I've enjoyed this chapter the most thus far. This covered several of the sound editing practices that I was able to witness first hand while shadowing at Digital Audio Post in Nashville. Post audio production is so fascinating to me. They have invited me back for a two month internship with summer and I'm excited to learn more from these brilliant audio engineers.
While much of this chapter was review from other readings and classes I've taken it was a great help to read up on the audio editing process. Preparing the film edit for effective audio post production is so important and can save a lot of money if the audio editor doesn't have to spend most of the time correcting improper editing techniques.
Splitting the dialogue tracks and considering which ones need special editing effects and putting those on the same track will save the sound engineer a lot of time in sweetening the mix. Currently, all of my projects have been small in that I do both the filming, editing, and sound mixing but practicing this track format will really help me as I move my projects from the editing to sound mixing stage of production.
After reading this chapter I am eager to get back into the DAP studio and see this work flow in action and apply this to my own work as an independent filmmaker.
Monday, April 6, 2015
The Filmmakers Handbook Chapter 14 - Editing Digital Video
This chapter was very interesting as discussion of the best NLE is often debated among my peers. I am relieved to read that there is possibility that Final Cut X won't make it to the main stream industry. I've seen some really amazing effects being done with the program but having done so much work in Premiere Pro and Final Cut 7 I've never been able to transition to Final Cut X. Sadly, I know I will eventually have to move on from my beloved Final Cut 7. When this happens I will probably switch back to Premiere Pro as it still allows me to better fine tune my audio tracks while editing.
I greatly enjoyed this chapter as it goes into great detail about the hardware and workflow associated with filmmaking. Quite a bit of the reading has reinforced what I have learned from my talented coworkers at the news station. Of all of the topics covered this semester this technical stuff is to me the most important and sadly often overlooked by my course offerings. If I didn't have my current job there are many aspects of the technical side of filmmaking that I wouldn't have been introduced to until my senior year. While reading this chapter I found myself being incredibly thankful for having the job and the technically savvy friends that I enjoy because this reading would have been very difficult without my previous experience with these hardware operations.
Early on I encountered so many frustrating moments and often lost large amount of finished work simply because I didn't have any training in file management and work flow practices. It seems many cinema classes focus so much on composition and story form with little attention to this technical side. The problem with this approach is that the modern day filmmaker is expected to do more than direct or edit a film. Understanding the hardware and the software needed for filmmaking is just as important as understanding the camera that captures the story.
From this chapter I am most intrigued with offline editing. I have limited space on my external HD but I have to be able to work on my films at several locations so having my files portable is vital. My working offline with smaller file sizes and then finally reconnecting the finished product with higher quality versions I can work more efficiently no matter where I am.
I greatly enjoyed this chapter as it goes into great detail about the hardware and workflow associated with filmmaking. Quite a bit of the reading has reinforced what I have learned from my talented coworkers at the news station. Of all of the topics covered this semester this technical stuff is to me the most important and sadly often overlooked by my course offerings. If I didn't have my current job there are many aspects of the technical side of filmmaking that I wouldn't have been introduced to until my senior year. While reading this chapter I found myself being incredibly thankful for having the job and the technically savvy friends that I enjoy because this reading would have been very difficult without my previous experience with these hardware operations.
Early on I encountered so many frustrating moments and often lost large amount of finished work simply because I didn't have any training in file management and work flow practices. It seems many cinema classes focus so much on composition and story form with little attention to this technical side. The problem with this approach is that the modern day filmmaker is expected to do more than direct or edit a film. Understanding the hardware and the software needed for filmmaking is just as important as understanding the camera that captures the story.
From this chapter I am most intrigued with offline editing. I have limited space on my external HD but I have to be able to work on my films at several locations so having my files portable is vital. My working offline with smaller file sizes and then finally reconnecting the finished product with higher quality versions I can work more efficiently no matter where I am.
The Filmmaker's Handbook Chapter 13 - Picture and Dialogue Editing
I enjoyed this chapter on editing with a focus on montage. With my interest in documentary filmmaking I've discovered the use of montage can be a powerful tool in telling by story by showing and not just having the perfect sound bite for any given topic.
For me learning how to set up a story structure has been the most challenging obstacle in making my documentaries. This reading has provided some wonderful insight as to how to keep my audience interested while informing with backstory as needed. I've never realized how useful the three act structure could be in an educational film however, it is through stories that we humans learn and share information.
What I took away the most from this chapter is how to edit and envelope each sequence. I've often used transitions to signal a sequence change, but I'm realizing there are many other ways to begin and end a sequence such as a difference in sound level, lighting changes, location, and color.
