Finished Film + Evaluation

Our finished piece is below:

Thanks For The Year from Peter Simison on Vimeo. Production Slideshow: Evaluation
I believe I have really progressed a lot during the course of this module. I have been encouraged and learnt to experiment with unconventional techniques a lot more than i would have if I had never done this module.  Starting with the original sound piece I did in the beginning of semester 1, I got the hang of basic sound recording and using different types of microphones to get different sounds. I also experimented with the fundamental functions of ProTools using crossfades and gains to blend our recorded sounds together for our sound piece. I then expanded on this for our short documentary where we used a variety of various recording techniques such as Zoom h5 handheld recorders, recording directly to the XLR input on the camera and using radio mics. After experiencing the various benefits and difficulties of using each it helped hone my skills of choosing the most effective equipment for given filming circumstances. My audio knowledge then expanded even more when playing around with various effects for our drama short to express hidden emotions and ideas. It helped progress my technique and interest in ProTools and how software can be used to bring audio to life and be a fundamental part of the whole video.  I cinematography skills were also vastly improved through this module. I thoroughly enjoyed going out into the Peak District with a Canon XF305 and filming the country side. Filming like this really helped to improve my composition skills of the image as it gave me the capabilities of long focus lengths to widen the scope of compositions I could film. While not being a cinematographer in any of the other projects I still developed a lot by chipping in in all sides of production. For instance when on set for the drama short, I observed the possibilities and also limitations of using a dolly track. I also found through not using DSLRs the control of the image you can achieve by using interchangeable lenses. My use of experimentation also increased throughout this module. In our sound piece I don't feel like I experimented enough with video as a form. After comparing our piece to everyone else's I began to appreciate the scope of what can be done and shown through video, as our video consisted of just simple cuts and lacked any added  lighting or any interesting sound techniques. My use of experimentation had progressed a lot by the time we did our drama as we added the 90s element to the video. This gave us a lot of areas to experiment.  I learnt to use resources such as Vimeo to watch a complete variety of different videos that inspired me to use many different techniques.

Post Production

This week we were editing the project. 

Tom, the editor, took away all the footage and made a few different rough cuts, uploading them to Vimeo each time so we could all review them and give him feedback. He experimented around with different structures and colour grades until we all decided on a cut that looked right. He also changed the aspect ratio to a more box shaped one that was standard on the box shaped TVs of the nineties, in contrast to the 16:9 that we're used to now. 

Once his final edit was complete he sent the file to me which also contained the dialogue on. I then transferred this into ProTools where I would sound design for it.

I started by adding foley that James had recorded into the necessary areas. In areas where there's music playing from a different room I would add a low pass filter which gives it that muffled sound your used to hearing when your neighbours are having a party.

For the rushing climactic effects you hear when he's looking in the mirror or when he's receiving a phone call I used sound effects such as aircraft noises and traffic and then added LPFs and lots of reverb with a rising volume level. This completely transforms it from it's original sound to the point where it's completely unrecognisable but instead becomes an effective cinematic tool for expression. For example when his telephone's ringing I wanted to express the blind panic and anxiety in his head. I used the interior sounds of a Concorde jet and added all the above effects to the point where it's completely transformed.

To reinforce the 90s time period we decided to use radio sound bites that referred to events in the 90s. I researched appropriate events on the internet and found the original radio news broadcasts. I then wrote a transcript of those original recordings and recorded myself reading it out as if I was the radio presenter. I then imported the audio files into ProTools and increased the gain in the mid-high frequency section on the equaliser. This gives it the tinny sound that's normally associated with a cheap radio.

Adding various effects to sounds such as reverb and delay

Complete sound design timeline on Pro Tools

Recording my voice on a Zoom h5 for radio snippets

Shooting

This week we were shooting the drama.

Baily had finished the script in advance and sent it to us so we could read it and get familiar with it in before the shooting day.

Joel, as the producer, organised a house in which we could film. He was also in charge of supplying the actors. Unfortunately, due to actors dropping out last minute he had to improvise in some areas. The main character was played by his brother, Lucas Young, who is currently a stage actor. Joel himself, filled in one of the other flatmates and a woman called Holly Jenkins played the part of the third flatmate. Joel also provided food on the shoot day. 

Amy had taken it upon herself to sort out set and costume design. She brought with her lots of posters from the nineties and other general props, such as an old telephone. She also provided all the clothes for the actors in a nineties style. They really altered the look of the set into an effective nineties time warp.

James, who was in charge of sound recording, brought with him a boom pool and a shotgun mono mic.

We were filming on a Canon XF305 which meant we could plug the microphone directly into the camera meaning we wouldn't have to worry about syncing up sound in the edit.

I was always around on set to provide any technical help and advise James on audio decisions.

We also used a track for the opening shot. This meant we could move and pan around the main characters bedroom providing the audience with an introduction to the setting and introducing them with some of the nineties posters and props to dive them straight into that time period. 

The shoot went very smoothly and the actors were great to work with.

 Amy arranging posters

 Baily testing the camera track

 Setting up the room for the first scene

 Checking Camera Settings

Setting up the party scene from the main characters perspective

Drama Planning

In this weeks session we agreed on a treatment put forward by Baily. 

The synopsis is that 3 people move into a university flat together however the main character, who is a bit of an introvert, struggles to form relationships with the other two who quickly become good friends without him. This results in his mounting anxiety as his social awkwardness around the other two flatmates gets worse. The film will also be set in the 90s to give it an extra creative flair and aesthetic look. This will also veer it away from hopefully not looking too much like a generic student film.

As it's Baily's idea he will be writing and directing it. The rest of the crew is as follows:

Producing - Joel Young

Cinematographer - Amy Smith

Editor - Tom Wilson

Sound Recorder - James Swallow

Sound Design & Editing - Peter Simison (me)

I had an idea that we could use Lynch style audio editing to reveal what's going on inside the main character's head. For example, we had an idea that he would be sat inside his room while there is a party going on downstairs. At first you here the muffled sounds of the party through the wall and then the sound of what's going on in his head will sweep in. It will be a claustrophobic, white noise style sound that will reflect the crippling anxiety going on inside his head.

 Roles, Characters and Treatment

 Locations

 Different scenes we're planning on filming

A list of things we are each going to do before we next meet

I Do Air

I do air is a short BAFTA award winning drama piece directed by Martina Amati. It focuses on a small girl who has a fear of jumping in water from heights and faces humiliation from other swimmers. The film takes you into the little girl's imagination as she holds her breath to experience a "high" inside her own head.

Screengrab taken from I Do Air (2010)

The film makers focus in on certain parts of her to emote certain sensations, such as when we see a close up of her toes touching the wet changing room floor, that sensation of wet socks immediately unfolds in my mind. 

The film makers are also  very careful and creative with their use of sound. For instance, when the girl is on the diving board contemplating diving off, all but a few sounds a drowned out underneath the drone like score. The sound of someone tapping some pool cleaning equipment crescendos before she makes the decision not to jump. They also drown out a lot of the sounds when the girl holds her breath leaving you with the eerie score and gentle sounds of water dripping.

Amati effectively uses post blurring of the image when the girl is holding her breath in the changing room. This helps remind you of the feeling you get when you experience a lack of oxygen and the dizzying effect that takes hold.

All in all I really enjoyed this short film and admired it's ambition with both sound and vision to effectively take you into the mind of a little girl.