Friday, 25 February 2011

Account of Editing


“Editing is the process of selecting and preparing written, visual, audible  and film medium used to convey information through the processes of correction, condensation, organization, and other modifications in various media, performed with an intention of producing a correct, consistent, accurate, and complete output.”
To start our editing process we loaded our footage onto final cut pro which allows us to store this and edit it.  The first thing I did was to break down the footage into useable shots and place them into bins.  I labeled these categories i.e. Sky shots, Derelict shots, and direct and indirect.  However, the footage was already in order and broken into sections from the camera tape.  This was a lot easier than AS and allowed us too shoot for footage and more effectively.

After the ground work was in place we then laid the track down so that when placing shots on the timeline we could be sure to sync them with the music so that the lip syncing was in time.  However, I did have some difficulty when editing to make it as excited as possible as due our act being very organic we kept the script simple, but didn’t want to make the video boring.  This lead to us incorporating jump cuts, blurs and saturation of colour, we did this by using Final cut pro with adobe after effects.  However, I ran into issues with this as it was finding the boundaries where we added enough special effects to add to the cinematic effect without making it look over the top.  Furthermore, it was also a very long process as each individual from had to be edited to achieve the desired effect you cannot just apple the effects to the role video.
The saturation of colour shows what he sees in the world as as opposed to what it is really like as although it is sunny, in his eyes it is tainted with darkness from the loss of his love.



Furthermore, when moving onto the more elaborate editing style we researched into the editing technique of montage.  For inspiration we used one of Russia’s most prominent filmmakers, Sergie Eisenstein, he was essentially the father of montage and our mode of address as inspiration.  He was a huge help in shaping the theme of our video and helped us establish the apocalyptic feel.  This was furthermore exaggerating by the use of intercutting footage of the rubble and decay of urban London with shots of our artist.
In addition, by reversing footage i.e. the clouds this represents how our artist wishing that time could go back and he could change things emphasizes his heartbreak about the death of his love.  This could also emphasize how the world is decaying and blackening and how we wish we could reverse and change the worlds perishing.

Moreover, we subverted the commonly used convention of continuity editing by incorporating the montage technique which is less classical., and tries to shows the symbolic association of ideas between shots rather than simple psychical action for its continuity.  This style of editing worked in our favor as this broken up and jiggered style of editing representing our artists and how he is broken, torn and unstable, not the classical type of country and western he is subverting the genre like we are doing in our editing technique.  It also shows how his life is not smooth cut as it is normally portrayed in the media.  It is more realistic that things aren’t always perfect and he is a perfect representation of how one thing can interrupt your life in such a grand way.

In conclusion I feel through the use of montage, jump cuts and saturation of colour we have achieved an apocalyptic feel and a look into how our artist sees the world, which is very intimate. 

Sunday, 20 February 2011

Account of Shoot Day

Our shoot day was slightly different to the normal shoot day, as we shot all of our footage on location.  This was because of the fact that our location was 1:30 hours away from the Studio were most group film the second half of their footage.  This meant that we had to be very conscious of time and be definite in all of the shot, angles etc. and make sure that there was no technical or continuity errors in the film as we could not come back to Battersea power station and re-shoot.  We came across many problems with the scheduling of our shoot day from the weather to the security matters, this lead to rescheduling 2 or 3 times before we could actually film.  Although this created a sense organization on our behalf as we had prepared 2 or 3 times, so when the final day arrived we were sure we had thought of everything.
The day continued in this fashion:

Shooting schedule:

8:30 – Meet the crew in the studio to pack the van and talk about the day ahead

9:00 – Leave in the Mini bus with equipment and crew to Battersea

11:30- Arrive and have a security debriefing/ health and safety talk


12:00 – Begin shooting, set up tracking and play back- shoot on front of the wind turbine A +B

12:30 – Shoot more exterior of Battersea capturing the sun in the background

1:30 – Brief lunch

2:00 – Shoot interior, of “wind turbine A”


3:00 – Shoot the closing shots of realization of dead girl.

3:30- Shoot Walking through exterior tunnels and of industrial London

4:00 - Pack up tracking and play back and go back to Hurtwood.

