Unit 31 - development of editing technology

Early editing - cutting (editors cut, directors cut, final cut)
- There are several editing stages and the editors cut is the first. Sometimes referred to as the "assembly edit" or "rough cut", it is normally the first pass of what the final film will be when it reaches picture lock. The film editor usually starts working while principal photography starts. Likely, prior to cutting, the editor and director will have seen and/or discussed dailies (raw footage shot each day) as shooting progresses. Screening dailies gives the editor a ballpark idea of the directors intentions. Because it is the first pass, the editors cut might be longer than the final film. The editor continues to refine the cut whilst shooting continues, and often the entire editing process goes on for many months and sometimes more than 1 year, depending on the film.
- When shooting is finished, the director can then turn their full attention to the directors cut, collaborating with the editor and further refining the cut of the film. This is the time set aside where the film editors first cut is moulded to fit the directors vision. The director and the editor go over the entire movie in great detail; scenes and shots are re-ordered, removed, shortened and otherwise tweaked. Often it is discovered that there are plot holes, missing shots or even missing segments which might require that new scenes be filmed.
- Often after the director has had his chance to oversee a cut, the subsequent cuts are supervised by one or more producers, who represent the production company and/or movie studio.

Moviola

- A Moviola is a device that allows a film editor to view film whilst editing. It was the first machine for motion picture editing, when it was invented by Iwan Serrurier in 1924. Serrurier's proginal 1917 concept for the Moviola was as a home movie projector, to be sole to the general public. However, since the machine cost $600 in 1920 (equilivant to $20,000 in the 2000s), very few sold. An editor at Douglas Fairbanks Studios suggested that Iwan should adapt the device for use by film editors. Serrurier did this and the Moviola as an editing device was born in 1924.

Flatbed edit suites
- Steenbeck is a brand name that has become synonymous with a type of flatbed film editing suite which is usable with both 16mm and 35mm optical sound and magnetic sound film. The Steenbeck company was founded in 1931 by Wilhelm Steenbeck in Hamburg, Germany. Since then, the Steenbeck name has become widely known in the film editing community, and more than 25,000 machines are in operation around the world. The companion still manufactures editing tables. The editing is now based on digital media - devices such as the Lightworks non-linear film editing controller and archives still use the Steenbeck physical layout for controlling the process. The Steenbeck's lower light levels and controllable speed make it a preferred piece of equipment for film archives and restoration facilities, as prints can be quickly and easily inspected with less risk of damage compared to a movie projector. Because there is no intermittent movement, the image is created through a rotating prism which scans the frames. Steenbeck machines were known to be exceptionally easy on film stock, due to their use of soft-edged nylon rollers.

Linear and non-linear editing
- Linear video editing is a video editing post-production process of selecting, arranging and modifying images and sound in a predetermined, ordered sequence. Regardless of whether it was captures by a video camera, tapeless camcorder, or recorded n a television studio on a video tape recorder, the content must be accessed sequentially. For the most part video editing software has replaced linear editing.
- A non-linear editing system is a video or audio editing digital audio workstation system that performs non-destructive editing on source material. The name is in contrast to 20th century methods of linear video editing and film editing.

Online and offline editing
- Online editing is a post-production linear video editing process that is performed in the final stage of a video production. It occurs after offline editing. For the most part, online editing has been replaced by video editing software that operate on non-linear editing systems. High-end postproduction companies still use with NLE the Offline-Online Editing workflow. The term online originated in the telecommunication industry, meaning "under the direct control of another device" (automation). The term online changed from its original meaning to where the pictures are re-assembled at full or online resolution. An edit decision list (EDL) or equilivant is used to carry over the cuts and dissolves created during the offline edit. This conform is checked against a video copt of the offline edit to verify that the edits are correct and frame-accurate. After conforming the project, the online editor will add visual effects, lower third titles, and apple colour correction. This proecess is typically supervised by the client(s). The editor will also ensure that the program meets the technical delivery broadcast safe specs of the broadcaster, ensuring proper video levels, aspect ratio and blanking width. Projectd may be re-captured at the lowest level of video compression posible, ideally with no compression at all.
- Offline editing is part of the post-production process of filmmaking and television production in which raw footage is copied and edited, without affecting the camera original film stock or video tape. Once the project has been completely offline edited, the original media will be assembled in the online editing stage. The term offline originated in the computing and telecommunications industries, meaning "not unter the direct control of another device" (automation). Modern offline video editing is conducted in a non-linear editing (NLE) suite. This digital revolution has made the offline editing workflow process immeasurably quicker, as practitioners moved from time-consuming (video tape to tape) linear video editing online editing suites, to computer hardware and video editing software such as Adobe Premiere, Final Cut Pro, Avid, Sony Vegas, Lightworks and VideoPad. Typically, all the original footage (often tens or hundreds of hours) is digitized into the suite at a low resolution. The editor and director are than free to work with all the options to create the final cut.

