What Have I Learned?

The Journey

This has definitely been a challenging course, but I'm very glad I took it. I've learned a lot about the process of (low-budget) film-making.

This class has certainly had a huge effect on how I view narrative film-making. I had never really worked on a crew as part of a narrative before, for I was mostly experienced in documentaries. I learned what the exact roles of the director and producer are, the importance of pre-visualization for narratives, and the actual process during shooting. One thing that I know will stick with me the longest are the pre-visualization items: the shot list and the overhead diagram. These are things that I would do before I had learned anything about film-making because I'm a very organized person and this just seemed like common sense to me. So seeing that I wasn't the only one, and then learning the actual process in a professional setting, was not only helpful, but also reassuring.

I also learned how difficult it is to make an experimental film. The process of creating an experimental film is a lot more personal than a narrative film. It's a very individual-based experience and can be challenging. I view it now a lot like an abstract artist views his blank canvas.

The hardest part of this course was presenting work that was not yet finished. I, like any other artist, do not like to present my work until it is refined or at least finished in a sense. Showing our rough cut of our "wild card" assignment made me feel like I was standing in front of the crowd naked. Although I'm sure the crowd wouldn't mind such a sight... I understand that doing this was not only to track our progress, but it also helps us to see how important post-production is, and how impactful color correction and sound effects are.

One thing I learned about myself... Well, I started the course VERY organized. Everyone in the class now could most likely pick my email out of ten unlabeled emails any day because of my unique formatting and linear style of thinking. I walked into the course with the philosophy that it is important to be reliable and disciplined. Due to some personal issues I had beyond the classroom that effected my work, I also learned that even a perfectionist like me makes mistakes and that we are all human. So, at a time when something goes wrong, it is important not to dwell on this and to figure out a solution in order to keep moving forward.

Another very important thing I learned about myself as a filmmaker is that it is okay to let go. I am usually the more controlling, outspoken one in the group. At times when I am sound or producer, and it's not my job to frame a shot or set up blocking, I was always reminding myself to stick to my own job (unless someone needed my help or if we were falling behind time-wise).

Thanks to this course, I appreciate film-making a lot more and the artists behind it. I also have twice as much respect for the actors. I've been a stage actress since I was six and it is nothing like acting for the camera. I see true talent in actors that can turn their characters on and off with the camera and still provide an effortless performance. The whole process, in front of and behind the camera, is tiring and requires true passion. I'm glad that I have that passion and that this whole major was not a mistake. The deeper I dive into it, the more reassured that I am doing the right thing :)

Wild Card: Premeditation

MY ROLE

For the Wild Card assignment, I am in charge of sound. I'm relieved because I have a lot going on with all of my classes, and sound doesn't have a lot of leadership to it. However, being the perfectionist that I am, I intend to still hold a lot of responsibility in this role. Since our approach is an experimental-narrative hybrid, I intend to utilize this as an opportunity to play with sound more than your average narrative. I want to use sound to direct the attention of the audience while also mastering the effect of creating a mood in the audience. I will rely less on music for this project and more on sound effects. Our particular film will be playing a lot with filters in order to create two different realities. With each filter I will make sure to correlate a distinct style of sound. For example, in the dream-like sequences that are vibrant and more colorful with diffusing filters, I intend to create sound that is slightly more "echoey" with levels that promote tranquility as opposed to stress. The scenes that have a grungy look will have raw sound. I want to use uneven levels and emphasize certain sounds in order to heighten the anxiety of the moment. Little things, such as a can opening, a knife cutting vegetables, a door slamming, the sound of the TV, will all be exaggerated in order to set the mood. I also want to play with fading of sounds. For example, while one character is talking, our camera will be focusing on the other and the sound will fade out of the dialogue, making it sound muffled, in order for us to focus on the expression of the non-speaking character. 

I cannot wait to see how it turns out. The best part about being sound, too, is that if my schedule doesn't work out and I cannot make it to a location, I can go to that location when it is convenient to record roomtone, while also doing ADR later on with the actors if need be. Especially since we ended up having a scene on the beach.

The Editing Lab (3b)

Reflection: EDITING SOUND

Creating the soundscape for this assignment was not only confusing, but also fun. Once our group decided that none of us really understood what we were supposed to be doing, we decided to screw the rules and just have fun with it! I made a song out of all of the sounds and it turned out very well. We had a lot of fun manipulating sounds and it was interesting to see what one could do with the most random assortment of data. And once I got started, I was on a roll and could not stop. I was cutting, pasting, razor-blading, and reversing, etc! The main problem we ran into was that when we went back a few days later to apply the visuals, we could not find it anywhere. We couldn't find the exported .wav or the premiere project. We decided not to dwell on this and start from scratch. So I did it again, this time with a new focus, which was the quote: "I really want to get to know you better, okay!" When it came time to add the visual, however, I was pooped and relied heavily on my group member's creativity and suggestions to help me apply it to the soundscape. The final product, I have to say, it beyond strange. I'm glad it's done, and I think that, although it is strange, it is still appealing to the senses.

