Deadline date: 27th November 11am
Collaborative film project
6 minute behind the scenes film. Made as a crew
23rd January 4pm
Feedback date: 21st February
PCA screening programme at Plymouth Arts Centre
Film reviews on blogspot and on blog
4 minute film
Space: Location and studio shots
3 minute sketchbook that addresses the creative decisions and how the film relates to RAD002.
Make sure to evidence everything. Communication, negotiation.
Use words from the learning outcomes.
Crew Role Pitch
1. Role you want to do
2. Role you want to develop
Inspirations, making of, voiceovers, text, why you are interested, what aspects do you like.
Choose two of the following departments
Camera: Cinematographer, camera operator, grip, clapper loader/DIT
Sound: Foley artist, boom operator, sound recordist, supervising sound editor
Art: Production design, costume, props, set, hair and make-up
Director/Producer: Assistant director, production manager, continuity and script supervisor
We were shown this short film called ‘The secret of foley’.
It gave me an insight into all the different aspects of what foley artists do. It was so interesting to see them coping the same sounds but with different objects to what is on screen. Watching this has given me a huge interest into possibly experimenting with this on future films.
Here is a link to it: https://www.youtube.com/watch?v=6SgS5SeseS0
Next, we watched a music video directed by Jonathan Glazer called Virtual Insanity by Jamiroquai.
It makes you think that the floors moving but it’s actually not. The walls are moving by people pushing them.
Here is a link: https://www.youtube.com/watch?v=4JkIs37a2JE
Script for pitch
This is my pitch for possible crew roles.
Out of the 4 main departments for this project, I am most comfortable with the camera department, more specifically being a camera operator. This is because it’s the role that I have had the most experience in throughout my first year and what has interested me a lot.
The department that I would like to develop is directing and producing. Within this department I am interested in being the assistant director or a continuity and script supervisor. I’m interested in doing these roles because I’ve only directed one film in my first year and I’ve never even touched on producing.
Being a continuity and script supervisor is something I never even thought of being important on a film crew so i’d really like to have a chance at seeing what this crew role involves and how I can learn from it to make my films better and of a higher standard.
Doing either of these roles will really help me get out of my comfort zone and have a go at experiencing something totally new to me because I mainly specialise in being the camera operator or the editor so doing something different will really help me develop my skills as a filmmaker and be more versatile on a film set.
09/10/17 - Session 2
Perspective – composition
Creating space with light and sound
The unseen and the unheard
You don’t need to see what you hear or hear what you se
Michael Chion (1994)
Audio-vision: Sound on screen
Madonna – Dont tell me
Synchresis: Synchronise and synthesis
Casual listening: Gain information from the sound source
Semantic listening: What is being communicated
Reduced listening: Audience responding to pitch, timbre, tone, qualities of sound
Internal sound: Characters breath, heartbeat, thoughts, voice
On air sound: Sounds from radio, tv, phone e.c.t
Anempathetic sound: Conspicuous indifference – happy radio playing even though someones dead on screen
Point of synchronisation: e.g. when you cab gear music and assume its part of the sound score but a car pulls up and turns out its the radio
Robert Bresson: Escaped man car scene
Not much on screen action, sound off screen tells you whats happening. It draws your attention to of screen sounds.
Jean Luc Goddard thinks that the audio track of a film should work as a separate piece.
Alexander Hammid thinks neither one makes sense alone.
Aquarium – 2 people having a conversation from the fishes perspective
Night scene – At swimming pool
Traffic accident – Aftermath
Ferry – At night
My group was given number 2.
Swimming pool at night
A man/woman waits by the swimming pool
Sound equipment of choice
We wanted to go for a concept based around a janitor doing work by the swimming pool and someone breaking in, the janitor running off and then around 10 seconds of nothing on screen but sounds off screen which tells you what is happening.
We filmed in the cove studio. Getting the mirror to reflect the water onto the wall was a lot harder than we anticipated and once we got it on the wall it was difficult to get it to go in the place we wanted. However, after a bit of experimenting with the placement of the light and how close it was to the tray of water, we got it.
