Synopsis
Our film follows two characters, Ed and Laurence, who come up with the idea of creating and filming a fake monster for fame and fortune. To their surprise, the amateur video becomes an internet sensation, attracting those who hail it as a return of ‘The Yorkshire Terror’. However, they also draw the attention of a mysterious figure who kidnaps Laurence and grills him for more details about the mythical creature.
Strengths
Overall I am pleased with what we have achieved with the film, and our early plans and ideas have for the most part been translated accurately from page to screen. Upon receiving the brief we decided unanimously that we wanted to create a strong short film that we wanted to make, but that included the four main cinematographic elements, rather than assembling a number of shots under a loose narrative.
I feel we have been successful in integrating the elements in our film, which I can attribute largely to having had a strong vision in mind when first pitching the idea. I based the script around the scene in which the lighting changes dramatically, and so we wanted to make sure this was the strongest element. I am pleased with how this scene turned out in particular, and the combination of the practical lighting change (Fig. 1) , sound design to break the tension, set design elements and post-production colour work complement each other well.
Fig. 1
I am pleased also with the long take we achieved, and our work pre-blocking the scene, researching approaches to sequence shots and breaking the script down into camera movements definitely contributed to the overall look. Also, although not overtly linked to a theme or emotion, we have considered the impact of overall colour schemes throughout the film, using set design and colour grading (Fig.2) to create clear visual contrast between different moods.
Fig. 2
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| Grading to create visual contrast |
Although we decided not to show the antagonist during the POV sequences, POV as a narrative device for creating tension, mystery and suspense plays a strong role in the scene structure of the film. For example, showing the antagonist watching the TV news report infers his presence in the next scene, and our choice to withhold information from the audience effectively puts the viewer in the experience of the protagonist Laurence in the interrogation scene.
During pre-production and production we were always considering the effect and meaning of character blocking, shot types and compositions, trying to use each element to create visual depth and convey information about the characters’ relationships and emotions. I feel this is one of the main strengths of the film, and particularly in the edit I was referencing theory and research to select the most appropriate shots for the story.
Other strengths in the film include an effective and consistent use of sound design to create atmosphere and different environments, strong performance and visual comedy, and sharp pacing between new scenes and environments. We use a variety of lighting setups and other equipment to clear effect, such as other cameras, filters and lenses, and attempted to use green screen also (Fig 3). I also am pleased with our more creative scene transitions which were included at the script stage, and the mix of wit, visual comedy and juxtaposition helps to create comedy.
Fig. 3
Weaknesses
The weaknesses in the film for the most part stem from our issues and oversights during the production stage, either through lack of group preparation or not applying a methodical approach to scene coverage. For example, by not fully thinking through the green screen transition from the long take to the following scene, and by not getting enough coverage as a contingency, I had to use a workaround that was not ideal and does not cut together as well. (Fig. 4)
Fig. 4
Colour correction in some of the scenes is also inconsistent due to spending so much time on the sound cut, and incorrect white balance and under-exposure in some scenes could not be fully corrected (Fig. 5). In addition, the creation of essentially two montage sequences was an unintentional work around from not fully thinking through how the scene would be structured, and I would have liked to integrate them more.
Fig. 5
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| Correcting white balance and exposure |
Other specific criticisms and improvements I can identify include wanting a more convincing looking news overlay, having the option of an ND filter to create bokeh and depth in the Grindleford scenes, and revisiting the lighting for the interrogator to create a more visible edge outline (Fig. 6).
Fig. 6
As a result of issues with sound recording during production, the sound mix is unavoidably inconsistent at times. With more time we would have liked to use more complex setups and shots, for example making use of sliding shots, but from our attempts to improve efficiency these shots were omitted first.
Production Process
During early development (Fig. 7), with the ideas I pitched to the group I had already considered most, if not all of the four main elements for telling the story. This benefited us massively as we were able to integrate each element early on and have them serve a purpose in the story. With the case of our final idea, the lighting change scene was what I built the rest of the story around, and after sharing our initial ideas we discussed the visual style in terms of references to other films.
Fig. 7
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| Initial idea development |
For example, with the interrogation scene we immediately looked at a number of lighting styles in similar scenes, and we looked at the work of directors who successfully use visual comedy, such as Edgar Wright.
In the next few weeks, besides developing the script and a location recce in Grindleford, production slowed down vastly and we fell behind. On reflection, we spent too long at this stage fleshing out the fine details of script as a group, when members should have been delegated to start casting, props making/gathering and finding other locations. With group members busy with other projects we had only a week left to complete all pre-production and were forced to film during Easter. This rush ultimately meant we were not fully prepared, contributing to the slow progress in production and many of these scenes needing to be re-shot.
During this phase I had to lead pre-production with Chris as other members were not communicating or contributing, and delegated tasks amongst the group (such as shot lists) were not completed. Neither the director nor the cinematographer had read or been very involved in the shot list development, or blocked the scenes out prior to filming, often turning to me to lead and direct during production.
Our initial production process was methodical and professional, labelling shots and logging a camera report with descriptions of each take. However, with such a small crew this process, although thorough, slowed us down massively and was ultimately abandoned. Whilst this decision was necessary in order for us to get the coverage we needed with limited time, it ultimately caused further problems for me in post-production (Fig. 8)
Fig. 8
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| Labelling audio accurately was impossible without marking shots |
After the first days of production were unsuccessful, we reviewed our method. The book ‘Cinematography: Theory and Practice’ (Fig. 9) was very useful in providing insight about professional coverage procedures, and we made a number of changes in response. Aware of our limited time and the need to re-shoot scenes, we trimmed down the shot list to be more efficient, getting the basic coverage we needed to tell the scene, combining shots and simplifying our lighting change.
