Archive for October, 2012



Critically Analyse how Editing Practice is used in a specific Genre

Individually, conduct a brief analysis (500 Words approx.) of a genre of your choice highlighting what editing techniques are typically used and to what affect? 
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There are many different types of genres in film, and multiple ways to edit each and every genre. All genres have their own various methods used when editing to emphasis the overall mood of the film. I will be looking at the many editing techniques in the thriller genre.

Thrillers usually and continuously follow a single desired target for the entire film, such as planning to steal money from armored cars or rescuing an innocent prisoner from being executed. Thrillers always build up tension and make the viewer expect something to come. They definitely stimulate suspense as the plot quickly escalates approaching the climax, and keeps the audience on the edge of their seats throughout the most part of the entire film. Basically giving the viewer thrills, thus creating the word thriller.

There are many different crossbreeds of thrillers, added with action, adventure, mystery, or another genre. I believe that horror is the most closely related to thrillers; thereby this is the most common used crossbreed by filmmakers and editors. There are various editing techniques that an editor can use when creating a thriller movie. Thrillers often always have a few chase scenes. This is usually when the most excitement occurs. The use of quick cuts gives the audience the fast pace of the scene. The selection of music and sound effects can also determine the pace of the scene. The music can make or break each and every scene. Thrillers have very dramatic music that effectively builds up tension, which engages the audience and grabs their attention.

Parallel editing is frequently used to show many different viewpoints and scenes. It keeps the audience entertained and switches it up a bit to keep them on their toes. Because films are a story being told to the viewers, what many thrillers will do is present the audience with information of a lurking danger unknown to the characters. An example of this danger is cutting to the blade of a knife coming from behind an unsuspecting victim. This is a common technique to escalate and intensify tension and suspense.

The use of connotation or symbolism is applied quite frequently  in almost all of film. For example in thrillers showing a group of black crows in a scene can suggest death or murder, thus comes the expression a murder of crows. The audience likes to find hidden meaning or messages behind the story rather than just being told. Just like dialogue doesn’t mean a thing in film, because it can be edited in a way that most of the dialogue can be left out and that will show the audience rather than telling them. This technique is very effective because then the viewer is thinking about the scene and creating their own ideas about the hidden meaning, rather then just being told and continuing on.

Editing has a major influence over film and each of its genres. Cunning editing can turn amateurish movies into impressive mind blowing ones that will make the audience come back for more.

“The editing in film often goes unnoticed. However, if one does not notice the editing, then it is doing its job. The editor works on the subconscious of the viewer, and controls the story, the music, the rhythm, the pace, shapes the actors’ performances, ‘re-directing’ and often re-writing the film during the editing process, honing the infinite possibilities of the juxtaposition of small snippets of film into a creative, coherent, cohesive whole.”- Walter Murch

Criteria: 1.3 

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Here Bradley Thomas is measuring the light beam to see how much area the light rays expand and the intensity of them using the inverse square law.
Inverse square law:
Light leaving a surface will radiate in all directions.
Square law describes the area of a beam at fixed distance. (light quadruples as it goes out)
Reverse square law describes the power or intensity of light at a fixed distance. (Intensity of light is divided by 4 as it goes out)

This was an exercise for proper lighting when shooting interviews. Jordan Schofield was our mock interviewer. In this photo we were using three point lighting, which included a main light or key light, a fill light or soft light, and finally a backlight.

In this photo, I have the camera plugged into my computer and I’m using video scopes in final cut pro to display what the luminance level is, to see if is correct. We wanted to have it at 50% light intensity, and at first it wasn’t so we adjusted accordingly to have perfect dispersal of light.

Here Pete Bendoris is standing on a ladder and adjusting the flood lighting for our green screen exercise.

After we had set up our lighting and got our green screen up Tony demonstrates using the light meter and points the sensor towards the light rays to find ambient light.

Here we tried a few contrasting aperture settings, then we tested different shutter speeds such as 1/50, 1/200, 1/500 ect.. we dropped and threw stones in a pile of flour using these different shutter speeds to see the differences between them.

Here we’ve set up the dolly track and are correctly attaching the tripod to the dolly to film our scene.

This is the dolly track all set up properly with the camera ready for filming. The set in the back ground is supposed to be a detectives office.

In this picture Jordan Schofield is using tree branches with our lighting to cast shadows on the background of our set. This will make the shot more realistic and believable.

