INTRODUCTION TO FINAL CUT PRO

FINAL CUT PRO IS A SOFTWARE PACKAGED RUN ON G5 MACS. IT ALLOWS YOU TO CONSTRUCT A SEQUENCE OF SHOTS AS A NARRATIVE OR A MONTAGE.

FIRSTLY WE LOOKED AT FINAL CUT SERVER. FINAL CUT SERVER IS JUST LIKE A FILING CUPBOARD, AS IT STORES ALL YOUR PROJECTS AND KEEPS THEM SAFE. IT ALSO GIVES YOU EASY ACCESS BY CHECKING WORK IN AND OUT.

WE THEN LEARNT ABOUT LOGGING, WHICH CONSISTED OF PLACEING OUR BEST TAKES FROM THE DIGITIZED RUSHES (SHOT IN OUR PRELIMANERY TASK) IN TO A CREATED LOG BIN. THIS MAKES THE NEXT STAGE OF EDDITING EASIER AS IT REMOVES ALL THE FLAWED TAKES, SUCH AS LIGHTING ERRORS, BACKGROUND NOISE, INACURATE FOCUS, OR BADLY DELIVERED LINES. GIVING US LESS TAKES TO SHIFT THROUGH AND TO PLACE ON THE TIMELINE.

THE TIMELINE IS WHERE LOGGED SHOTS GET PLACED IN CRONOLOGICAL ORDER,BY CUTTING AND TRIMMING TAKES GIVING A FLUID SEQUENCE OF SHOTS. DOING THIS PREVENTS CONTINUITY ERRORS AND CONSEALS THE ILLUSION OF LOTS OF SEPERATE TAKES.

PRELIM TASK

PRELIMINARY TASK EVALUATION

MY GROUP FILMED OUR PRELIMINARY TASK IN THE OLD EDITING SUITE.THIS LOCATION WORKED WELL WHEN FILMING AS THE ENTRANCE AND EXIT DOOR FOR CHARACTER A, WAS WITHIN 180 DEGREES OF CAMERA SO PANNING TO FOLLOW THE ACTORS ENTRANCE AND EXIT WAS NOT NECESSARY AND WE COULD EASILY SHOOT AT WIDE ANGLE AND LET ALL THE ACTION FLOW THROUGH THE STEADY SHOT. A DOWN SIDE TO OUR SET WAS THAT IT WASN’T AESTHETICALLY PLEASING, AS THE ROOM CONSISTED OF OLD WIRES AND LOOKED A BIT SHABBY. I MADE A VERY HIGH CONTRIBUTION TO THE GROUP COMING UP WITH A LARGE NUMBER OF INTERESTING EXTRA SHOTS, ALWAYS MADE SURE THAT THE CAMERA SETTINGS WERE CORRECT AND CHANGING THEM WHEN THEY WERE NOT.

A TWO LIGHTING SET UP WAS USED FOR ALL THE TAKES. WE POSITIONED THE TWO ACTORS IN EACH LIGHT AS THEY ARE THE MAIN FOCUS IN THE SHOT AND HAD TO BE SEEN CLEARLY. SOFT LIGHTING WAS USED TO CREATE A ROMANTIC EFFECT TO FIT WITH THE FEEL FOR THE PIECE, THIS WAS IMPORTANT AS IT CONTRIBUTED TO ESTABLISHING THE GENRE TO THE AUDIENCE.

THERE ARE MANY FACTORS THAT WENT INTO MAKING OUR PRELIMINARY TASK AS PROFESSIONAL AS POSSIBLE.

CAMERA SETTING-
1.FOCUS- HAVING A CLEAR SHARP SHOT.
2.DBS SET TO 0- GIVING CORRECT LIGHTING IN SHOT.
3.SHUTTER SPEED- 50, THE MOST COMMONLY USED SETTING GIVING THE CLEAREST SHOT.
4.LIGHT BULB – LIGHT BULB WAS USED RATHER THAN SUNSHINE AS IT WAS SHOT INSIDE.
5.APERTURE OF 2.8- GIVING GOOD LIGHTING.

