EDITING FILM SEQUENCE AND SOUND CREATION

EDITING FILM SEQUENCE

(Sorry for the camera turning sideways part way through the video)

(This was an amusing take of Erol. We thought we would put it in for a laugh)

Although we do not have a video to show it, we have decided to use cuts for most of our transitions. We have decided on this because the cuts reflect the fast paced nature of Erol's run through the building and the action that takes place in the sequence. However, we have decided to use a fade to end the sequence as it reflects the ending of the situation in the sequence (Erol defeating the attacker and saving his partner). For the beginning of the sequence, we are thinking of having the screen blurred. As Erol runs towards the camera, the screen will become clearer.

SOUND CREATION

The two images above are Erol and I creating a Foley for our sequence. The Foley is air being sucked up. This will be used to simulate a build in tension and pace when the action between Erol and the attacker kicks off.

(Sorry for the flashing pink on the video)

Despite there being a lack of videos on gathering sounds for our sequence, we have select all the sound effects/music that we want to use. These include a gun click sound effect to simulate Erol checking his gun, a gun firing sound effect to simulate the firing of Erol's gun, a fast paced drum beat to be used as a backing track when Erol is running through the building, and a low hum sound effect to go with the introduction of our sequence as Erol is running towards the camera.

RISK ASSESSMENT

Risk Assessment

Not all the locations mentioned above have risks. The videos below show the potential risks of some of the locations that we will use in our filming.

With this first video, it should be noted that when I talk about panning towards the college building and mentioning that a shot of the old building would be better than the new building, I meant that it would be a better establishing shot as the old building looks more dark and ominous. However, because we will be including the front entrance of the college in our film, we may decide not to do so.

As well as this, we also have to take into consideration the uneven terrain when filming. If we're using a tripod, we need to set the camera up so it's in a steady position, otherwise we might risk the tripod falling over.

                           

With the second video, it should be noted that the door to the college might be a hazard as students/staff/visitors walk in and out of the building through the door, so if we're not careful the camera/cameraman might get damaged. We need to make sure that when filming, we set up so that we're not in the way of the door. If it's a rainy day, we'll make sure that the actor isn't moving too quickly up the stairs, otherwise he risks injury.

Note: Props such as a hammer might be dangerous to individuals. It must be used with care. As well as this, traffic must be taken into consideration. If there are cars moving up the drive whilst we are trying to film, we will have to evacuate the area until they have gone past.

FILM PRODUCTION - SETTING UP LIGHTING, SOUND AND WHITE BALANCE + DISCUSSION ON WHAT WENT WELL/DID NOT GO WELL

Setting Up Lighting

Setting Up Sound

Setting Up White Balance

What went well during filming?

Despite not having a video of a discussion on what we thought we did/didn't do well, we did have a discussion about it over the internet. In terms of what we did well during the filming process, there were a few things. Firstly Erol, Charlie and I worked in an organised and coherent manner. We stuck to a strict time frame whereby we would get each shot done within 5-10 minutes (depending on how many takes we had to do) and we managed to get all the shots done within the 2 hours that we were given to film on Friday.

Secondly, the management for our different areas were superb. The camera was easily set up and ready to be used for filming by me (Harry). I made sure to call actors in exactly when we needed them to ensure that our filming went smoothly by not having to take numerous amounts of the same shot to perfect it. As well as this, directing the movement of the actors made it easier to make Match On Action more fluid. For example, in one of our shots Erol is reaching for a door and begins to move into it. Because I directed him to open the door and move half way through the door instead of reaching for the handle, it made the transition between one shot to the next smoother, making for a more professional Match On Action.

Charlie sorted out the locations of the filming quickly and efficiently. What made this helpful with our time frame was that the locations were easy to access. He also gathered the props that we needed, and had them ready for when we needed them. The use of ketchup for blood was a nice touch, especially seeing as he was playing someone being beaten which added to the realism of the situation.

Erol did a great job with the storyboard, making it easier to get the filming done as we knew exactly what we needed to shoot (Angle, shot distance, what props were needed in that shot etc.). He also did an excellent job at at organizing where each actor needed to be placed within the frame of the camera. This was crucial for the success of our film as it helped with making sure that The 180 Degree Rule wasn't broken, as well as being incredibly useful when it came to Shot/Reverse Shot. Because we only had three people in our group, it became difficult to operate the camera whilst all three of us were in a shot. 

