Shooting days, 27th and 28th June
On the call sheet, I gave myself an hour of setting up time. The crew were to arrive at 11:00 and my actor at 12:00. As soon as I arrived at the location, I made a list of things that needed to be changed about the room to make it look more like I wanted it to for the film.
- Desk to be brought in my garage
- CRT monitor and computer to be brought up from car and plugged in on desk
- Exercise bike to be hidden in bedroom
- Any personal photos need to be taken down
- All 120 jars need to be filled with water, coloured with food colour and placed in piles around the room.
I had a team of people helping me, however we still overran by almost an hour and a half, which set me back greatly for filming. I think the reason for this was that, when we first started, nobody I had brought onto set were really aware of the scale of a film shoot, even one as small as this. Despite this only being a four minute film, it ended up taking a day and a half to shoot and I had almost
At the end of both filming days, the very first thing I did when I got back was upload the rushes to my laptop, as well as my hard drive so I had a backup, then go through and log them all. I kept it all organised and easy to find, because I’ve learnt from previous films that there is nothing worse than turning up to edit and spending more time trying to figure out what each clip was than actually editing.
As you can see, each folder was kept neat and in a logical place, meaning that I didn’t have to think about where to go if I needed to find a certain piece of footage or sound.
I labelled each shot with: shot number-the take-shot type-short explanation. The shot number correlated with the storyboard I made, so I put that first because it meant I could check the storyboard and then find the accompanying number in the folders, which was a system that worked pretty efficiently.
One problem I had logging the rushes, was having to try and match up the sound clips with the footage. I’d taken the time to clap before each take so I could synch them up, but I hadn’t, for any of the clips, given any indication as to which shot or take we were on. Luckily, I knew roughly which shots I’d recorded sound for and they were till in the same order we’d recorded them, so I was able to match them up eventually, however this has taught me a valuable lesson for future shoots. I need to be specific about what take we’re filming to avoid any confusion in edit and make it more efficient. Luckily, as it was my film, I was editing, however in the future it might be that someone else is brought in to edit my footage and they wont be familiar with the footage like I was, so they’ll need it as clearly labelled as possible. It might be an idea for me to buy a cheap clapper board. Cheap clapper boards might not make the cleanest clap sound, but it would at least mean I could avoid a situation like this again.
Other than this problem, I found my organisation was very helpful and made editing a much more efficient process.
When I sat down to edit, the first thing I did was create a rough cut with footage only, no sound, which is something I like to do and is just a personal preference of mine. I do this because it gives me less to focus on and means I can get an assembly edit together faster because I have less to think about. It also helps me to get a feel for the flow of the film. When you watch an edit through, even without any sound, you can feel the beats of the edit and you can usually tell when a cut feels wrong. I just work best when it’s visual, it’s the same reason I prefer storyboards and working with cinematography.
7th June 2017
Rough Cut Peer Feedback
After filming on the 27th – 28th, I put together a quick rough cut that could be shown in front of the class.
This session was just a chance for people to show what they’d edited film-wise so far, so that we could get peer feedback early on in the editing process when it’s easier to make changes.
As well as written feedback, we could also listen to people discuss what they thought of the film.
There were some points that appeared multiple times throughout all the feedback for my rough cut, so I feel like these will be the main things I need to address when I go to develop my edit.
- The narrative is clear even though there is no sound yet. This is a comfort to hear, as there is very little dialogue in my film and I was relying on the shots to provide context.
- The depth of field is very good. As I had a lot of close shots in this, I tried to create as shallow a depth of field as possible to make it more interesting.
- Some of the shots don’t match up colour-wise. Some of the shots are a bit dark while others are slightly overexposed.
- The colours are good but it might be an idea to bring in some contrast, to add some more depth to the shots.
- People especially picked up on one shot at the beginning, where he’s sat on the sofa. It’s noticeably shakier and brighter than the other shots.
- Some of the shots are too short, mostly during the beginning of the soul sorting scene. They need to be held for longer to better establish what’s going on.
- Sound. (clearly, as there is none yet)
Personal Targets Based on Feedback
- The first target I’ll set for myself is to fix the colour in my film, as this was the point that came up the most. If I use the three way colour corrector, I can hopefully bring out the colours of the jars, as well as some of the blue tones. I had the whitebalance temp turned up so it was slightly warmer, as there were a lot of orange and brown colours in my shots, however I agree with the people saying that some more contrast would make the shots look less flat.
- My second target is to refine some of my cuts. People commented that the flow of my film was slightly off. I’ll specifically be focusing on the soul sorting scene, as this is one of the most important scenes in terms of context for the film. I need to lengthen some of the shots to make sure it’s clear what’s going on in them.
- My third target is to search for music that fits my film well. People complimented my narrative, saying it made sense even without sound, but that music is going to be key in this. I have four distinct emotional changes within my film; the beginning, end and then two in the middle, so I’ll create a folder for each and begin to fill them with music that I think could work.
The Full Edit
The first thing I wanted to develop was the music. Like with