TRIPOD-
1.WE MADE SURE THAT THE TRIPOD WAS LEVEL SO THAT THE CAMERA IS STEADY AND STRAIGHT.
2.KEEPING THE CAMERA SAFE.

LIGHT-
1.MAKING SURE IT WAS NOT IN SHOT.
2.MAKING SUE CREW MEMBER WERE NOT BLOCKING THE LIGHT- IF THE LIGHTS ARE BLOCKED THE SHOTS WOULD NOT ALL LOOK THE SAME.

CAMERA ANGLES-
1. WE USED DIFFERENT ANGLES FOR EXAMPLE A CLOSE UP OF ACTOR A'S MOUTH SAYING HIS LINES,IT MADE WHAT HE WAS SAYING LOOK MEANINGFUL AND POWERFUL.
2. SHOOTING A AT A LOW ANGLE AND B AT A HIGH ANGLE SHOULD AS POWER AND BS INNOCENCE.

PLANNING/STORYBOARD-
1. WHEN WE WERE GIVEN OUR STORYBOARD WE NOTICED THAT A LOT OF THE SHOTS WERE SHOT AT THE SAME ANGLES SO WE DECIDED TO FILM THE WHOLE ACTION IN WIDE SHOT, MID SHOT, CLOSE UP AND OVER THE SHOULDER. MEANING THAT WE COULD SHOOT THE SEPARATE SHOTS IN QUICK SUCCESSION, WITHOUT ANY ADDED EXTRA HASSLE.

GOOD TEAM WORK-
1. WE USED TERMS SUCH AS STANDBY, ROLLING AND ACTION TO LET EVERYONE KNOW WHAT WAS GOING ON AND TO KEEP EVERYONE INVOLVED.

THE PRELIMINARY WORK TAUGHT ME THAT THERE IS A LOT OF FACTORS THAT GO INTO FILM MAKING, FROM CAMERA AND LIGHTING SETTING, TO ACCURATE DIRECTING. ONE THING THAT I FOUND REALLY USEFUL WAS THE FILMING OF THE WHOLE ACTION AT DIFFERENT ANGLES INSTEAD OF CHANGING THE POSITION OF THE CAMERA FOR EVERY SHOT IT SAVES SO MUCH TIME! THE TASK WAS VERY ENJOYABLE BUT AT THE SAME TIME HARD WORK TO MAKE SURE EVERYTHING IS AS ACCURATE AS POSSIBLE.

WORKING WITH THE PD170

WE WERE PUT INTO GROUPS AND WERE TOLD TO FILM A SIMPLE PIECE OF FOOTAGE FROM DIFFERENT ANGLES, SUCH AS CLOSE UP, MID SHOT AND WIDE SHOT. WE WERE ALSO TOLD TO ADD ANOTHER SHOT THAT WE HAD TO COME UP WITH. IT WAS VERY IMPORTANT THAT WE LET THE ACTION RUN THROUGH THE SHOT AND TO NOT MOVE THE CAMERA E.G BY PANNING WITH A MOVING PERSON OR OBJECT. THIS WAY OF FILMING WAS DESCRIBED TO US AS IF IT WAS A POSTCARD AND THE ACTION WOULD HAVE TO RUN THROUGH IT.

WE SET UP OUT TRIPOD AND PD170 IN THE DINNING ROOM. WE FILMED A SEQUENCE OF DANIELLE WALKING THROUGH A DOOR, UP TO A TABLE WERE AN APPLE WAS POSITIONED, PICKING UP THE APPLE, TAKING A BIGHT AND WALKING TOWARD THE CAMERA AND OUT OF THE SHOT.WE REPEATED THIS WITH EACH SHOT TYPE AND EVEN ADDED AN OVER THE SHOULDER TAKE.