Page 526, "Beginners tend to think of scenes as separate units to be shaped and polished individually. Always keep in mind the story as a whole and how one scene can best draw the audience forward to the next one."
I have a professor who once described sequences as complete building blocks that support your structure. This visual has helped me see how important sequences can be and transitions are just as important because they are what holds the blocks together.
I also took away from this chapter the importance of work flow. Organization throughout the many stages of editing is key to keeping your sanity but I've never considered how important it is to have my surroundings just right. Specifically, editing on a large monitor. I've never considered how much this could impact my final work but I'm learning that if it can look good on a big screen it will look good on a smaller one. I also see the value in having a few trusted unbiased viewers critique my work in the fine cut stage. I often get too close to my work and I'm finding some time away from it helps to strengthen the final locked picture.
For me learning how to set up a story structure has been the most challenging obstacle in making my documentaries. This reading has provided some wonderful insight as to how to keep my audience interested while informing with backstory as needed. I've never realized how useful the three act structure could be in an educational film however, it is through stories that we humans learn and share information.
What I took away the most from this chapter is how to edit and envelope each sequence. I've often used transitions to signal a sequence change, but I'm realizing there are many other ways to begin and end a sequence such as a difference in sound level, lighting changes, location, and color.
Page 526, "Beginners tend to think of scenes as separate units to be shaped and polished individually. Always keep in mind the story as a whole and how one scene can best draw the audience forward to the next one."
I have a professor who once described sequences as complete building blocks that support your structure. This visual has helped me see how important sequences can be and transitions are just as important because they are what holds the blocks together.
I also took away from this chapter the importance of work flow. Organization throughout the many stages of editing is key to keeping your sanity but I've never considered how important it is to have my surroundings just right. Specifically, editing on a large monitor. I've never considered how much this could impact my final work but I'm learning that if it can look good on a big screen it will look good on a smaller one. I also see the value in having a few trusted unbiased viewers critique my work in the fine cut stage. I often get too close to my work and I'm finding some time away from it helps to strengthen the final locked picture.
Tuesday, March 17, 2015
A Study of Light and Its Many Moods
Today in class we reviewed several films and took notes on their lighting and how they affected the various scenes. The following are my notes:
In The Mood For Love (2000) by Kar Wai Wong had a mix of ambient street lights and off-set key lighting that caused high contrast effect featuring harsh shadows. This type of lighting worked well to bring out details in the dirty street while still highlighting features of the two lovers. The feeling this lighting mixture produced was secretive, much like the clandestine nature of their relationship. The contrasting shadows brought out texture in the walls and stones that showed the grit of their surroundings.
Blade Runner (1982) by Ridley Scott used nothing but the ambient light from the chaotic streets. At times, this lighting choice made the characters difficult to see as they ran through the crowds chasing each other. However, this type of lighting allowed me to be more in the moment of the scene and mimicked the urgency of Harrison Ford's character as he also struggled to see and pursue Zhora before killing her.
Days of Heaven (1978) by Terrence Malick used all natural sunlight. This produced a beautiful realistic feeling as the characters traveled through the open countryside. It is possible that some diffusion was used as the shadows are not very harsh when what appears to be a cloudless sky however, as the time progresses and the sun sets the tones are warm and the shadows are longer as they would be if out on the open plains as these scenes were.
Dracula Pages from a Virgin's Diary (2002) by Guy Maddin incorporates theatrical spot lighting that often silhouettes the characters. This causes deep dark shadows on the character's bodies. Often they are light with a 90degree side light which accents the form of the dancers as they tell the story. This lighting creates a feeling of drama and suspense while showcasing the beauty of live theater.
Barry Lyndon (1975) by Stanley Kubrick features incident lighting in that the light is coming from the candles that are on the screen. This lighting effect creates a dreamy, romantic, and warm feeling and also captures a realistic representation of what a typical parlor would look in 18th century England.
Ida (2013) by Pawel Pawlikowski uses ambient light from the interior of the characters surrounding. Depending on the placement this often created interesting low key shadows while the subjects were indoors. When outdoors we saw lots of diffused natural light from the cloudy day. This cause the shadows to be less harsh and help show the viewer that time had passed from night to day. The feeling this type of lighting produces is realistic and helps the viewer get lost in the action rather than drawing attention to the dramatic lighting effects that off-set lighting can often produce.
