normally make it ,but in the moment i hate it, even though i get it done. I know that in this industry you need to be good at working under pressure and i think I’m alright at it. I just need to learn how to handle it with out stressing my self out too much.

I think iI’l improve by asking more questions. Building relationships with the people I’m working with. This should create a safe space for them to give me the right feedback. That way if I’ve done something wrong they can approach me and we can get it right and I wont feel like its the end of the world.

After the KPI meeting I walked outside to meet Emma who told me the actress that was “locked in” who had done rehearsals and gave me her measurements had dropped out of our production. 

We had an emergency crew meeting after everyone had had there KPI meetings and we worked with putting out as many adds as we could and searching through our contacts to find a replacement ASAP. Everyone was calm in the process and we had a few replacements lined up for auditions the next week. We all put our heads together fix the problem. We learnt that having auditions and back up actors is a must for our next production. 

[1010112savannahjames]

FML215 Blog 2 - Audio Workshop

I’ve always been interested in the audio aspects of film. I understand that sound can make or break a  film.  Music is very important in film and life but that stuff never clicked with my brain. I just never understood the whole concept of sound waves, rhythm, beats and white noise but after the work shop I had a much better understanding of it. Although it is still is very new to me.  I ca’t quite get my head around it. I found it hard to listen to what the lecturer was saying because we where in the sound stage and some audio students were making a lot of noise. It was cool to see that the sound pitch  can be altered using the dials when its connected to a mic.

i didn’t really understand the concept until we set up the gear and went around uni recording random stuff. I put the head phones on and listened to the difference between the boom mic and the lapels. Seeing Denial move the dials and change the pitch of what i was hearing was amazing and I realised I could probably never get the sound to sound right. He would move the dial and all the sounds became screechy and very unpleasant he would move it again and it would be crystal clear and some sounds would be muted.  It was like I was watching a movie of real life i’d see people talk and it sounded as if it was a film not real like the sound was isolated and pined to a person. It was also interesting to hear my self talk but it being quiet because the boom was facing the other way.

There wasn’t a key scene we recored because most of  of our scenes take place in one house ,mainly one room, the kitchen. We went into the common room which has the highest ceilings and vending machines to simulate the noise of a fridge. Once being in there we realised that the boom mic is the best bet when it was moved towards a person. The sound was isolated and all you hear was their voice. Were as the lapels mic was very scratchy and sounded a bit muffled and you could hear the back ground noises like the fridge where as the boom cut all of that out and focused on one point.  There was a big difference in the sounds coming from each of the misc’s. I had never heard a boom mic before and now that I have, I understand why it was invented ( i had no idea that it was a thin mic inside of the cage with a furry cover …it blew my mind )

The challengers our team face in regards to audio recording of our film are the high ceilings and echoing of the location. I think with a boom mic should be fine.

[1010112savannahjames]

FLM215 Blog 2 - Cinematography Workshop

It is important to have a detailed, clear to read, shortlist incase the cinematographer is absent. Meaning ideally anyone who can operate a camera can look at the shot list and know what shots are needed and where. Shot lists are handy to have for directors reference and production designers to know what the next shot will be and what needs to be in the shot.

Where the camera is positioned can show subtext and reveal things about the narrative without dialogue through visuals.

Examples of this are:

If an actor is in “centre frame” it can mean they are the main point of interest.

If the camera is low looking up and at an actor, it can show that the character has some kind of power.

If the shot is wide with the actor being small in the frame it can mean isolation and loneliness.

Close ups can reveal reactions of the characters that can tell you how they are feeling in the moment .

In the workshop we worked on our hardest scene, which is the last scene of the film. Sarah is calling her boss on the landline. We created a makeshift cupboard and put V inside with the camera we placed audio boxes in the middle to create  a shelf. We then got props like smaller boxes and water bottles as random items that Sarah would need to remove in order to find the landline. Our crew came up with the idea of a dirty shot of Sarah in the cupboard with the frame being consumed by boxes which she pulls away to reveal her self in the frame. Emma played Sarah and gave a great performance, this workshop also gave Tim the opportunity to practice working with actors.

The workshop gave me the opportunity to look at the set and start thinking about how I would dress it and what would be needed in each shot.

It was interesting to see how one scene can mean different things from what shot it is, if the shot is from another angle or if its continuous.

During the camera test workshop we figured out how we where going to shoot the last scene, based on what we experimented with. we later had a rehearsal with the actor at the location we realised that a lot of what we had tested could be shot in one continuous shot with a few insert shots. Running through the last page of the script in the workshop was helpful because we where prepared on the day of rehearsal. Building the set from scratch and playing around with the space was different to the actual location. Then being at the location helped with the layout of what was there and the obstacles of the shots like walls and doors.

The most difficult challenge was the shot of Sarah banging on the door where she says “Ok Home we’ll do it your way” she looks into the camera and it pulls back into a security camera shot we had to bring in a tall ladder for this shot V stood at the top and someone had to hold the ladder zooming out and cutting to the security camera was well discussed and my crew is confident that they can active this.

I think the camera test was successful, we got an idea of what to do on the shoot days and what needs refining. It was the first time we worked together as a team and i think we smashed it.