IT WAS VERY IMPORTANT THAT WE HAD THE RIGHT CAMERA SETTINGS WHEN FILMING, UNFORTUNATELY THE ONLY PROBLEM WE STUMBLED ACROSS WAS THAT OUR CAMERA COULD NOT GET CORRECTLY FOCUSED. AFTER MANY ATTEMPTS OF TRYING TO GET THE CLEAREST FOCUS POSSIBLE WE DISCOVERED THE PD170 WAS ON AUTOMATIC.

I FEEL THAT WE FOLLOWED OUR INSTRUCTIONS CLEARLY, AND OUR IDEA FOR THE FOOTAGE WAS WELL THOUGHT OUT BUT IT WAS A SHAME ABOUT THE CAMERA SETTINGS :(

INTRODUCTION TO TRIPOD

THE IMAGE ABOVE IS A TRIPOD. AN SLR OR A VIDEO CAMERA SLIDES ON AND CLICKS INTO THE TOP OF TRIPOD STAND BUT IT IS IMPORTANT TO MAKE SURE IT IS SECURE!
THE TRIPODS THREE LEGS ENABLES A CAMERA TO GET A STEADY SHOT OF FLOWING ACTION.
THE TRIPOD IS ALSO HIGHLY ADJUSTABLE AS YOU CAN CHANGE THE LENGTHS OF ITS LEGS.
THE THING STICKING OUT OF THE SIDE OF THE TRIPOD IS USED TO PAN STEADILY FROM LEFT TO RIGHT AND UP AND DOWN.

INTRODUCTION TO CAMERA WORK

IN THIS LESSON WE LEARNT ABOUT STILL SHOT CAMERAS. THE PICTURE ABOVE IS AN EXAMPLE OF A DIGITAL SLR.

RULE OF THIRDS- THE RULE STATES THAT AN IMAGE SHOULD BE IMAGINED AS IMAGINED AS DIVIDED INTO NINE EQUAL PARTS BY TWO EQUALLY SPACED HORIZONTAL LINES AND TWO EQUALLY SPACED VERTICAL LINES. AND THAT THE IMPORTANT ASPECTS OF THE MISE EN SCENE SHOULD BE PLACED ALONG THESE LINES OR ON THE INTERSECTIONS. THIS IS DONE TO VISUALLY CREATE MORE INTEREST THEN SIMPLY CENTERING THE OBJECT IN THE MISE EN SCENE. THE FOUR HOT SPOT ARE THE MOST IMPORTANT PART OF THE PHOTO SO IT IS BEST TO TRY AND FILL THEM WITH THE KEY PARTS OF AN IMAGE THE FOUR HOT SPOTS ARE TOP LEFT, TOP RIGHT, BOTTOM LEFT AND BOTTOM RIGHT.

INTRODUCTION TO VIDEO CAMERA

THE CAMERA THAT WE STUDIED IS CALLED A DP170. TH LESSON TAUGHT ME THAT THE SETTING ON THE CAMERA PLAY A BIG PART IN GETTING A HIGH STANDARD PIECE OF VIDEO FOOTAGE.

THINGS TO BE CONSIDERED WHEN USING A DP170.

1. KEEPING TRACK OF RUNNING TIME- ON THE TOP RIGHT HAND CORNER OF THE SCREEN IS WERE YOU CAN FIND OUT HOW LONG YOU HAVE BEEN SHOUTING IN HOURS MINUTE AND SECOND AND THE NUMBER OF FRAMES TAKEN PER SECOND, 0-24. IT IS SHOWN LIKE THIS: : - - : - - : - - : - -

2. DB'S- SHOULD ALWAYS BE SET TO 0, AS IT WILL EDIT THE LIGHT IN THE SHOT.

3. SHUTTER SPEED- THE HIGHER THE SHUTTER SPEED THE SHARPER THE PICTURE. IF A HIGH SHUTTER SPEED IS USED IT IS GENERALLY USED FOR ACTION SEQUENCES. THE LOWER THE SHUTTER SPEED THE BLURRIER THE IMAGE ON SCREEN BECOMES.