Assistant Director: Me
Producer: Sam Constable
Camera Operator: Alfie Goodwin
GRIP: Dave Taylor
GRIP: Christian Jones
Art Director: Me
Art Department: Aria Tabatabai
To include on the website
Bio Explaining roles and responsibilities. Under 250 words
Things to consider
Look into other underwater shots. What can I learn from them?
To start off with my group decided to make mood boards to get an idea of what our shots could look like and what we want them to look like. Also thinking about how we want the mermaid to look.
For me I definitely don't want the water to look too blue as I feel it then looks like its been manufactured and not realistic. I want it to go for a more murky grey look. The photos I got below are more blue than I want but these are the type of shots I want to go for.
Underwater shoot - Beach shoot - Mantlepiece shoot
First Day Back
My role on RAD002 is assistant director and Art Director for the underwater shoot for the mermaid scenes. As well as doing the beach and mantlepiece shots.
For this role I need to make sure I am looking after all other crew members and also the actors.
I need to make sure I am a team leader as well as making sure my crew members are all motivated, concentrating and ready to work. By doing this role it will help me develop my confidence skills and also my time management skills as I need to make sure we are running on schedule to get the best and all shots complete which will produce the best possible film.
1. To create a believable ocean scene and mantlepiece. Any props or other materials needed can be used
2. All crew members need to arrive 20 minutes before actors call time to prepare location for filming. GRIPS to set up any equipment needed.
3. Cannot go over budget
4. Cannot go over allotted shooting time
Mermaid make up tests
The production design for the pool shoot was pretty straightforward. All we needed was to have a black piece of material at the back of the pool to make it look like it went on forever. This creates a more believable ocean scene. Having this black piece of material behind the shots would also help cover up any of the tiles on the swimming pool. Having these visible would break the illusion of a endless ocean, which we really didn't want.
Saying that, it was a lot harder than anticipated as getting the black sheet to stay down was harder than you think it is. We used weights to keep it at the bottom of the pool and chairs to keep it up on the surface.
At first when I had to take over the role of Art director I was really worried as I had such a short amount of time to get the costume and make-up sorted. This is something i've not had much experience in but was looking forward to doing.
My first thought was how am I going to make her look like a real mermaid. We had the tail sorted and arriving in a few days. All that was left to do costume wise was find something she can wear on her top half. Originally we were thinking a long sleeve bodysuit but that would mean having to cover up all of the edges of the bodysuit. Talking back and forth with Rusty and Chelsea we decided that a plain white bra would be the best option as because we know the water would be murky and fairly dark underwater we decided a white bra would work best. White being better than nude because white means that the 'mermaid's' chest would be covered.
On the underwater shoot I immediately began doing make up for our actress chelsea. This was basically putting fishnets over her face, arms, and body, painting them to create a scale effect.
I used all kinds of different shades of blue and green as well as some shimmery sparkly highlighters to really give the scale effect more depth.
This was the first time I had ever done something like this. It was quite out of my comfort zone as having to direct an actor while in the water seemed quite tricky at first but the fact she was so lovely made it so much easier as being able to tell her what to do and how she could do things differently was so much easier as she was such a lovely person.
The end result was something I was really proud of as I felt like the scale effect over her face, arms and body looked really effective. The colours matched the colours of the tail which was a really good bonus of the face paints and make-up I was using. Unfortunately, most of it came off after a couple of shots and left a kind of white/pale bluey/green colour. This didn't effect it as much as I thought as the water was so murky you couldn't really see that much detail. What really sold the whole mermaid look was the tail as it looked amazing and so realistic underwater.
For the living room shoot we had a specific amount of space in which we could create our set in.
To try and get a better idea of what we want the living room to look like I decided to draw a floor plan of what the entire room would look like to try and get a better understanding of where everything would be and thing we would have to do in the make space to make a realistic set. For example, lighting. Where is the light coming from in the room? Where are the windows. Once we know this we can position the lights according to where we have the windows placed.
I then decided to do another floor plan of the space we actually have to make the set in. I chose to do this to help make the set designing easier, so we know what we need to do to get the set ready and realistic. It would help us get an idea of what we want the set to look like as well.
Unfortunately, due to timing issues part of the script was charged and we were no longer going to be doing the mother on the chair. Instead we would just be doing the mantle piece shots of the frames. This meant the set design would change and we would only be using the section of the mantle piece.