The digital era (CMX-600, edit droid and avid 1)
- The CMX-600 was the very first non-linear video editing system. This Emmy Award winning system was introduced in 1971 by CMX Systemt, a joing venture between CBS and Memorex. CBX referred to it as a "RAVE", or Random Access Video Editor. The 600 had a console with 2 black and white monitors built in, as well as a light pen used to control the system. The right monitor, which played the preview video, was used by the editor to make cuts and edit decisions, by using the light pen to select from options which were superimposed as text over the preview video. The left monitor was used to display the edited video.
- The EditDroid is a computerized analog NLE (non-linear editing system), which was developed by Lucasfilm spin-off company, the Droid Works and Convergence Corporation who formed a joint venture company. The company existed up through the mid-80's to the early 90's in an attempt to move from analog editing methods to digital. The EditDroid was never a commercial success and after the close of The Droid Works in 1987 and subsequent redevelopment of the product for seven years, the software was eventually sold to Avid Technology in 1993. Only 24 EditDroid systems were ever produced.
- Avid Technolody Inc. is an American company specialising in video and audio production technology, specificallu digital non-linear editing (NLE) systems, management and distribution services, It was created in 1987 and became a publicly traded company in 1993. Avid is headquartered in Burlington, Massachusetts. Avid products are now used in the television and video industry to create television shots, feature films and commercials. Media Composer, a professional software-based non-linear editing system, is Avid's flagship product.

Modern editing platforms (Final Cut, Premiere Pro)
- Final Cut Pro is the name given to a series of non-linear video editing software programs, first developed by Macromedia Inc. and later Apple Inc. Since the early 2000's, Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. It had also made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a 2007 SCRI study, Final Cut Pro made up 49% of the United States professional editing market, with Avid at 22%. A published survet in 2008 by the American Cinema Editors Guild placed their users at 21% Final Cut Pro (and growing from previous surveys of this group), while others were still on Avid system of some kind.
- Adobe Premiere Pro is a timeline-based video editing software application. It is part of the Adobe Creative Cloud, which includes video editing, graphic design, and web development programs. Premiere Pro is used by broadcasters such as the BBC and CNN. It has also been used to edit feature films, such as Gone Girl, Captain Abu Raed, and Monsters. Premiere Pro is the redesigned successor to Adobe Premiere, and was launched in 2003. Premiere was one of the first computer-based NLE's (non-linear editing system), with its first release on Mac in 1991.

Film and file types
- A video file format is a file format for storing digital video data on a computer system. Video is almost always stored in compressed form to reduce the file size. A video file normally consists of a container format containing video date in a video coding format alongside audio data in an audio coding format. The container format can also contain synchromisation information, subtitles, and metadata such as title etc.

Edit decision log

Here I have created an edit decision log, which has helped me to distinguish which clips I have used at which parts of the video, and the mixture of shot types I have included. I found making an EDL very useful and well worthwhile.

Unit 32 promotional video - evaluation and video

Throughout this project I have realised how different working with a client can be, working towards a client brief whilst communicating ideas together. Promotional video making is very different from any videos that I have made before, as previously they have been for me and not for anybody else, so there were more expectations to meet. I have learnt many new skills and improved others during this unit, however I believe that my lack of experience in working with a client has been noticeable throughout the project. Overall it has lead me through new techniques and learning curves, and I now feel much more comfortable in working with clients.