SOUND RECORDING Reflection

Assignment 3a: Experimental Film

FST 201 SPRING 2014

For the first part of our third group assignment, we had to go out and record sounds (without video). We dicided to go to the Ten Pins Bowling Ally on Tuesday and we recorded an array of sounds. We have over 25 sound effects, ranging from bowling pins to ping pong balls to pool tables and glasses. When we were going through all of the sounds, we decided we needed more ambient sounds, so our director, Lydia, took the equipment home and recorded sounds like the sizzling of a pan on the oven and the dryer tumbling. She also got animal sounds, the doorbell, and strange sounds like a shovel scraping the sidewalk and a zipper. We also met again as a group and recorded the sounds of people walking by the library, and utilized the voices of a conversation that was had outside as well. We caught the ambiance of birds chirping and skateboards going by, along with funny quotes such as a guy saying, "This campus gets more weird every day," or "People have no dignity."

It was great to hear things later on and see how differently they sound. Some sounds can be mistaken for others. For example, Lydia's wind chimes sound like a cat toy and, if you fuse it with the sound of her cat meowing, then you begin to believe you are hearing a cat playing with a toy.
We ended up with all of the requirements. However, we had issues with some of our media going offline, and we also didn't know what to do with the sounds yet. So we started playing around and made a "song" out of all of the sounds. We are aware this wasn't the assignment, but it's really cool nonetheless. We also turned in our equipment 3 hours late due to a miscommunication and are now suspended for a week. I want to cry.

And, on that note, I can't wait to see what the remainder of the project entails.

Creating Bran & Park

Bran & Park

During the production process of our group's Master Shot Sequence, we learned a lot of things about working as a team and time management. Firstly, getting the entire group together in the first place was a struggle. None of our schedules matched up and we couldn't have just two crew members on the shoot. Once we all found a day, it was a Monday night and we weren't all together on location until 9pm. I arrived at 7:30pm and started setting up all of the equipment. Our director, Victoria, was picking up the DP and our actors so she arrived somewhere around 8pm. Once they got there, the DP and I started setting up the first shot while Victoria worked on rehearsing the blocking with the actors, and then she helped get them into hair and makeup. Our first road block was the first shot. For some unknown, psychological reason, our DP was having difficulty taking the initiative to frame the first shot. As he hesitated, Victoria stepped in to help. Once we established our first shot, we learned out shotgun mic was out of batteries, and we didn't have headphones. And so began the search! We were already twenty minutes behind schedule... and when it's this late into the evening, every minute counts!
By the time we found batteries, were satisfied with the lighting, and the actors were ready, we were already an hour behind schedule. Our sound guy, Alex, had shown up by now and we were using his house. We were all exhausted from our already long days and had low blood sugar. I ordered a pizza, but that proved to be an insufficient effort at satisfying my crew, so Alex made a frozen pizza and pizza rolls, along with coffee. So this endeavor for food proved to not only consume our appetites, but our time. The shoot ended up going all the way until 4am...
We had originally planned 13 shots, finishing them all by 12am, but that was merely a fantasy. The reality is that people get tired, and the later it gets, the more delusional everyone becomes. And with mixed personalities, it's hard to keep order and maintain the assigned shooting roles. Alex was on sound, but often found himself doing the DP's job. One problem we ran into with this was that our camera's mic box was plugged into the on-board mic and we didn't realize this until our sixth shot. So, for our first six scenes, we have no on-board sound! Alex knew he could synchronize everything from our shotgun in post, but he also knew this would be a time consuming and tedious process. Another problem was that our director was tired, so I found myself stepping in a lot doing the director's job. I think a lot of our impatience with each other had to do with the fact that it was so late and we all just wanted to finish the shoot fast! Not every member in the room had the same concept of time as I did--which they really shouldn't because it was my job to keep the time, not theirs--so I was the most frustrated with the way we managed time.

Our Production Shotlist

Our Production schedule that we
so obviously did not follow...

Overall, this was a great learning experience. As our first real project in creating narrative films, we got a lot out of the adventure. I know now how important pre-planning a shoot is and I liked the role as producer. If I did it again I would definitely do some things differently--like try to schedule the shoot on the weekend. There were a lot of factors in my personal life I let get in the way of this, like my work and an episode of depression, along with family relationships. Next time, I will do my best to work around all of this in order to create a more successful outcome in our group project.

Master Shot Sequence

Assignment 2a: Master Shot

FST 201 SPRING 2014

Who is in this group?

• Paige (Producer)
• Victoria (Director)
  
• Mike (Director of Photography)
• Alex (Sound)

Here is the list of ideas we brainstormed in class today:

• Prostitute and a Patron having awkward bed-talk. [comical]
• A kidnapped victim, in the trunk of a car, on the phone with a 911 dispatcher. [dramatic]
• A waiting room; a stranger having awkward conversation with a child whose mother is momentarily absent. [comical]
  
• Literally raisin bran and a park; inanimate objects conversing. [comical]
• Graveyard scene; someone mourning over a grave while a maintenance member tries to make conversation. [dramatic]
• Speed dating; an attractive girl and a "busted" man. [comical] --however, the speed dating approach has already been taken by another group.
• And maybe even a combination of these ideas in man's dream sequence while he tosses and turns in bed.
  