It would be lit from the right side of the mantlepiece as if there was a light there. It would be shown at nighttime so the light would be very dim but still getting all the detail of the frames and the photos in them.
As Art director I had to make sure we made this mantlepiece as realistic as possible. This began with picking out a wallpaper for the living room which we luckily managed to find in the prop cupboard. The mantlepiece was a bit more difficult. We needed it to be a certain thickness and length. The piece of wood we found was very thin. Dave, however had the great idea of attaching some polystyrene to make it thicker. This proved to be really effective and gave us the right thickness we needed causing it to create a much more believable mantlepiece.
Originally, we were going to print off a wood texture photo to cover it with but we managed to find some other wood textured wallpaper that would also work.
Throughout this project and my given roles I wanted to focus on being a team leader, to make sure if any of my crew members needed help, I’m there to support them and do everything I can do make sure our time management is good so we get every shot we need and of the best quality possible. To help achieve this I would be working closely with the camera operator. Together we made sure that these shots were convincing enough and in the right place to not break the illusion of the mantlepiece as if you go a couple inches left or right then the wallpaper disappears.
The mantlepiece was build out of wood, polystyrene, tape and wallpaper. However, with good lighting and dressing it properly it became a convincing mantlepiece. Me, Sam, Alfie and Dave came together to create the set for this scene.
We got most of our resources from leftover stuff from the other shoots, or things lying around the prop cupboard. This was really helpful as it meant not having to spend any more money getting them.
This shoot for me, was really focusing on working with the camera operator Alfie and our actor Will. Me and Alfie worked together to get the shoots we needed, working on the placement of the camera to ensure we get the best quality shots possible as well as all the shoots needed for this location. I worked with will to direct him where needed. Such as letting him know the thought behind the character as well as what the character could be doing. For example, I suggested throwing some stones on the ground to really show he's fed up with life but to also give the shot an element of movement to make it a bit more interesting.
I was really wanting to make sure we got every shot needed that was wrote in the shooting script. I broke down what we needed to make sure we used out time efficiently as we only had a couple hours on the beach.
Due to weather issues it did rain for awhile and then we had to wait for a huge cloud to pass so the sun would come back out which put the shoot on pause for about 20 minutes to wait and we also had an issue with other members of public. As the beach we were at was also a public beach there were quite a few people around so we had to make sure we avoided them or waited until they moved. This was annoying but we still managed to get every shot we needed despite all the issues we had.
The main focus of my role is to make sure everything on our shoots goes as smoothly as possible, supervising the cast and crew and making sure everything like makeup, props and costume is ready for the shoots. I was working closely with the camera operator and director over the course of all the shoots to ensure we get the best possible shots and all the shots we needed to get for our given scenes.
Throughout this project I’ve wanted to focus on being a team leader, to make sure if any of my crew members needed help, I’m there to support them and do everything I can do make sure our time management is good so we get every shot we need and of the best quality possible. I think I managed to achieve this as I made sure everyone felt like they could come to me with any issues or concerns to make sure we had the best environment for shooting. I wanted to make sure we all got on as a crew as for me thats really important. If we didn't get on then no one would want to ask for help or others opinions. This isn't ideal as all our roles require us to communicate with each other. I'm glad that we did all get on as it made the shoots so easy and fun as I think it's really important that we all enjoy ourselves as well. Yes, we need to make sure we focus on getting the right shots and all the shots needed but it makes this whole RAD002 experience more enjoyable if we gel as a crew.
Unfortunately, there were quite a few absences in some of the shoots and the set building which was annoying for those of us who attended every shoot and all prep meetings and set builds. This is something that I found myself getting quite annoyed about as we are supposed to work as a crew and all input to the group. However, absences sometimes can't be helped.
As I was also art director I had to make sure that I had everything ready for the shoots. For the underwater shoot I was in charge of creating the look of the mermaid. This would be achieved by make up and costume which was very effective when she was underwater. Doing this kind of make-up for the second proper time on a shoot, the first time being on my flat mate a couple days before, was quite nerve-wracking as I know it's all down to me to make sure the mermaid looked as good as possible.
Link to group website: https://agoodwin1.wixsite.com/poolcrew