4.LIGHTBULB/SUNSHINE- THIS BUTTON IS USEFUL FOR CHANGING FROM AN INTERIOR SETTING TO AN EXTERIOR. AN EXTERIOR SHOT SHOULD BE ON SUNSHINE, AND AND INTERIOR ON LIGHT BULB. THESE SETTINGS GIVE BETTER PICTURE QUALITY TO YOUR GIVEN LIGHTING CONDITIONS.

5. APERTURE- FOR A DARK SHOT AN APERTURE OF 6.8 AND ABOVE SHOULD BE USED. FOR A LIGHTER SHOT USE BELOW 6.8. THE MOST COMMON CHOICE OF APERTURE IS 6.8

OPENING 5 MINS OF SUPERBAD

After the opening titles run a jump cut is used to identify the start of the film, showing the front of a car at number plate level. A jump cut is an abrupt switch from one scene to another, which can be used deliberately to make a dramatic point. The state of the car suggests it belongs to a student and could possibly be a first time car as it is rusty and old, and in a young persons price range. The music playing also suggests youth.

The camera then tracks upwards slowly drawing the viewer closer to the boy driving the car called Seth. The tracking used creates a relationship between the character and the viewer, it also gives them a main focus. The speed of the track sets the tone in the atmosphere, which is relaxed. For example a fast track would create tension or excitement. The track then ends, showing Seth in a mid shot at a slightly low level.

 This is followed by an immediate cut to a side view of Seth as if the camera was at his side window. This cut is called a cutaway shot bridging two shots of the same subject, the second shot is still mid shot but this time it is at eye level. Seth then turns the music down, telling us that it is diagetic as he can hear it as well as the viewer. He then reaches for his phone, dials a number and places it to his ear. This is then followed by a jump cut to a wide shot of Evan, the wide shot shows the audience his surroundings, in his kitchen. Evans phone rings he answers, the ring tone is also diagetic as both the audience and Evan can hear it. Evan greets the caller, the caller replies, after hearing a section of the callers voice there is a jump cut to Seth. This shows that Evan and Seth are having a phone conversation with each other.

There are a total of off seven cuts between Evan and Seth during their phone conversation. This is called parallel development as the cuts are not short and sharp enough to be called a montage and are fluid. Evan’s shots all remained wide, but on occasion a pan was used as he walks around his kitchen. Following pan involves a camera following a moving object. Except the camera does not follow, it leads, giving space in front of Evan as he walks around his kitchen. The speed of the pan also sets the mood like a track does, and sets a relationship with the character and the audience. Seth’s shots all remained mid shot but there was a change of viewpoint from side angle to a front one.

Another jump cut is used but this time it shows a change of setting. A side on, wide shot view of the front of a drive way with Seth’s car approaching it. The pair are still on the phone. A following pan is used as Seth’s car starts to drive down the drive. Before the Car reaches its destination, there is a jump cut back to Evan in his kitchen. For the first time it is at a mid shot. Evan is putting on his backpack, this suggests he is leaving his current location. He then walks toward camera, also adding to the idea of him leaving his home.

 There is then a jump cut back to Seth’s car, firstly panning as the camera follows the car come to a stop then tracking inwards to draw the audience closer to the action, and giving them a more intense relationship with Seth. The shot still remains wide showing the surroundings of the car. We can see it is parked outside the front door of a house that Evan walks out of, like I suspected. Seth and Evan are still on the phone and the sound of their voices is slightly distorted as they are in close proximity with each other, this is called a parallel sound, caused by the event on screen. A cutaway shot is then used to get closer to Evan as he approaches the passenger door, the cut-away was used to show us the main action on screen. The camera then pans to follow him get into the car, firstly left to right, then downwards. This links into a two-shot, showing the two main characters together, front on at eye level through the windscreen and at mid shot.

