Wednesday 18 December 2019
FILM AND TV LANGUAGE FINAL INDEX
1) Film poster analysis
2) Mise-en-scene blog tasks
3) Star persona time lapse
4) Star persona: video feedback and learner response
5) Lighting blog tasks
6) Sound blog tasks
7) Sound: parallel and contrapuntal video feedback and learner response
8) Cinematography blog tasks
Tuesday 17 December 2019
Film & TV Language: Editing video feedback and learner response
Teacher's feedback:
WWW:- Inventive props: cat/pig/leg
- Humour (Dialogue/performances)
- Cross-cutting more conversation
- Match on action
- Use of dissolves
- Canted camera
- Appropriate and dramatic sound effects/music
- Jump cut on pig dying
- Don't break 180 rule
Peer feedback:
WWW:
- "Literally perfect"
- "The best thing I've seen in years"
- Match on action
- Transitions
- Interesting narrative
- Good editing: smooth, continuous
- Camera work
- Amazing soundtrack
- Good use of sound
- Shots: close ups, ots
- Clear dialogue
- Great continuity editing
- Very funny
- Sound levels and volume
- Some clunky transitions
Self Assessment:
WWW:
- Soundtrack is great
- Continuity editing
- Narrative
- Humour
- Sound effects
- Climax was thrilling
EBI:
- Missed that I broke the 180 rule
- Sound levels are inconsistent and music was too loud at some points
- The camera was a bit jerky during some shots
I think I successfully met the brief with a unique narrative and suspenseful build up to the climax. I utilise shot/reverse shot well during the dialogue segments, also adding overlays of shots of the pig. I did break the 180 degree rule at one point (1:06), however I feel as if this wasn't that jarring and maybe even enhanced the final film. Either way I'll be sure to keep a keener eye on the 180 rule in the future.
My match on action was fluid and easy to follow, however there were certain small oversights with the continuity that can be spotted. For example, at 0:06 you can see that I'm wearing my lanyard but in the next shot I'm not. Similarly, the first shot of the cat has the case of the phone folded behind itself but at 00:12 it isn't.
The most difficult aspect of editing I found was maintaining a good pace that built up tension effectively; It was tedious trying to time the fade outs, flashbacks and pauses in a way that kept the tension rising. I think the music and sound effects helped keep that tension, but I think the heartbeat sound effect could have been utilised at a more consistent pace.
Wednesday 11 December 2019
Editing: blog task
THE GODFATHER: BAPTISM SCENE
This scene from the climax of the 1972 film "The Godfather" details the baptism of the main character's godson, as well as the murder of the last 5 dons of New York. The masterful use of cross-cutting in the climax of the film help make this one of the most effectively dramatic editing sequences; further emphasised with the chilling organ score and the religious verses.
At the beginning of the sequence, the cuts are slow and work to bring the camera closer and closer to the protagonist - Michael - and his godson. We start very far away, distant from the baby, perhaps invoking the audience's desensitisation to the sins of the mafia. As the baby's bonnet is undressed by the hands of Michael and Kay, a cross cut matches them to the hands of a man preparing to murder.
This is the first starkly juxtaposing cut in the sequence; there is a sharp contrast in tone between the hands preparing a new life and the hands preparing death, and yet the cut is almost subtle in the way it seamlessly matches the pairs of hands. This editing technique is utilised throughout the sequence, effectively demonstrating the parallels between the two lives of Michael to the audience. As the gun is prepared, the camera cuts further and further away from the handler. This similarly bridges the two lives of Michael together, distancing the audience from the murders he has ordered while they occur ominously at the same time of the baptism.
It then cuts from the preparation of the gun to the cold and distant expression of Michael; This may highlight that he is has the inevitable deaths he ordered pondering on his mind. While this happens the religious organ in the back gets subtly louder, anticipating the christening as well as the murders.
There's a close up shot of the priest's hand, essentially dragging the camera towards the baby's head as he goes to touch it. The baby is calm and silently wriggling when the camera settles on it. The next cut is another parallel edit, this time of a barber squeezing out shaving cream, preparing to use it on one of the men ordered to commit the murder. The same pan over to the subject is utilised, except the calm and tranquillity of the baptism is instead filled with an unsettling foreboding. The contrapuntal Bible verses and religious organ that bridge over the visuals further accentuate the uncomfortable and hypocritical nature of the entire baptism.
A brief cut to another man preparing a uniform on a bed is interrupted by another similar shot of the priest's hand blessing the baby. It then cross cuts to the same man carefully handling a bag containing a gun and a police badge. It then cuts to a medium close up of the man, now wearing a police's hat and the uniform. The fairly quick cuts create a sense of swiftness and efficiency while the baptism goes on, and the use of costume makes the audience unsettled as they are aware this man is not a real police officer.
Next, the director utilises a high angle shot of a man climbing up a set of stairs. He is dressed in a suit and is holding some sort of package, effectively creating enigma codes as to what exactly his role is. He gets higher up the stairs - and closer to the camera - which effectively parallels the rising organ music that continues to bridge over the juxtaposing narrative.
When it cuts back to the church, the priest continues to bless the baby. The priest then asks Michael if he believes in God, by which he responds "I do." The audio of Michael responding to the priest's vows bridges over to what is effectively a montage of fairly quickly paced cuts building up to the killings. The sound bridge creates a brilliant dichotomy between good and evil, as Michael takes the responsibility of being a godfather in terms of both the mafia and religion.
We get another cross-cut back to the baby - and then a brief cut to that same wide shot of the church from the beginning of the sequence - before cutting back to the build up to the crimes. The sound bridge has continued and this time we hear the baby crying along with the chilling religious verse and booming organ, building up to an impactful climax.