Do The Right Thing (1989) by Spike Lee shows a mixture of available light that shines through the window of the dark bedroom and also uses a harsh key light set to the side of the couple as they talk. This mixture of lighting adds drama to the scene and helps the area to feel as hot and uncomfortable as the actors portray. The available sunlight that is shining through the window also helps to create this illusion because the fan creates flickering shadows on the bed. This is a clever use of shadows to explain the environment.
In The Mood For Love (2000) by Kar Wai Wong had a mix of ambient street lights and off-set key lighting that caused high contrast effect featuring harsh shadows. This type of lighting worked well to bring out details in the dirty street while still highlighting features of the two lovers. The feeling this lighting mixture produced was secretive, much like the clandestine nature of their relationship. The contrasting shadows brought out texture in the walls and stones that showed the grit of their surroundings.
Blade Runner (1982) by Ridley Scott used nothing but the ambient light from the chaotic streets. At times, this lighting choice made the characters difficult to see as they ran through the crowds chasing each other. However, this type of lighting allowed me to be more in the moment of the scene and mimicked the urgency of Harrison Ford's character as he also struggled to see and pursue Zhora before killing her.
Days of Heaven (1978) by Terrence Malick used all natural sunlight. This produced a beautiful realistic feeling as the characters traveled through the open countryside. It is possible that some diffusion was used as the shadows are not very harsh when what appears to be a cloudless sky however, as the time progresses and the sun sets the tones are warm and the shadows are longer as they would be if out on the open plains as these scenes were.
Dracula Pages from a Virgin's Diary (2002) by Guy Maddin incorporates theatrical spot lighting that often silhouettes the characters. This causes deep dark shadows on the character's bodies. Often they are light with a 90degree side light which accents the form of the dancers as they tell the story. This lighting creates a feeling of drama and suspense while showcasing the beauty of live theater.
Barry Lyndon (1975) by Stanley Kubrick features incident lighting in that the light is coming from the candles that are on the screen. This lighting effect creates a dreamy, romantic, and warm feeling and also captures a realistic representation of what a typical parlor would look in 18th century England.
Ida (2013) by Pawel Pawlikowski uses ambient light from the interior of the characters surrounding. Depending on the placement this often created interesting low key shadows while the subjects were indoors. When outdoors we saw lots of diffused natural light from the cloudy day. This cause the shadows to be less harsh and help show the viewer that time had passed from night to day. The feeling this type of lighting produces is realistic and helps the viewer get lost in the action rather than drawing attention to the dramatic lighting effects that off-set lighting can often produce.
Do The Right Thing (1989) by Spike Lee shows a mixture of available light that shines through the window of the dark bedroom and also uses a harsh key light set to the side of the couple as they talk. This mixture of lighting adds drama to the scene and helps the area to feel as hot and uncomfortable as the actors portray. The available sunlight that is shining through the window also helps to create this illusion because the fan creates flickering shadows on the bed. This is a clever use of shadows to explain the environment.
Saturday, February 28, 2015
Question Bridge: Black Males - Film Screening
Recently I attended a film screening of Chris Johnson's Question Bridge: Black Males. I haven't been this impressed with a documentary film in a very long time. The film was shown as part of SIUC's Expanded Media Symposium and this film did just that by going beyond a film or an installation but by being adapted into an app and a curriculum for schools.
Johnson's film is simple having a specific group, black males, ask questions and other black males respond to the questions. There is no music or sound other than the men asking and answering questions. The visuals of the men are talking head shots framed next to each other. While one man speaks different men will appear next to them and appear to be listening, similar to a chat room. This format simulates a conversation but is done in such a way as to not be distracting. This allows the viewer to feel like they are part of the conversation rather than being talked at by a single dominate figure on the screen. I was impressed that even though there are no b-roll or fancy camera effects the content and conversation is so intriguing that I was completely attentive to the film from start to finish.
What impacted me the most was his focus on a very specific group. Often in documentary filmmaking we are taught to show both sides but here Johnson doesn't show both sides he provides a space to let one side converse. Being a white woman I found this fascinating because it gave me an opportunity to listen in to several conversations of black males as they talked freely to their specific audience and in turn provided me with a better understanding of the black male experience.
Often when people talk about films that address difficult topics like racism people say things like "It was good to bring awareness to this issue" or "We just need to have conversations and educate each other." The former statement always seems like it's not doing enough and the later statement seems to be in the right place but often seems to be just said and not done. However, with Question Bridge: Black Males, the conversation is being done. It's exciting to see.