A jump cut is then used to show a wide shot of Evans mum walking out the front door, and the camera pans as it follows her walking towards the car, then pans down as she moves her head to window level, Showing her breast in center screen. This shows the main focus in the mise-en-scene. It then cuts back to a two shot of the boys to show Seth’s thrilled reaction and Evan looking at the radio, this suggests Seth’s character. This is then followed by a jump cut to a close up of the radio that Evan is tampering with. Seth slaps Evan’s hand followed by a quick motivated cut. A motivated cut is when a cut is made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible. E.g. Evan’s reaction to being slapped. The motivated cut changed to a side angled, mid, two-shot of the boys bickering. This is then followed by  cut to an over the shoulder shot (Seth’s Shoulder) showing Evan’s mums reaction of the pair of them. A jump cut is then used to show a two-shot of the boys from Evan’s mums perspective. The backwards and forwards shots showing conversation happens a couple more times at the same angles as before. Once Evan’s mum walks away we have a jump cut to a front on mid shot of the boys through the wind screen, Followed by another jump cut.

This jump cut represent a new scene, as it pans from left to right to show the viewers a high school, we connect this school with the boys as this is where they probably attend it also represents there age. Music is also playing but it is unclear whether it is diagetic or non diagetic as soon after there is a  jump cut showing Seth’s car driving along the road, and we can not tell if that is where the music is coming from. The shot of the car is a wide shot and is at a slight angle to the right of the road. The car drives towards the camera then the camera pans with the car, as they turn left in to the car park. The camera stops and the car keeps driving onwards, so the audience gets a rear view of the car driving away. The other intention for the stop is so that the audience can read the sign “ Faculty and staff parking only”. This shows the boys breaking the rules, which suggests what is to come. It is effective how we can still hear their conversation as the boys drive away. It sets the end of a scene well.

 

 

INTRODUCTION TO PHOTOSHOP

IN OUR FIRST LESSON WE LEARNT THE BASIC SKILLS TO GET US ON THE WAY TO BECOMING PHOTOSHOP EXPERTS! THE MORE YOU USE PHOTOSHOP THE QUICKER YOU COME ACCUSTOMED TO HOW IT RUNS AND YOUR WORK WILL EVENTUALLY IMPROVE AND LOOK MORE PROFESSIONAL.

THE BASICS WE LEARNT CONSISTED OF USING: THE DRAG TOOL, FREE TRANSFORM (TO CHANGE THE SIZE OF A PICTURE), SPOT HEALING TOOL, CLONE TOOL, DODGE TOOL, SMUDGE TOOL, BLUR TOOL, SMUDGE TOOL AND SHARPEN TOOL.

IN THE LAST COUPLE OF WEEKS MY PHOTOSHOP SKILLS HAVE ROCKETED AND I HAVE PRODUCED TWO SUCCESS FULL FILM POSTERS FOR THE FILM BLADE AND MY OWN FILM, AFTER DARK . CHECK THEM OUT BELLOW.

INTRODUCTION TO THE STUDIO

THIS WAS THE FIRST LESSON IN WHICH THE CLASS GOT A FEEL FOR THE FILMING SIDE OF MEDIA.
*THERE WAS A THREE LIGHT SET
UP THAT T-K OPERATED.
*A PD170 FILM CAMERA (THE ONE SHOWN TO THE RIGHT) OPERATED BY MILLIE AND BELLA.
* TWO CHAIRS IN CENTER SCREEN FOR AN INTERVIEWER (MYSELF OR GEORGE) AND AN INTERVIEWEE ( ANOTHER MEMBER OF THE CLASS)
*A STEADY WIDE SHOT WAS USED TO GET THE FEEL FOR AN INTERVIEW. THE GIRLS CONTROLLING THE CAMERA HAD TO MAKE SURE THE BUBBLE ON THE CAMERA WAS IN THE CORRECT PLACE SO THAT THE SHOT WAS STRAIGHT.

I REALLY ENJOYED THIS LESSON IT WAS FUN TO INTERVIEW OTHERS AND IT FELT REALLY PROFESSIONAL.