This tight schedule helped us to stay focus and not go of the reason for why were at such a cultivating location. 
Once we arrived and had set up we looked over the storyboards, another member of our team 1 as we were switching between the role of director and in charge of playback to give a rounded feel to how everything worked and to keep on top of everything.  After we had setting up we did a couple of test shots, but unhappy with the amount of light on our artist face we decided to use a gold reflector to create more light and give him a golden feel, this job was taken on by another member of the crew Caterina, who was very good at this particular job.
Furthermore, his golden warmth was also represented in the sunny day that we were blessed, and further emphasized with warmth.

One of the strengths of this shoot day I think was our organization and hard work as although we did not have a vast amount of time to shoot we utilized every minute.  Another strength not just for the structure of the shoot day but also for our editing was that we shot in order.  This allowed us to have a clear picture of the story in our head and edit it to that same way when looking back on it in the edit suites, giving it an organic feel.

However, I feel a weakness could have been the cooperation from the rest of the group other than my self and James Burke and our teaching crew as some of the other members of the group did not pick up there end of the slack, leading to James and I to do it for them.  Although, this did not affect our end product or the running’s of the day as James and I were happy and capable to do so.


In addition, to having a security debriefing we also had to have two security guards with us at all time, keeping us save and also making sure we stayed in the designated areas.  However, this was no trouble as all of the crew were respectable of the location and behaved in a professional manner.

All in all, I feel our shoot day went very well and we achieved a lot in a small amount of time, we also all seemed to enjoy it very much shooting in such an established Location.



Wednesday, 5 January 2011

Pre - Production Planning: SET/DESIGN/LIGHTING PLANS

Some of our original ideas involved using Prosthetics in order to make our cast and set Scary but we have gone with a more simplistic and apocalyptic feel which allows us to be more experimental with our editing for example without looking over the top.  We are not going to be involved in any set design at Battersea Power Station as we chose this location as it has everything we need, space, a spooky feel and alot of rubble.  In addition, for health reasons we are not allowed to touch or rearrange things in the Wind turbine Halls where we will be filming.  However, we will be bringing some a light reflector to emphasise the golden glow of our artist look, and make him look admirable.  In turns of equipment we will be bringing:

  • A sony HD camera
  • two reels of tracking
  • A dolly (for the camera)
  • Light reflector
  • Play back
  • Generator
  • Camera Batteries
  • Aux Cable for Batteries
  • Ipod.
On the actual shoot day we will also we wearing safety hard hats, and steel toe boots.

Sunday, 2 January 2011

Callsheet

Directions:


Dorking Rh5 6nd
1. Head north on Miles's Hill/B2126 towardPasture Wood Rd
1.9 mi
2. Turn right at Water Ln
220 ft
3. Slight left at Raikes Ln
2.8 mi
4. Turn left at Crocknorth Rd
1.6 mi
5. Turn right at Green Dene
0.6 mi
6. Take the 1st left onto Epsom Rd/A246
0.4 mi
7. Take the 1st right onto Ockham Rd S/B2039
3.9 mi
8. At the roundabout, take the 2nd exit onto the A3 ramp
0.3 mi
9. Merge onto A3
15.6 mi
10. Turn right at Kingston Vale/A3
2.7 mi
11. Turn right at Upper Richmond Rd/A3
0.6 mi
12. Slight left at Swandon Way/A217
0.3 mi
13. At the roundabout, take the 2nd exit ontoYork Rd/A3205
2.5 mi
14. Turn left at Kirtling St

Map:




























Shooting schedule:

8:30 – Meet the crew in the studio to pack the van and talk about the day ahead

9:00 – Leave in the Mini bus with equipment and crew to Battersea

11:30- Arrive and have a security debriefing/ health and safety talk

12:00 – Begin shooting, set up tracking and play back- shoot on front of the             tunnels

12:30 – Shoot more exterior of Battersea capturing the sun in the background

1:30 – Brief lunch

2:00 – Shoot interior, of “wind turbine A”

3:00 – Shoot the closing shots of realization of dead girl.

3:30- Shoot Walking through exterior tunnels and of industrial London

4:00 - Pack up tracking and play back and go back to Hurtwood.

Tuesday, 2 November 2010

Richard Dyer

Stars and Stardom

  • In order to understand the relationship between the music industry and its audiences, it is important to consider the role of music star
  • The term ‘star’ refers to the semi-mythological set of meaning constructed around music performers in order to sell the performer to a large and loyal audience

Some Common Values of Music Stardom

  • Youthfulness
  • Rebellion
  • Sex magnetism
  • An anti-authoritarian attitude
  • Originality
  • Creativity/talent
  • Aggression/anger
  • A disregard for social values relating to drugs, sex and polite behaviour
  • Conspicuous consumption, of sex drugs and material goods
  • Success against the odds

Richard Dyer

· Dyer has written extensively about the role of stars in film, TV and music.