In the initial planning stages I began by analysing 4 promotional videos, focusing on product launch/marketing, promoting key messages and values, internet coverage and event coverage. I then researched local companies and found a local wildlife and retail park. I contacted them and whilst waiting for a response did some minor research on the genre. I received an e-mail from the site, who explained that they already had an existing promotional video and did not want to participate in another one. I found this frustrating as I had already begun to research the genre and techniques I wanted to use.
This then led me to research local independent businesses, where I found Mr B's sweet shop, a local family run business. I contacted my client, Ben Bennett, and sent him some suggestions of what the finished video could look like, but when I received a response the client made no specific requests, which gave me unlimited creative control. Although this was a great opportunity to make the video my own and use my own visions, I felt that I had little direction from my client, and was made to research and plan on my own accord which involved further research of the catering promotional video genre, to gather an insight of what the most appropriate style would be to film in.
During this process I created blog posts of analysis of existing catering promotional videos, editing techniques, filming techniques, editing techniques, colour palette and themes, location scouting and health and safety.
The preparation for my 1st shoot was well planned due to my initial research. I arranged a day for filming at the shop, however I was unable to hire out the equipment that I had planned to use, so rearranged the shoot, as I did not want to compromise the films quality and techniques. This was due to my lateness in hiring out the equipment, which has encouraged me to be more organised and ensure that I am confident in attaining the necessary equipment for when I have planned. I rearranged to shoot on 3/3/2015. I went to the shop with all of the correct equipment and filmed the interior of the shop, as the weather outside was overcast and wouldn't have enabled for good footage. I did not complete a shoot log beforehand, which in hindsight would have been useful when shooting, however I already knew what type of shots that I wanted to capture. In future projects I will aim to do this, as I feel that it could give me more structure, and make the editing process easier, as I edited freely without a specific plan or sequence in mind, giving it a lack of structure, which led to re-editing certain shots, which wasted time although I managed to work round the issue, and am very happy with my final outcome.
After completing filming, I then reviewed my footage and began to think of storyboards. I was content with my footage and could envisage the finished piece. I felt that the lighting and camera movements turned out well, which I was skeptical of before reviewing my footage back on a computer. I varied my shooting style using a wide aperture to capture focus on specific products and different camera movements e.g. handheld and tripod pans. Although I used different techniques I feel that I could have filmed more varied shots, to ensure the final product didn't look to alike. I wanted the products to be the main focus of the video as they are the key selling point, so mainly used a wide aperture as I felt this technique would achieve an attractive focus. Before filming I researched other videos based around the catering genre e.g. sweet shops and coffee shops, which gave me ideas of techniques to use and personalise where I noticed that the main theme was the overuse of shallow depth of field. I found this research very helpful when filming and it proved to be very effective.
When setting up the equipment I had a general idea of how I wanted to frame the products within the shop. The shop floor was smaller than anticipated and I found that the tripod legs when spread out were a slight inconvenience, as I retracted them when a a couple of customers were in the shop. Filming behind the counter also required some careful manoeuvres. I followed my health and safety risk assessment, which was helpful and would have been useful in the event of an accident.
I made my own legal documents (hard copies available). I took these along to the shoot where they were signed by the business owner and people who were included in the video, which allows me to release the footage.
Lighting was my main concern before shooting as I was unsure how strong the lighting inside was, due to lack of natural lighting. Upon arriving at the shop the lighting was dark, therefore I was forced to use a higher ISO than initially intended. Luckily once reviewing the footage on a computer there was no noise and grain, which I was very pleased about. Shooting the exterior of the shop was not an issue with lighting, as I returned and shot on a fairly bright day. On my 1st shoot the weather was overcast and dark, I then checked the weather forecast and went back 2 days later when the weather was better.

As I began to edit my footage together I realised I probably should have shot more in hindsight, to prevent my shots becoming too repetitive. I initially wanted a short and snappy video which I feel that I have achieved. I have increased in confidence with my editing skills, which means the post-production process is now much faster than when first starting the course. I already had a feel for what I wanted the video to look like from analysing other videos of the genre, which sped up the editing, as I knew what I wanted visually. The whole editing process took a little less than 1 week (including other written work). I filmed with enough time to reach the deadline, and did not have to worry about finishing on time, which I have had previously. I had little outside guidance with the editing, but did some brief online research on techniques to use. I watched a YouTube tutorial to find out how do add text transitions and backgrounds from Illustrator to Premiere Pro. This was useful in showing me new techniques to use, which I can also use for future projects/videos.
For the sound of my promotional video, I used an orchestral version of Pure Imagination by Kelly Hall-Tompkins. This is an original song from the film, Willy Wonka and the Chocolate Factory. This song is instantly recognisable from the film, and immediately associated with confectionary. This proved effective and kept in keeping with the theme, however threw up some legal issues. If the sweet shop were to publish this video publicly (e.g. Facebook or their website), permission would be required from the artist(s). I had recorded sound via the camera whilst shooting from the internal mic to give the video an authentic natural feel, however when reviewing my footage the sound wasn't clear and appeared unprofessional. In hindsight I am glad I did not use any diegetic sound as the final product works well combined with non-diegetic instrumental.