Here we are beginning to set up our 3 point lighting, making sure all lighting wires are taped to the ground, the tripod is secure,  and our establishing shot for the drink awareness video.

Here we are beginning to set up our 3 point lighting, making sure all lighting wires are taped to the ground, the tripod is secure, and establishing our opening shot for the drink awareness video.

Brightwolf Edit

Brightwolf is a BBC Film that college students are given raw footage from to re-create into their own edit. This is Gareth Skinner’s and my edit of the a scene where the main actress is entering an old church only to hear a strange noise followed by finding a lady who’s just committed suicide. We were only given a few scenes to work with but we managed to give it an obscure sinister horror feel to it. Hope you enjoy.

Sound effects:

Slow atmosphere 4, by: ERH

http://www.freesound.org/people/ERH/sounds/33987/

Wind, by: ERH

http://www.freesound.org/people/ERH/sounds/34338/

Scary Violin, by: filmFX

http://www.freesound.org/people/filmFX/sounds/132134/

Crashes Strikes and Whacks, by: FreqMan

http://www.freesound.org/people/FreqMan/sounds/43604/

Piano Speech & Arguments, by: hammerklavier

http://www.freesound.org/people/hammerklavier/sounds/47895/

Picture 3

Digital Editing Practices and Technology:

Create 2 simple guides that suitably describe the common Formats and Workflows commonly used or found in the Post-Production industries.

Contents should include the following: 

Annotated Diagram of a typical Post-Production Workflow, e.g. Offline/Online, Assembley Edit, Intermediate Files, Proxies, Locked Edit, A & B Rolls, etc. Annotated Diagram of typical Post-Production Formats (Image and Audio) e.g. Raster/Vector Graphics, MPEG Compression, Lossless/Lossy Codecs, etc.
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Phase 1: “Acquisition”

1) Why can’t we edit efficiently with “lossy” codecs?

We can’t edit efficiently with lossy codecs because lossy deletes re-occurring frames and we can’t edit accurately with the remaining 2 or 3 frames we have left (first, last, and bi lateral frames). We then have

to use proxies that have all the frames for editing and have a smoother playback, but have lower resolution, luminance, and chroma value so it can keep up with the slow R.A.M. Proxies make it easier to edit, preview, and correct our project in real-time.

2) Why is it important to preserve frame rates; duration; and file names when creating proxies?

When creating proxies it is important to keep our frame rates, the duration, and file names consistent throughout our editing workflow. If we fail to do so, we will encounter many problems such as rendering issues, misplaced files, and unsynchronized sound and or video.


Phase 2: “Offline” or “Assembly”

1) Why do we log and label files?

We log and label files so we can be more organized and find things more easily rather than looking for ages for them. It also helps if someone in your group is sick or cannot make it in that day, and someone else needs to edit instead. It makes things more tolerable and more time efficient for everyone.

2) Why does an E.D.L exist?

An E.D.L or Edit Decision List is basically what it sounds like; it is a list of the decided edits such as shots and cuts wanted for the final project. It is also to help if someone else was to continue on the project where you left off without any difficulty. It’s also a sort of backup for your projects which most professional software contain. If you decided to switch computers for whatever reason you will just have to load your decided shots with the E.D.L and the software will re-create it for you. This is such a helpful tool for when your computer crashes which is most likely to happen here or there, and you wont have to start from complete scratch.

Phase 3: “Delivery”

1) Why do we “colour grade” after picture lock?

We colour grade our projects after the picture lock rather than before because it makes the most sense to wait until everything is finished with the project, and we are satisfied with it so it wont need any further changes last minute. Also if we colour grade before the picture lock, then when we reconnect the high bandwidth files it won’t match up because we colour graded the lower quality proxies instead.

2) Why do we “sound design” after picture lock?

Just like colour grading it makes the most sense to wait until we have completed our picture lock so music and sound effects will be in sync.  If we did decide to add audio before the finished picture lock then we run the risk of having major problems with the sound and this can cause major frustration and be very time consuming.

Criteria: 1.1 & 1.2 

Aim: Opening narrative hook/enigmatic opening of an imagined film.

Objective:

No longer than 1 minute and 30 seconds

Must include a bottle of green liquid

Must include the line “…it’s in the back!”

No other dialogue is allowed

Only equipment used: Camera and tripod

No weapons or onscreen violence allowed

Must end on a title: You think of the title

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This is our edit of XX the enigmatic opening that hooks you. Edited by Richard Holmes and Tom Tudge.