· Irrespective of the medium, stars have some key features in common:

· A star is an image, not a real person, this is constructed(as any other aspect of fiction is)out of a range of material (e.g. advertising, magazines etc as well as films music)

· Stars as commodities produced and consumed on the strength of their meanings

· Stars depend upon a range of subsidiary media- magazine, TV, radio, the internet – in order to construct an image is made up of a range of meanings which are attractive to the target audiences.

· Fundamentally, the star image is incoherent, that is incomplete and ‘open’. Dyer says that this is because it is based upon two key paradoxes.

Paradox 1

  • The star must be simultaneously ordinary and extraordinary for the consumer

Paradox 2

  • The star must be simultaneously present and absent for the consumer.

The star Image

· The incoherence of the star image ensures that audiences continually strive to ‘complete’ or to ‘make sense’ of the image.

· This is achieved by continued consumption of the star through his or her products

· In the music industry, performance seems to promise the completion of the image, but it is always ultimately unsatisfying

· This means that fans will go away determined to continue consuming the star in order to carry on attempting to complete their image.

· Finally, the star image can be used to position the consumer in relation to dominant social values (that is hegemony).

· Depending upon the artist, this may mean that the audience are positioned against the mainstream (though only to a limited degree, since they are still consumers within a capitalist system) or within the mainstream, or somewhere in between.

Monday, 1 November 2010

Keith Negus

The Ideologies of the Music Industry

“What I’m looking for is the working act. The real act. The act that can get up on stage and do it. That act will give you a career. I singed Black Sabbath umpteen years ago; they are still making records. These are acts that are career acts… two years ago I started a dance label… now that’s not a career orientated label. I mean those record are one-off situation and every now and again you’ll maybe get an artist come out of it.

When I first started it was more about going out and finding bands. That method is become more and more redundant. More and more these days I find it’s as much about: I sit here and think ‘there’s really a gap in the market for this kind of project…’ I don’t go out to gigs. That’s not how I find my stuff. So if a writer comes in he may have some great songs and maybe is looking for a front person. Or maybe I have the front person who I want to launch into the market but I haven’t got the songs. So I put the two together”

Ideologies of Creativity

  • Keith Negus – producing Pop
  • Identifies two distinct ways of thinking about potential artists from within the music industry.
  • These ideologies shape the way in which the artists’ images and careers are developed , and the way that they are marketed towards specific target audiences
  • The organic ideology of creativity and the synthetic ideology of creativity

The Organic Ideology of Creativity 1

  • The ‘naturalistic’ approach to artists
  • The seeds of success are within the artists, who have been ‘nurtured’ by the record company
  • The image of the artist is ‘enhanced’ by the record company
  • The artist is given time to evolve and progress through their career

The Organic Ideology of Creativity 2

  • Emphasis is given to album sales and the construction of a successful back catalogue
  • Often aimed at older or more sophisticated consumers
  • Profits generated by this kind of act tend to be part of a long term strategy by the record company.

The Synthetic Ideology of Creativity 1

  • A combinatorial approach to artists and material
  • Executives attempt to construct successful acts out of the artists and the songs at their disposal
  • The image of the artist is often constructed by the record company
  • The artist will be given a short time to prove their success before other combinations will be tried out.

The Synthetic Ideology of Creativity 2

  • Emphasis is given to single sales and to promoting first albums
  • Often aimed at younger, less sophisticated audiences.
  • Profits generated by this kind of artist tend to be part of an immediate, short term strategy by the record company

Balancing the two

  • In practice, the success of synthetic acts will fund the development and investment in organic acts
  • Most big record labels will look to balance their roster with a combination of successful synthetic and organic acts to ensure that there are finds available for the day-to-day running of the company as well as long term profit making potential.

Promoting Organic and Synthetic Acts

  • There are clear distinctions between the ways in which different types of artist are represented to ensure short term or long term success
  • Organic acts are often sold on their ‘authenticity’, both musically and socially.
  • The image of the artist appears ‘unconstructed’(although, of course, this is in itself a carefully constructed look)
  • Synthetic acts are often sold on their ‘look’ or personalities
  • The image of the artist is carefully and unashamedly constructed.