Overall, I am very pleased with my final outcome and I feel that the research process was well conducted and planned with my biggest downfall being my lack of footage. I feel that my lack of direction from my client was a major issue to overcome, and I had to plan on my own accord not knowing what my client wanted the final product to look like, therefore finding it difficult to structure. If I were to conduct the project again then I would ensure that I filmed more footage with a wider variety of technical aspects. However, with a few minor set backs which weren't originally anticipated, I feel that I got around these issues and created a successful promotional video.

Client feedback

I asked my client to give me feedback on the promotional video. This was helpful as it gave me points to improve on in future projects in addition to highlighting positive aspects which I feel have improved since starting the course.

I asked my client to answer the following questions on a scale of 1-5 (scale below). Underneath is my client feedback.
1 - very poor
2 - poor
3 - average
4 - good
5 - very good

Feedback and client notes:

1. How would you rate the pre-production work? 3
2. How would you rate the footage filmed? 4
3. What did you think of the final outcome? 4
4. In your opinion, was the correct health and safety precautions carried out when filming? 4
5. How was the communication during the process? 4

I found working with Sarah easy, as she had good communication and worked effectively whilst in the shop. I am very pleased with the outcome and would work with her again.

Unit 31 film technique essay - evaluation and video essay

For this project we were tasked with creating a video essay explaining and demonstrating film editing techniques to show to a younger audience of students, to help them understand these techniques in greater depth. I worked through this project with Megan, and we first began by researching the different editing techniques given to us.

We began by researching the following editing techniques:

• Shot reverse shot.
• 180° rule.
• 30° rule.
• Cross-cutting.
• Match on action.
• Temporal overlap.
• Kuleshov effect.
• Eisenstein montage.

Steps of recording and editing:

• After researching examples and collecting clips from mainstream films, we then analysed them and became familiar with the techniques, each creating a blog post describing the techniques. We conversed with each other despite making our blog posts and used the same examples which I found via YouTube.
• I converted the movie clips to MP4, using an online conversion website. I then imported the clips to Premiere Pro.
• This then led us to record a voiceover with the help of Luke, another student in the class.
• We then filmed our own examples of the techniques to show the students that they are simple, easy and effective to use, not just for use in bug budget films and can be used in amateur productions.
• Finally we edited all of our information and footage into an 6-8 minute video essay which we edited together using Premiere Pro. We are familiar with this software, which sped up the editing process.

I feel that if we were to do this mini project again, then we would work to a timeframe better as during the project we had another ongoing project to complete, and I feel that I spent more time focusing on the promotional video unit, making that my priority, as I feel that I spent longer creating this video than I should have allowed for. Although I would change certain time aspects, I do believe that we have created a very informative video which gives very good information about film editing techniques. Myself and Megan worked well and effectively as a team, which included allocating ourselves different roles and communicating well, even outside of college. Overall, I am very pleased with the outcome and am happy to produce it to younger students, to help them understand numerous editing techniques.

Here is our finished video essay, explaining and demonstrating the editing techniques as listed above:

Editing - unit 32

Creating the introduction via Adobe Illustrator CS6

I made the introduction background via Adobe Illustrator CS6. This was a second attempt, as I created a previous introduction background via Photoshop, but found it was too pixelated and unprofessional once added to my video with text. Using Adobe Illustrator CS6 has solved this problem, and allowed me to create a professional looking background, using the shops colour scheme and a similar pattern to the actual logo.