However, Erol made this issue non-existent as he used Charlie and I to practice the positioning of the characters in the frame before we began filming. By seeing precisely where each actor needed to be positioned, it made filming the over the shoulder shots for our Shot/Reverse Shot sequence easier, which saved us a lot of time. Charlie and I also helped with positioning Erol when he was needed in a shot. For example, our Shot/Reverse Shot required an over the shoulder shot of Erol looking towards me, whilst Charlie was sitting down. Because Charlie and I knew where we needed to stand, we helped Erol into position so that we could operate the camera without worrying that we weren't in the right position. Practicing the positioning before filming helped us to maintain The 180 Degree Rule throughout the whole process.

Overall the filming went great, and because we helped each other out with props/positioning/directions etc., we managed to stick to our time frame and film all the necessary shots needed for the editing process of our film. Because of our teamwork, we even managed to film some of the shots in one take as we believed that they were perfect.

What didn't go well during filming?

There weren't too many issues during our filming. The main issues we had with our filming were technical faults. For example, throughout half of our filming, the battery we were using for our camera kept falling out of the camera. Eventually we went to the editing suite and picked up another one, which I am glad to say worked fine.

The second technical fault was the lighting we used. Once again, it was a battery problem. The battery in the lighting equipment had been drained, and because of this, we had to pick up another one. This battery worked fine. The only issue with this is that because we were using lighting equipment in an incredibly dark room, we had the lighting set to a certain brightness. Because the battery was drained, the lighting turned off. 

When we replaced the battery, we had to re-adjust the lighting so that it was back to the right brightness. Of course, we didn't know what the level of brightness was before the battery ran out, so we had to make a guess as to what the brightness was like. Because of this, we are unsure whether the lighting is uneven in our shots. Despite this, we believe that the lighting in our shots is mostly consistent. We even considered it being a good thing that the lighting may have been dimmer the second time around because at that point, Erol was being filmed in a dark, sinister and rage filled situation, and because of this, we thought that the lighting reflected the atmosphere (The dark, sinister and rage filled nature of it).

The final issue was human error. I had accidentally tightened the grip on the tripod so that I couldn't move the camera around. The unfortunate thing about this is that none of us knew what the problem was at the time, so we spent 5-10 minutes trying to sort that out. A video of us sorting out the problem is below:

Despite these issues, which did affect our strict time frame (But only slightly), we managed to get all the shots filmed. We had plenty of time to do numerous takes for certain shots so that we could perfect them.

PRE-PRODUCTION PLANNING

Coinciding Non Teaching Periods

Thursday: 1pm Onwards

Time that we will film

If people are available, we will begin filming at Thursday, 1pm onwards. We will also be filming during lesson time on Friday Period 1 and 2.

Location Research (Potential Locations)

Around the side of the college outside. Can be used as an establishing shot.

HOW THE POTENTIAL LOCATIONS CAN BE USED IN OUR STORYBOARD

Side exit of the college. This can be used as a way of setting the scene (The character will run towards the camera and we'll get a close up of their face, looking around worryingly and gasping for air. It will then pan towards the college to establish the scene).

The character can be seen running up the stairs and into the college. Match On Action can be used to cut between the inside and outside of the building (Opening the door). Once inside the main lobby, the character can run towards the right hand side entrance of the canteen (using panning), turn his head to the right, and run towards The Hub.

Through the doors to The Hub, the character can see his friend being beaten. A close up of his face will show his facial expression turning to anger. Match On Action will be used to show him pulling out his firearm. After this, he will charge through the door using Match On Action to cut between one side of the doors and the other.

Once inside, the character will hold up his gun towards the man assaulting his friend and pause. At this moment, shot/reverse shot between the attacker and the character will happen, sticking to the 180 degree rule.

After a short pause for suspense, the attacker will begin to charge towards the character. At this moment, the character will shoot him. He looks towards his partner and his partner looks back at him (A short shot/reverse shot will be used here to show the relief of the men) before it fades to black.


Note: Eyeline Match will be used.

Prop Research

Because Charlie does Drama, he is able to get a hold of props and costumes for our filming. This includes things such as jackets, hats, masks and possibly weapons. Everything that we need can be taken from Charlie's Drama class (with permission).