The day after the screening they hosted a workshop where everyone got together and discussed how to make films in the style of Question Bridge. Meeting director Chris Johnson was a wonderful experience. He was so humble and took every opportunity to praise the film's talented producers, editors, and marketing designers. He explained that the colon in the title Question Bridge: Black Males was to imply that there could be any form of a question bridge project such as Question Bridge: Black Women or Question Bridge: Muslim Women. This concept has inspired me to consider the power of keeping my audience specific because sometimes to include a wide demographic as your target audiance can cause the conversation and the content of a film to lose its power to communicate in the most effective way.
On a more personal level, I learned from Johnson to make films that matter to ME. This might seem like an obvious lesson but I have often caught myself working on film projects because I can see a good story and not because I am particularly passionate about the subject matter. The Question Bridge project encourages me to be a better filmmaker.
Johnson's film is simple having a specific group, black males, ask questions and other black males respond to the questions. There is no music or sound other than the men asking and answering questions. The visuals of the men are talking head shots framed next to each other. While one man speaks different men will appear next to them and appear to be listening, similar to a chat room. This format simulates a conversation but is done in such a way as to not be distracting. This allows the viewer to feel like they are part of the conversation rather than being talked at by a single dominate figure on the screen. I was impressed that even though there are no b-roll or fancy camera effects the content and conversation is so intriguing that I was completely attentive to the film from start to finish.
What impacted me the most was his focus on a very specific group. Often in documentary filmmaking we are taught to show both sides but here Johnson doesn't show both sides he provides a space to let one side converse. Being a white woman I found this fascinating because it gave me an opportunity to listen in to several conversations of black males as they talked freely to their specific audience and in turn provided me with a better understanding of the black male experience.
Often when people talk about films that address difficult topics like racism people say things like "It was good to bring awareness to this issue" or "We just need to have conversations and educate each other." The former statement always seems like it's not doing enough and the later statement seems to be in the right place but often seems to be just said and not done. However, with Question Bridge: Black Males, the conversation is being done. It's exciting to see.
The day after the screening they hosted a workshop where everyone got together and discussed how to make films in the style of Question Bridge. Meeting director Chris Johnson was a wonderful experience. He was so humble and took every opportunity to praise the film's talented producers, editors, and marketing designers. He explained that the colon in the title Question Bridge: Black Males was to imply that there could be any form of a question bridge project such as Question Bridge: Black Women or Question Bridge: Muslim Women. This concept has inspired me to consider the power of keeping my audience specific because sometimes to include a wide demographic as your target audiance can cause the conversation and the content of a film to lose its power to communicate in the most effective way.
On a more personal level, I learned from Johnson to make films that matter to ME. This might seem like an obvious lesson but I have often caught myself working on film projects because I can see a good story and not because I am particularly passionate about the subject matter. The Question Bridge project encourages me to be a better filmmaker.
Friday, February 27, 2015
Big Muddy Film Festival - Depending on Traffic Screening
Yesterday I went to a screening of several travelogue films at the Big Muddy Film Festival. The film that was the most interesting to me was Depending on Traffic by Ben Cotti. The film opens on a man sitting in a nice sports car. He is stuck in traffic and talking on his cell phone. He is dictating a holiday greeting card to his secretary. The gist of the message is don't take your family for granted this holiday season. These message seems to be an underlying theme of the film as we move on to another couple who are arguing in their tiny Volkswagon.
Everyone's tension is high as it becomes apparent that the traffic has been stalled for hours. In one scene a teenage girl gets out of a large truck and sets up a drum set. Her dad is literally asleep at the wheel as they have been sitting idle for so long. The girl starts to frantically play in a desperate attempt to wake her father. Her playing attracts a group of people but her dad never stirs.
After a while we cut back to the couple who has been arguing in the tiny car. It is revealed that the two are having an affair and as their other partners walk up to the vehicle we see the two lovers have resolved their fight and signal to each other that they will continue their secret.
At times this film was hard to follow and often dragged. However, I believe this was the filmmakers intent. The extremely long takes help the viewer to be pulled into the emotion of the actors because you start to feel irritated by a plot that doesn't seem to be going anywhere fast, much like the traffic jam.
Each conversation we witness seems to reveal a personal situation for each character that is troubled or tense. We don't always know why exactly and there is much left up to the viewer to deduce about the character's lives. But the conclusion of the work seems to say, life is messy and sometimes it seems like you are going no where but don't forget to appreciate the ones you love.
What I appreciate the most about this film is that is wasn't afraid to leave mystery. When it comes to a short film there is often no time spent on developing a character but it is important to not underestimate how much a viewer can follow and understand the connection even when it isn't plainly spelled out. This guessing work kept the story entertaining even though the location didn't change and the pace of the film was slow.