1. I began by selecting a colour scheme, using the actual colours from the shop front, adding them to a new layer which I could then delete.
2. I made a rectangle via shapes, added onto a new layer and coloured it via the eyedropper tool (cream).
3. Then I made another layer making a vertical rectangle and then put (mint green) colour to it. I copied and pasted the first rectangle, continuing to do this and placing them the same amount of squares apart from each other (using the grid and snap guides) until the finished product (shown above).
4. Once again, I created a new layer and added a horizontal rectangle, coloured in (brown) from the swatches (shown above).
5. I exported this to a PNG and then imported it into Premiere Pro CS6, selecting the clip, effect controls, video effects, motion and then altering the scale to eliminate the black border.

Re-naming the clips

 I re-named the clips so I can easily distinguish which ones are which and whether I can use them in my final promotional video, also allowing me to tell how many clips I have of each shot. This can be done by double clicking the name of the video, and typing a new name.

Rendering the video

Rendering the video (Enter button). This shows you exactly how your final footage will look like in the preview and also plays back any footage in real time at a full frame rate. This is helpful to do whilst editing as it can give you a closer feel as to what the end result will be.

Labelling clips as 'good'

I labelled clips as 'good', so I can easily extract good visual clips. This is useful when editing as it saves trawling through clips numerous times, allowing me to eliminate the bad clips and highlight the effective clips that I plan to use.

Adding a video transition

I also added a video transition to the video titled 'dip to black', to ensure a smooth transition from clip to clip rather than a harsh straight cut. This slows the narrative and gives it a smooth and calm tone. Other transitions can be used (shown above), in addition to audio transitions.

Editing technique research

For this task I will be creating a 4-8 minute video essay, with the purpose to show younger students different editing techniques. The techniques that I am explaining are:

Shot reverse shot:
This technique is also known as shot/countershot, and is a classic Hollywood film style of continuity editing where a character is shown looking at another character, often off-screen, and then the other character is shown looking back at the first character either delivering dialogue or reacting to dialogue. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other, so the scene travels in one continuous flow of action that develops chronologically. It is an example of an eyeline match.

Here is an example of this technique from Se7en:

180° degree rule:

The 180° rule in filmmaking is a basic guideline regarding the on-screen spatial relationship between 2 characters or an object within a scene. An imaginary line called the axis connects the characters, and by keeping the camera on one side of this axis for every shot in the scene, the first character is always frame right of the second character, who is then always frame left. Breaking the 180° rule by shooing on all sides is known as 'shooting in the round'. The object that is being filmed must always remain in the centre, while the camera must always face towards the object.
Here is an example of this technique from The Lord of the Rings: The Return of the King:

30° degree rule:
The 30° degree rule is a basic film editing guideline that states the camera should move at least 30° between shots of the same subject occurring in succession. If this rule isn't followed, a jump cut occurs and there is a risk that the audience starts focusing on the filming technique instead of the story that is being narrated. The 30° change of perspective makes the shots different enough to avoid a jump cut. Too much movement around the subject may violate the 180° rule. Following this rule may soften the effect of changing shot distance, such as changing from a medium shot to a close-up or extreme close-up.
Here is an example of this technique from Land of the Lost:

Cross-cutting:
Cross-cutting is an editing technique most often used in films to establish action occurring at the same time in two different locations. The camera will cut away from one action to another action, which can suggest the simultaneity of these two actions. Suspense can be added by this technique, built through the expectations that it creates, and the hope that it will be explained in time. Cross-cutting also forms parallels, illustrating a narrative action that happens in several places at approximately the same time. The length of the cross-cuts can set a rhythm of a scene e.g. increasing the rapidity between two different actions may add tension to a scene.

Here is an example of this technique from The Bourne Supremacy:

Match on action:

This technique is also known as cutting on action, referring to film and video editing techniques where the editor cuts from one shot to another view that matched the first shots action. Although the two shots may have been shot hours apart from each other, matching on action gives the impression of continuous time when watching the edited film sequence. By having a subject begin an action in one shot and carry it through to completion in the next, the editor creates a visual bridge which distracts the viewer from noticing the cut or noticing any slight continuity error between the two shots.

Here is an example of this technique from Batman Begins:

Temporal overlap:
This is when an action is shot or repeated from a different angle to emphasise the content of the shot. Action films in particular feature many examples of temporal overlap, as it can be used to show fast paced action movements from different perspectives, so that the audience can fully comprehend the shot.
Here is an example of this technique from Mission Impossible 2:

Kuleshov effect:
This particular style of editing is a montage effect, demonstrated by Russian filmmaker Lev Kuleshov in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.