STORYBOARD

Below is Erol, Charlie and Harry's Storyboard which shall be used in our filming (Note that the storyboard is not the final product, but it will be similar to what is shown here).

Note: With the timings that have been provided, there are some extra seconds that can be used. With this, we were thinking about using the outside of the college to establish the setting of the sequence. After this, we can see the character running through the college entrance door, using Match On Action to show the change between the inside and the outside of the building.

Potential Final Product Using Storyboard

First square

For the first square, we will be having either a low angle to look up towards the characters torso, or a high angle to focus on his feet whilst he is running through the building. It shall last about 5 seconds, and a track will be used to follow the movement of the character for the duration. It shall be a medium shot.

Dialogue: None

Sound: The panting of the character. Heard, but not seen. (Off screen diegetic).

Second Square

Between the first and second square, we shall use a simple cut to transition. Once the transition has complete, we will most likely use a long shot so that the audience can see the captive, the attacker/s and their surroundings. With this, the audience will be able to understand what is going on. The attacker/s will land a few punches. Once the last punch as connected with the captive, it will transition to the next shot with a cut. It shall be shot at eye level as the audience is only supposed to see what is going on. This will last about 5-10 seconds.

Dialogue: Attacker 1 - Not so tough now that you're tied up, huh?! (As he is saying tied up, he will launch a punch at the captive's chest and face)

                 Attacker 2 - *Laughing*

Sound: The attacker/s laughing and beating the captive (On-screen diegetic). Low beat drums begin to roll in, quiet at first before building up (Non-diegetic music).

Third Square

Between the second and third square, we shall use either a cut or a wipe to transition. This will simply be a long shot of the character running down the corridor. From this, the audience will be able to tell what type of person he is (His costume, the way he runs etc.). This shot will most likely be eye level. This will last about 3-5 seconds.

Dialogue: Character - *Murmuring* I'm almost there... Hold on.

Sound: Loud drum beats, perhaps matching with the pumping of the character's heart (Non-diegetic music).

Fourth Square

Between the third and fourth square, we shall use either a cut or a wipe to transition. This will be a close up of the captive. From this, the audience will be able to see their facial expression and emotion (In distress, covered in blood, blindfolded (maybe), gasping). Blood will be created using either paint or ketchup. This shot will either be eye level or from a high angle. By using a high angle, it looks as if we're seeing the captive from the attacker's perspective which shows how weak and puny the captive looks. This will last about 3-4 seconds.

Dialogue: Character - *Panting* Please... stop.

Sound: Low beat drums (Non-diegetic music). The character will be experiencing hearing problems from being beaten (Non-diegetic, high pitched beep).

Fifth Square

Between the fourth and fifth square, we shall use a cut. This will be a POV shot of the character running towards the door that leads to the room his partner is being held in. In the distance, the light inside the room can be seen. Once at the door, he will pause. This will last about 3-5 seconds.

Dialogue: Character - *Loud panting* (It's a POV so we should be able to hear the panting clearly).

Sound: Low beat drums accompanied by a loud heart beat (Non-diegetic music and sound).

Sixth Square

Between the fifth and sixth square, we shall use a cut. This will be a close up of the character at and eye level angle. The character will be shocked and will be panting. Whilst panting, his face will transition between shocked and angry. This will last about 4-5 seconds.

Dialogue: Character - *Once the character reaches the door and the close up occurs, he will gasp* My god. (As his face turns from shocked to angry, he will breath in heavily).

Sound: Ominous, low wind sound (Non-diegetic sound, almost inaudible). 

Seventh Square

Between the sixth and seventh square, we shall use a cut. This will be a medium/medium long shot at eye level of the character reaching for his gun and pulling it out. This will last about 1-2 seconds.

Dialogue:None.

Sound: Drum beats begin to roll in, getting louder and louder.

Eighth Square 

Between the seventh and eighth square, we shall use a cut. This will be a close up of the character's gun, his hand shaking. This will last about 1-2 seconds.

Dialogue:None.

Sound: Drum beats are getting louder and louder.

Ninth Square

Between the eighth and ninth square, we shall use a cut. This will be a medium/medium long shot at either eye level or a high angle. This shot will be the character reaching for the door that leads to the room his partner is being held in. This will last about 2 seconds.

Dialogue:None.