Everyone's tension is high as it becomes apparent that the traffic has been stalled for hours. In one scene a teenage girl gets out of a large truck and sets up a drum set. Her dad is literally asleep at the wheel as they have been sitting idle for so long. The girl starts to frantically play in a desperate attempt to wake her father. Her playing attracts a group of people but her dad never stirs.
After a while we cut back to the couple who has been arguing in the tiny car. It is revealed that the two are having an affair and as their other partners walk up to the vehicle we see the two lovers have resolved their fight and signal to each other that they will continue their secret.
At times this film was hard to follow and often dragged. However, I believe this was the filmmakers intent. The extremely long takes help the viewer to be pulled into the emotion of the actors because you start to feel irritated by a plot that doesn't seem to be going anywhere fast, much like the traffic jam.
Each conversation we witness seems to reveal a personal situation for each character that is troubled or tense. We don't always know why exactly and there is much left up to the viewer to deduce about the character's lives. But the conclusion of the work seems to say, life is messy and sometimes it seems like you are going no where but don't forget to appreciate the ones you love.
What I appreciate the most about this film is that is wasn't afraid to leave mystery. When it comes to a short film there is often no time spent on developing a character but it is important to not underestimate how much a viewer can follow and understand the connection even when it isn't plainly spelled out. This guessing work kept the story entertaining even though the location didn't change and the pace of the film was slow.
Thursday, February 26, 2015
Big Muddy Film Festival - Maternity Test Film Screening
Yesterday at the Big Muddy Film Festival I saw a series of alternative short films. The one that impressed me the most was Maternity Test by Irene Lusztig. In this film several women perform a reading that is comprised of online forum posts from mothering.com. The script outlines the feelings of a mother as she undergoes a C-section birth.
It took me a few minutes before I realized the women were all performing the same script. This was because of the way it was edited in that it cut from one woman to the next and gave the impression that each person was sharing a personal story but that all the women had a similar experience. After a while their phrases started matching and I realized it was a script being performed. At first this was a bit off putting. The script was well written and powerful, but once I learned it was prepared for the women to read it started to loose some of its power for me.
However, at the end of the reading the filmmaker asked the women different questions about the reading or about their experiences with child birth. Their real responses were very moving and gave me much to think about.
I am intrigued by this film's style that features only "talking heads" or basically interviews cut and edited side-by-side. There is no music or other sound design elements and that would usually be boring to me but this film is strong enough on its own because the script and editing is interesting and engaging.
If I had to list one issue that I have with the film it would be way in which the script and performance paint hospitals and their staff in a bad light. Some of the text reads as if the doctors and nurses were indifferent and cold to the feelings of the mother and almost as if THEY robbed the mother from the experience of giving birth. Having never gone through childbirth I can not say I can fully understand what these mothers have gone through. But, knowing many doctors and nurses and having had the opportunity to film a C-section labor, I've witnessed that the medical staff are very caring and only did a C-section birth because it was absolutely necessary for the wellbeing of the mother and the child.
With all this in mind, I consider this film very successful because in spite of the way it negatively paints modern medicine it does a brilliant job of drawing attention to the deep-seeded insecurities that many women face when it comes to being a mother.
It took me a few minutes before I realized the women were all performing the same script. This was because of the way it was edited in that it cut from one woman to the next and gave the impression that each person was sharing a personal story but that all the women had a similar experience. After a while their phrases started matching and I realized it was a script being performed. At first this was a bit off putting. The script was well written and powerful, but once I learned it was prepared for the women to read it started to loose some of its power for me.
However, at the end of the reading the filmmaker asked the women different questions about the reading or about their experiences with child birth. Their real responses were very moving and gave me much to think about.
I am intrigued by this film's style that features only "talking heads" or basically interviews cut and edited side-by-side. There is no music or other sound design elements and that would usually be boring to me but this film is strong enough on its own because the script and editing is interesting and engaging.
If I had to list one issue that I have with the film it would be way in which the script and performance paint hospitals and their staff in a bad light. Some of the text reads as if the doctors and nurses were indifferent and cold to the feelings of the mother and almost as if THEY robbed the mother from the experience of giving birth. Having never gone through childbirth I can not say I can fully understand what these mothers have gone through. But, knowing many doctors and nurses and having had the opportunity to film a C-section labor, I've witnessed that the medical staff are very caring and only did a C-section birth because it was absolutely necessary for the wellbeing of the mother and the child.
With all this in mind, I consider this film very successful because in spite of the way it negatively paints modern medicine it does a brilliant job of drawing attention to the deep-seeded insecurities that many women face when it comes to being a mother.
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