Our plan of action:
Once our director, Victoria, has chosen an idea for the Master Shot Sequence, we will continue on with the following tasks. Each person will choose one task and send the final PDF to the producer, Paige by Wednesday the 26th.

Tasks

1. Marked Shooting Script
   -utilize Celtx screenwriting software to download/develop skeleton script (Download Celtx Here)
   -send finalized script to the other crew members immediately after completion
   -print finalized script; mark for angles and ideas; scan into computer; save as PDF
   [-send final PDF to producer by Feb. 26th]
   
2. Storyboard
   -based on the finalized script, develop a story board (Create an Online Storyboard or check out Some Basic Tips)
   -remember: "You must include a: POV shot,  Match On Action shot, and Sight Line Shot"
   -scan completed storyboard into computer; save as PDF
   -send finalized storyboard to the crew member responsible for the overhead diagram immediately
   [-send final PDF to producer by Feb. 26th]
   
   
3. Overhead Diagram(s)
   -based on the finalized script and the finalized storyboard, create overhead diagram(s)
   - Click here for some really helpful tips! Also, check out the textbook.
   -scan completed overhead diagram(s) into computer; save as PDF
   [-send final PDF to producer by Feb. 26th]
   
4. Budget and Location; Shot List
   -I will take care of this task, since I'm the producer and I'm supposed to do this anyway.
   -based on completed script, storyboard, and overhead diagram, create a schedule/shot list
   [-combine all PDF's onto one source (flashdrive) by Feb. 27th]

For all of you: Check out this new App for digital story-boarding, overhead diagrams, shot lists, and more! It is so cool!

We are all very excited for this project, and I am confident it will go swell!

Documentary Assignment: Production

Reflection

Vox-Pops and B-roll

We shot our vox pops in the sunny, but windy downtown Wilmington on Saturday around 1pm. It was quite the adventure. We hopped right into shooting b-roll where we shot our first "documentary" assignment: the fountain in the intersection of 5th and Market. While we taught our DP how to utilize the tripod in order to gain the perfect pan, we also hoped to grab a few vox pops walking by. However, no one crossed our path in this location.
So we ventured further into downtown and decided to park at the very top of the parking garage. There, we got some great footage of downtown from above which, I must say, is beautiful! Then we got our exercise as descended the stairs into the streets. We walked a few blocks towards the boardwalk and decided it would be best to set up the sound and the camera in one place, then draw people in to be interviewed.
This decision proved to be successful.
I would lure people in, explaining to them what we were doing, then I would show them where to stand. Troy made sure they were in focus, Anthony handled sound, and Jacob, our producer, assisted both of them with the equipment. Then, when everything was ready, I interviewed them. It was a lot of fun; we got to meet new people and we got some very good answers that we can definitely use for the documentary.
Some challenges we faced:
It was kind of chilly because of the harsh winds, so a lot of people walking by were trying to get indoors and weren't very enthusiastic about standing outside any longer than they had to.
There were a lot of clouds, so we ran the risk of having shadows. We also had the sun in a lot of peoples' faces.
The camera, at some points, was out of focus because everyone moved to stand at a different distance or height from the camera.
We were surrounded by trucks, cars, trolleys, bikes, people talking, dogs barking, and children yelling. This was a challenge for sound, but, fortunately, we had a great mic and awesome sound guy, so it turned out in the end to not have been that big of a problem.
We ended up with five vox pops by the end of the day, and, being chilly ourselves, decided to wrap things up. We plan on getting a few more vox pops (better to have too much as opposed to not enough) and definitely some more b-roll. Shooting b-roll now will be much easier since we've already gotten our expert interview.

Expert Interview

We can use the interview to build a visual story and plan what sort of shots we need for b-roll. I'm definitely glad we got in the interview this early in the game.
We interviewed a man named Buckley that has been working in the Wilmington film industry for 18 years now. He let us borrow his camera to shoot the interview from two angles.
We shot the interview at Buckley's quaint little home, where I bonded with his adorable dog, Basil. It was nice to meet someone who has been in this area for so long and has plenty of knowledge about how the industry works. He had a lot to say, and we were all ears.
Since our DP couldn't make it to the shoot, Jacob and I acted as sub-DP's. I framed the primary shot, Jacob set it up, I threw out a couple options for the secondhand angle, and Jacob filmed that on handheld throughout the interview. We did the shoot in Buckley's living room, which had good natural lighting. So we only needed one of our two boxlights.
Some challenges we faced:
Buckley and his family live in an older home, meaning there were a lot of strange noises. The sink would make random sounds, the house would hum, and then there were wind chimes outside that are definitely audible. Anthony struggled with all of the ambiance, but he got the best sound that he could. And Buckley certainly helped by pausing and restarting his sentences when his sink would gurgle.

Overall

Overall, this has been a successful group project, but we still have a lot of work to do. I am very grateful for my team and can't wait to see the finished product that we're going to create together.