Eisenstein montage - 5 methods:

• Metric - where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience.
• Eisenstein's October is an example of metric montage.

• Rhythmic - includes cutting based on continuity, creating visual continuity from edit to edit.
• A rhythmic montage example is The Good, the Bad and the Ugly where the protagonist and the two antagonists face off in a three-way duel.
• Another example is The Battleship Potemkin's, Odessa Steps sequence.

• Tonal - a tonal montage uses the emotional meaning of the shots, not just manipulation the temporal length of the cuts or its rhythmical characteristics, to elicit a reaction from the audience even more complex than from the metric or rhythmic montage. E.g. a sleeping baby would emote calmness and relaxation.
• An example is Eisenstein's The Battleship Potemkin, which follows the death of the revolutionary sailor, Vakulinchuk, a martyr for sailors and workers.

• Overtonal/associational - the over tonal montage is the cumulation of metric, rhythmic, and tonal montage to synthesise its effect on the audience for an even more abstract and complicated effect.
• Pudovkin's Mother is an example. In this clip, the men are workers walking towards a confrontation at their factory, and later in the movie the protagonist uses ice as a means of escape.

• Intellectual - uses shots which, combined, elicit and intellectual meaning.
• An example is Eisenstein's October and Strike. In Strike, a shot of striking workers being attacked cut with a shot of a bull being slaughtered created a film metaphor, suggesting that the workers are being treated like cattle. This only arises when they are juxtaposed.
• At the end of Apocalypse Now, the execution of Colonel Kurtz is juxtaposed with the villagers' ritual slaughter of water buffalo.

Unit 11 film evaluation

Psychoanalytical film evaluation

To begin this unit I researched Laura Mulvey's gaze theory, Sigmund Freud's theory of personality, and Jacques Lacan's lack theory. I found this research very interesting as I had not studied these theorists much beforehand (except Mulvey). I found that the theories of Mulvey and Lacan fascinated me the most, as I had perviously studied Mulvey and understood her theory to a great degree, and Lacan's theories of desire and self reflection interested me. I then began to develop my ideas and plan for my own short film, in addition to my visual ideas to represent these theories.

After deciding to base my film around Lacan's lack theory, I began the planning for my film by researching its theorist, French phychoanalyst Jacques Lacan. He theorised that people who are missing something significant within their lives become increasingly obsessed with a particular thing until it becomes all that they desire. I also looked at Lacan's theory of the mirror stage, where he believed that infants between 6-18 months see a reflection of themselves and recognise their themselves, typically becoming very interested and devoted in exploring the connection between their bodies and images. I may use aspects of this theory in my film, and use more features associated with Lacan e.g. a reflection in a mirror. To aid my research I studied a doccumentary (Grizzly Man, 2005, Herzog) following the life and death of Timothy Treadwell, a nature enthusiast who became infatuated by grizzly bears. I also noted another doccumentary (Married to the Eiffel Tower, 2008, Piotrowska), which interacts with objectum sexuality women, who have an emotional and romantic desire towards inanimate objects. I found a common theme in both documentaries where all participants revealed a disturbing past. After my research period and understanding of the theory, I began to make note of the techniques used in these documentaries and how they were used effectively, such as shallow depth of field, long takes, slow narrative and non-diegetic instrumental sound. I found this planning helpful and very effective, as I feel that in the past unit my planning was not as thorough.

I thought a lot about different technical aspects including shot types, camera angles, lighting, sound and locations. I also considered how I would edit my film together to relate to my chosen theorist and  convey the theory in such a way that was effective to its audience, constructing meaning and atmosphere. I wanted to cleverly construct my shots to give significant subliminal meaning, whether that be through shadow, reflection or hidden meaning. I wanted to link specific shot types to The Machinist (2004, Anderson), as I studied the film and became very familiar with the hidden meaning. The main character within the narrative is constantly looking in mirrors, often through split images suggesting that his personality is split. His infatuation with looking in a mirror relates to Lacan's mirror stage theory, which I aimed to adapt and re-create. I deciced that I wanted to shoot in a busy environment, and then in rural/studio locations to oppose each other. I also wanted my film to be based around loneliness and a lack of human interaction/companionship.