After this, the priest asks Michael "Do you renounce Satan?" as the music pauses and we settle on Michael's expression for a moment. Suddenly, a cross cut to a group of men coming out of an elevator accompanies a sound from the organ as they're brutally shot. We then cut back to Michael who says he does renounce Satan, and as the audience processes the irony of his statement another man is murdered.
The pattern of cross cutting from murder to murder creates an extremely chaotic emotional pay off to the intense build up created throughout the entire sequence. It ends with fast cuts from the many dead bodies and Micheal's expression as the baby finishes getting baptised.
This scene from the climax of the 1972 film "The Godfather" details the baptism of the main character's godson, as well as the murder of the last 5 dons of New York. The masterful use of cross-cutting in the climax of the film help make this one of the most effectively dramatic editing sequences; further emphasised with the chilling organ score and the religious verses.
At the beginning of the sequence, the cuts are slow and work to bring the camera closer and closer to the protagonist - Michael - and his godson. We start very far away, distant from the baby, perhaps invoking the audience's desensitisation to the sins of the mafia. As the baby's bonnet is undressed by the hands of Michael and Kay, a cross cut matches them to the hands of a man preparing to murder.
This is the first starkly juxtaposing cut in the sequence; there is a sharp contrast in tone between the hands preparing a new life and the hands preparing death, and yet the cut is almost subtle in the way it seamlessly matches the pairs of hands. This editing technique is utilised throughout the sequence, effectively demonstrating the parallels between the two lives of Michael to the audience. As the gun is prepared, the camera cuts further and further away from the handler. This similarly bridges the two lives of Michael together, distancing the audience from the murders he has ordered while they occur ominously at the same time of the baptism.
It then cuts from the preparation of the gun to the cold and distant expression of Michael; This may highlight that he is has the inevitable deaths he ordered pondering on his mind. While this happens the religious organ in the back gets subtly louder, anticipating the christening as well as the murders.
There's a close up shot of the priest's hand, essentially dragging the camera towards the baby's head as he goes to touch it. The baby is calm and silently wriggling when the camera settles on it. The next cut is another parallel edit, this time of a barber squeezing out shaving cream, preparing to use it on one of the men ordered to commit the murder. The same pan over to the subject is utilised, except the calm and tranquillity of the baptism is instead filled with an unsettling foreboding. The contrapuntal Bible verses and religious organ that bridge over the visuals further accentuate the uncomfortable and hypocritical nature of the entire baptism.
A brief cut to another man preparing a uniform on a bed is interrupted by another similar shot of the priest's hand blessing the baby. It then cross cuts to the same man carefully handling a bag containing a gun and a police badge. It then cuts to a medium close up of the man, now wearing a police's hat and the uniform. The fairly quick cuts create a sense of swiftness and efficiency while the baptism goes on, and the use of costume makes the audience unsettled as they are aware this man is not a real police officer.
Next, the director utilises a high angle shot of a man climbing up a set of stairs. He is dressed in a suit and is holding some sort of package, effectively creating enigma codes as to what exactly his role is. He gets higher up the stairs - and closer to the camera - which effectively parallels the rising organ music that continues to bridge over the juxtaposing narrative.
When it cuts back to the church, the priest continues to bless the baby. The priest then asks Michael if he believes in God, by which he responds "I do." The audio of Michael responding to the priest's vows bridges over to what is effectively a montage of fairly quickly paced cuts building up to the killings. The sound bridge creates a brilliant dichotomy between good and evil, as Michael takes the responsibility of being a godfather in terms of both the mafia and religion.
We get another cross-cut back to the baby - and then a brief cut to that same wide shot of the church from the beginning of the sequence - before cutting back to the build up to the crimes. The sound bridge has continued and this time we hear the baby crying along with the chilling religious verse and booming organ, building up to an impactful climax.
After this, the priest asks Michael "Do you renounce Satan?" as the music pauses and we settle on Michael's expression for a moment. Suddenly, a cross cut to a group of men coming out of an elevator accompanies a sound from the organ as they're brutally shot. We then cut back to Michael who says he does renounce Satan, and as the audience processes the irony of his statement another man is murdered.
The pattern of cross cutting from murder to murder creates an extremely chaotic emotional pay off to the intense build up created throughout the entire sequence. It ends with fast cuts from the many dead bodies and Micheal's expression as the baby finishes getting baptised.
Tuesday 10 December 2019
Film & TV Language: Editing video
THE CONCEPT:
> A sequel to my Cinematography video,
> as well as the first video exploring the branching paths and parallel timelines that are part of the year 12 media cinematic universe
> The cat wants revenge
> Not vegan friendly
THE SCRIPT:
https://docs.google.com/document/d/1gRKfGbRUeKsxGpXmkUGhgaL2FRp8jJdN_RTlodDcWZo/edit?usp=sharing
THE SHOT LIST:
medium close up of phone call
long shot of me walking
match cut close up on handle
close up of jenny turning
over the shoulder of walking to Jenny
match cut shot of chair
> A sequel to my Cinematography video,
> as well as the first video exploring the branching paths and parallel timelines that are part of the year 12 media cinematic universe
> The cat wants revenge
> Not vegan friendly
THE SCRIPT:
https://docs.google.com/document/d/1gRKfGbRUeKsxGpXmkUGhgaL2FRp8jJdN_RTlodDcWZo/edit?usp=sharing
THE SHOT LIST:
medium close up of phone call
long shot of me walking
match cut close up on handle
close up of jenny turning
over the shoulder of walking to Jenny
match cut shot of chair
close up on slam
over the shoulder dialogue shot
over the shoulder dialogue shot
reverse dialogue shot
medium shot of Jenny shooting
medium shot of Jenny shooting
body shot of pig
birds eye long shot of pig dead on floor
THE VIDEO:
THE VIDEO:
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