Sound: As he reaches for the door, the drum beats climax.

Tenth Square

Between the ninth and tenth square, we shall use Match On Action to show the movement of the character as he goes through the door. In the ninth square, he will be reaching for the door handle. In the tenth square, it will switch to the inside of the room where we can see the character open the door and hold his gun up with either one hand or both hands. This will most likely be a medium shot at a low angle to show the power and intimidation of the character (His anger will be clearly visible).

Dialogue:None.


Sound: Drum beats stop. The door opens (Diegetic foley). A loud wind/hum like sound will be present when the lower angle of the character is being shown (Non diegetic sound).

Eleventh Square

Between the tenth and eleventh square, we shall use Shot/Reverse Shot and the 180 Degree Rule. This will be an eye level over the shoulder shot between the character and the attacker/s. Once the character has raised his gun, it will cut to an over the shoulder shot of the character looking towards the attacker/(The position of the camera will be so that the character is always on the left of the screen, whilst the attacker/s will always be positioned to the right of the screen so that the 180 degree rule isn't broken). 

From this, the audience will be able to see the shock and horror in the face/s of the attacker/s. This shot/reverse shot will happen about 3-4 times so that the audience can see the different facial expression and body language of both the character and the attacker/s (The character will be angry, the attacker/s will be shocked). On the last shot/reverse shot, the attacker/s will look at each other before charging towards the character. A quick cut to the character's eyes will happen. When this happens, his eyes will quickly narrow before cutting back to the shot/reverse shot of the attacker/s charging. At this moment, the attacker/s will be shot. This will last about 10-12 seconds.

Dialogue: Attacker 2- What the hell?! How did you find us?! (This will be done on the first over the shoulder shot of the character).


Sound: As the attacker/s charge towards the character, a wind like sound will be heard that will raise in volume as they get closer. As soon as it cuts to the eyes of the character and they narrow, the sound stops (Non diegetic foley. The sound will be made by someone sucking in air and closing their mouth). When the character fires his gun, the sound of the gun firing will be heard (Diegetic sound added in post-production).

Twelfth Square

Between the eleventh and twelfth square, we shall use a cut and Shot/Reverse Shot. First a cut will occur. Then there will be a medium shot at eye level of the character lowering his gun. After this, shot/reverse shot will be used to get one close up of the character's partner looking distressed at the character. It will then switch to the character staring at him, his anger still present. It will then switch back to the character's partner where he will smile and begin to chuckle. It will then switch back to the character who will also start to smile and chuckle. After this, a cut will happen and there will be a long shot showing the two laughing whilst the body/bodies of the attacker/s are on the floor. It will then fade to black and the film will end.

Dialogue: *Character and partner laughing*.

Sound: None. 

Allocating Tasks

Camera Operator 

Harry (Erol or Charlie if Harry is in the film)

Sound Recorder

Harry, Erol and Charlie

The two who will be responsible for filming 

Harry and Erol

Storyboard Artist 

Erol

Location Scout 

Charlie

Prop Manager (Organizes props for shooting)

Charlie

Casting Director  (Organizes actors where needed)

Erol

Director of Filming  (Calls lead in and out to start and end filming)

Harry

MATCH ON ACTION

What is Match On Action and why do we use it?

Match On  Action refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action. A common example is a man walking up to a door and reaching for the knob. The main reason we use Match On Action is to create a sense of continuity. It is essentially a 'visual bridge' that draws the attention of the audience away from the cutting of the cameras.

Examples of Match On Action

Video of Match On Action

SHOT/REVERSE SHOT

What is Shot/Reverse Shot and why do we use it?

Shot reverse shot is a film technique where one character is shown looking at another character, and then the other character is shown looking back at the first character. The main reason we use shot reverse shot is to display the emotion of characters and connect this with the audience. By using shot reverse shot, the camera shots flick back and forth between two characters repeatedly, allowing us to get a clear view of their facial expressions and body language. 

One neat thing about shot reverse shot that adds to the quality of moving image sequences is that the camera shots continuously switch between the characters. Because of this, the audience can constantly see the changes in emotion that the characters display, making it an effective way at portraying what the characters are feeling, which allows the audience to connect with them on an empathetic level.

 Example of The Shot/Reverse Shot

Video Commentary of Shot/Reverse Shot