I planned the places where I wanted to shoot and the techniques that I wanted to use, and then shot in each location, including a busy city environment, a rural scene and a studio location. I reviewed my clips and in post-production (Premiere Pro) and began to edit. I realised I had effective shot types showing Lacan's theory and had kept to my brief, which I found very useful as this gave me guidance whilst filming. I re-shot parts of my film as I felt that some parts needed improving and re-shooting. I used a mixture of slow motion and a fast motion via time-lapse, close-ups, shallow depth of field, framing and lonely locations.
I used a song composed by Thomas Newman titled Any Other Name. The song is instrumental and slow paced, giving a sense of loneliness and isolation. I feel that using a song instead of diegetic sound works effectively, as the lack of diegetic sound allows the audience to see/hear that the main character is alone, and has a lack. I originally planned to use diegetic sound, but whilst editing discovered that an already existing song works more effectively.
If I were to conduct/improve the unit again, I would have filmed a greater amount in less time, as I re-filmed a few days prior to the deadline. I feel that I planned more thoroughly than my recent films, which helped me in using techniques relating better to the theory/my brief. Although I am pleased with the final result of my film and this unit, and feel that I have improved since my previous units and will continue to do so.
I feel that an audience would take a preferred reading to my short film, as the techniques that I have used, portray a strong sense of isolation and loneliness, which is commonly used in other media texts with the same or a similar narrative. Originally I wanted to include subliminal messages, similar to The Machinist, but I felt that this would complicate my narrative slightly, as I then decided to create a blatant message showing a lack of social interaction.

During this unit, I have developed my unserstanding of psychoanalytical film and how theories can influence film and give them meaning. An example of this would be The Machinist, which I watched passively until researching, understanding and then applying Freud/Lacan's theory to. Personally, once understanding the theories, the films and doccumentaries that I analysed became more enjoyable to watch, as I was able to understand subliminal clues and meanings within. The unit has furthered my interest in psychoanalytical film theory, and I would now be interested in extending my knowledge of the topic.

Camera techniques - Shallow depth of field

Here is a video clip and a couple of photographs demonstrating shallow depth of field.

For the video I used a shallow depth of field of approx f/4. I set the camera to a manual focus, and manually put the lens out of focus, this meant that when the subject was a distance away from the camera she was blurred, however when she moved closer to the camera she came into focus. This technique was used in New Wave to separate the main subject from their surroundings. The camera was on a fluid head tripod, with a shutter speed of approx 1/60, and an ISO of approx 150/200.

Using a shallow depth of field for film has the same effect for still images. I photographed these images with a higher aperture than I used for the video, however it still has the same effect in distinguishing the main focal point and 'taking it away' from the surroundings.

Premiere Pro bins and clip labelling

• Once I launched Premiere Pro and imported my video clips, I changed the viewing settings to list view, this helps the system to operate at a faster pace and allows more information to be seen when viewing the clips. One of the benefits of using list view is metadata of each individual clip is easier to view. This helps greatly when editing as it allows the clips to be organised effectively, depending on which metadata you want to make viewable.
• I then created a new 'bin'. This can be done by selecting the option at the bottom right of the imported clips section. This makes it a lot easier to divide clips and sequences.
• I re-named each clip with a relevant title for the subject, as when editing it makes it easier and faster to go straight to a desired file, rather than going through each individual one with similar file names.
• I also added text to my video clips, as it makes it a lot clearer to distinguish which lighting technique is used at which point. This can be done by selecting 'new item' then 'title'.

Altering metadata.

Creating a new bin.

Re-naming file names.

Adding text to a video clip.

Lighting techniques video 17/09/2014

Here is a video that I have shot and edited, to show the differences and effects of rembrandt, butterfly and edge lighting.

I feel that this video is effective in portraying different lighting techniques, as short video clips give the video depth and shows the importance of lighting in different moods/scenarios. E.g. butterfly lighting was used in the 1950's and 1960's on film stars, as it was seen as more glamorous and complimentary. I added audio to my clip, as I felt it was incomplete without any sound. I converted and imported a song titled That Positive Feeling by Alumo, from YouTube. Since learning how to do this I will be using non-diegetic sound more often in other videos, as I feel it gives it something extra to the video and demonstrates my progression of using Premiere Pro.