Fig. 9
Working with Chris we scheduled our day to be more productive, splitting the team to pre-light and set dress the next scene, and working with the director I blocked out each of the scenes the night before. We produced lighting plans for each environment and scene, created a more comprehensive shot list with descriptions (Fig. 10) for the cinematographer (especially helpful during the long take) and thought about production in terms of setups - improving our efficiency and also avoiding continuity errors.
Fig. 10
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| Lighting plans |
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| Developed shot list |
By the end of production we were much quicker not only in setting up and rigging equipment, but in identifying immediately when and where a shot needs lighting - using the appropriate tools to achieve the effect (lighting, reflectors, flagging etc.).
From here I took over with post-production and completed it almost solely. However, I tried to maintain constant and clear communication with the group about issues I was facing, changes I was implementing and feedback on each cut. Due to our oversights in production this process was much more time-consuming than it should have been, particularly matching sync audio for the sound cut, and I will make sure for future productions to find a balance between following correct shooting procedure, maintaining efficiency and getting complete coverage.
Individual Contribution
I feel I have made a large contribution to the making of the film, completing a wide range of tasks beyond my initial role of editor. In the initial meetings I was the only member to bring film concepts to be developed, and after developing the idea as a group into scenes and plot points, I wrote the script - presenting it later for feedback and changes.
Whilst I developed the script, there was little progress on other areas of pre-production, meaning we had to rush in the final week before Easter. In order to complete this I worked with the producer to set tasks and delegate them amongst group members. As I had written the script I offered to produce shot lists for some of the scenes, giving the rest to the director and the cinematographer - but as this was never completed I was forced to do this myself.
During production, this lack of preparation meant that the director and cinematographer were constantly looking to me and Chris for information about the next scene, ideas on blocking and our next shots. A failure to block the scenes and prepare props the day before also caused slow-downs and scenes to be re-shot. This poor communication ultimately came across in the footage - which was inconsistent, mis-framed and had continuity errors (Fig. 11).
Fig. 11
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| Identifying errors in shots |
After revising our process for the second shoot, our group worked together much more effectively, and the precise scheduling ensured each member was clear about their contribution on each day. Although the pre-production work was still largely completed by myself and the producer, and I still at times assisted in direction and camera-work, our contributions were much more balanced and effective.
For future projects I will ensure that we start production with this level of planning and management. Admittedly, as I had developed the initial idea and the script I should have made sure that everyone in the group was under the same understanding before production, as this would have saved a lot of time explaining and discussing approaches whilst we could have been shooting.
Following production I edited the film myself, although tried to involve the other group members in the process as well by asking for opinions on sections of the film, creative approaches to try and workarounds for our production issues. The group seemed to value this approach and responded with feedback on our Facebook page (Fig. 12).
Fig. 12
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| Sharing feedback with the group |
At this time I still needed a number of sound design elements to be recorded and other clips to be found, and progress on gathering them was frustratingly slow. On reflection I should have worked more closely with the producer to have these tasks delegated amongst the group, although some group members helped in part to gather these elements. Most sounds I sourced and recorded myself, but I was also provided atmos tracks by the director, labelled sound files from the sound recordist, and following presentation of our first draft, the producer found an actor immediately for a new voice-over.
Admittedly, a post-production schedule would have been very useful during this period in both allowing other group members to see the strict timings I was adhering to but also to co-ordinate ourselves more effectively. I did my best to provide deadlines for feedback, stress the urgency of the extra recordings I needed and keep them informed, but meeting to discuss such matters as a group would arguably have provided more time to polish the film.
Learning Outcome
Overall, I feel I have made a valuable contribution to the project, having a role at every stage from the idea’s initial development through to post-production. Although I entered the project wanting to keep a background role in script development and editing, being involved in direction, planning and camera-work has been a useful learning experience to carry on to future projects.
Despite a poor start to production, and contributions from group members being imbalanced, the process of having to review our own approach and method has been very positive. The texts I have read have been useful in providing insight into professional procedures on set, and I will be sure to maintain such practices on other productions.
Ultimately, the majority of my learning this semester has been self-directed and responsive to the needs and challenges of the task. I am more confident with lighting setups and other equipment such as filters/gels, and more understanding of the effects of different types of lenses, shots and compositions to create both narrative and symbolic meaning. Beyond this, I understand the importance of thorough pre-production, planning and scheduling - approaching scene coverage in a more logical and methodical way to make best use of our time.
Sources
BELLANTONI, Patti (2005). If It's Purple, Someone's Gonna Die: The Power of Colour in Visual Storytelling. Oxford, Focal Press/Elsevier
BROWN, Blain (2002). Cinematography: Theory and Practice: Image Making for Cinematographers, Directors and Videographers. Oxford, Focal
LANCASTER, Kurt (2011). DSLR Cinema: Crafting the Film Look with Video. Amsterdam, Focal Press/Elsevier.
MALKIEWICZ, Kris (1989), 2nd ed., Cinematography: a guide for film makers and film teachers. New York, Simon and Schuster
MERCADO, Gustavo (2011). The Filmmaker's eye: learning (and breaking) the rules of cinematic composition. Amsterdam, Focal
VACCHE, Angela and PRICE, Brian (2006). Colour, the film reader. New York, Routledge