If I were to improve on the video I would make it slightly longer and show the lighting techniques with the subject in different positions e.g. facing different ways to show the lighting is effective and can be set up accordingly. However, I am pleased with the edit, despite it being short and simple, as it was my first time using the software and learnt me the basics of editing. Editing the video together was the first time I have used Premiere Pro. I feel that after now learning the basics of the programme, I am now more confident to edit in the future, especially with the New Wave video we are to plan, shoot and edit within the upcoming weeks.

Before shooting in the studio, we researched health and safety. We ensured that everybody knew where the fire exits were in the event of a fire and were required to use them, especially as there were numerous people in a fairly small low lit room. We also made sure that there were no obstructions blocking any doors or fire exits, and a clear pathway to the fire exits were achieved. When setting the studio lights up, we made sure that they were switched off at the wall plug socket. The wires were securely wrapped around their stands, and taped to the floor to prevent anybody tripping over them, and possibly knocking a light over. The lights also get very hot if they are on for an extended period of time, so we needed to make sure that before handling/moving them, that they were in the correct position beforehand or cool, to avoid any burns.

French New Wave

The influence that French New Wave has had on film is said to be a 'cultural revolution'. Prompting the birth of the auteur, a film director who influences their films so much that they rank as their author. The New Wave approach allowed for a greater sense of flexibility, erasing the boundaries between professional and amateur cinema/fiction and documentary. The low budgets allow exploration of contemporary film, with an unrestricted narrative, giving the director a wider scope to experiment and be creative. The cinematic styles of the French New Wave brought a fresh new look to cinema with improvised dialogue, rapid scene changes and shots that go beyond the common 180 degree axis. The camera was not used to mesmerise the audience with elaborate narrative and intense visuals, but to play with the expectations of cinema. Typical conventions emphasised tight control over the filmmaking process, however, the New Wave deliberately avoided this. They often filmed in public locations with improvised dialogue and plots constructed on the fly. In many ways, it seemed sloppy, but it also captured a vibrancy and spontaneity that no 'quality' film could hope to match.

Key texts:

• À Bout de Souffle (1960).
• Les Mistons (1958). 
• Et Dieu crêa la femme (1956).
• Les Quatre cent coups (1959).
• Jules et Jim (1962).
• Le Boucher (1970).
• La Peau Deuce (1964).
• Charlotte et son Jules (1960).
• Pierrot le Fou (1965).

Filming techniques:

• Natural lighting to achieve a sharp contrast between black and white, often conveying a sense of realism in spontaneous street environments.
• Alternative framing for fast and sensitive shots.
• Self reference, using certain cinematic techniques and director styles.
• Collaboration with cinematographers.
• Reportage (the hidden camera).
• Making deliberate mistakes.
• Liberation of the camera from the tripod, using handheld angles. New Wave filmmakers were helped in shooting by new generations of camera.
• Scenes were often shot in public locations so they could move the camera around very easily, creating long tracking shots and flowing camera movement around a given space. They could also shoot in tight quarters, creating an intimacy that bulkier and more expensive cameras couldn't rival. Many New Wave films use long and extended shots, which hand-held cameras facilitated.

Editing techniques:

• Flash pans.
• Discontinuity of shot.
• Jump cuts are sudden, jarring editing cuts which take place out of sequence or during an unexpected moment. They often involve camera angle changes of less than 30 degrees, which can have a disorienting effect on the viewer. Traditional filmmaking rejected such cuts because they threw the viewer out of the onscreen drama. To New Wave filmmakers, that was precisely the point.
• Modern montage.
• Rapid re-framing, jumping from one shot to another.
• Long takes, using static/mobile or lateral tracking.
• A disregard to continuity editing.
• Breaking the rules...and creating new ones.
• Syncopated editing.

Sound techniques:

• Interior monologues and random comments.
• Modern soundtracks.
• Transcribing, using direct sound and post synchronization (early New Wave films were post synchronized).
• Sacrificing the sound for authenticity.
• French New Wave filmmakers often discarded the use of remixing their sound. Instead, they used a naturalistic soundtrack recorded during the shoot and shown unaltered, despite often featuring mistakes and intrusions. This lent the films a sense of freshness and energy that earlier movies lacked.