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VOICE OVER:

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^ THESE ARE  TWO OF THE VOICE-OVER CLIPS THAT EMILY HAD SENT US. WE HAD DECIDED TO USE THE SECOND ONE AS THE FIRST ONE LACKED THE MYSTERIOUS ASPECT WHICH WE WANTED TO BE INSINUATED THROUGH HER VOICE. THE SECOND FITS PERFECTLY AS IT HAS AN ELEMENT OF MYSTERY BUT SHE HAS A STEADY TONE IN HER VOICE, WHICH MAKES IT SEEM LIKE SHE’S ACTUALLY READING A DIARY NOTE.

^ THIS WAS A PRACTICE VOICE-OVER CLIP THAT EMILY SENT US. AT FIRST, WE THOUGHT IT WAS THE PERFECT CLIP BUT THEN AFTER REPEATEDLY HEARING IT , WE REALISED SHE SPOKE TOO QUICKLY AND SHE DIDN’T HESITATE AS SHE SPOKE. WE WANTED HER TO TAKE BREATHS AND NOT SPEAK SO LOUDLY. FORTUNATELY, SHE SENT US ANOTHER CLIP, WHICH DONE EXACTLY WHAT WE HAD WANTED. WE ALSO CUT THE BIT IN WHICH SHE SAYS, “AM I NOT REAL? IS MY LIFE OVER?” WE IMMEDIATELY THOUGHT IT WOULDN’T BE APPROPRIATE TO USE IT AND THAT IT WOULD ACTUALLY BREAK OFF THE SUSPENSEFUL ATMOSPHERE.

^ THESE ARE THE VOICE-OVER CLIPS EMILY SENT FOR US, FOR WHEN HER CHARACTER WAKES UP IN THE FOREST. WHEN I WAS WRITING THE SCRIPT, I DIDN’T WANT TO WRITE SOMETHING PREDICTABLE LIKE, “HELP ME, I’M SO SCARED”. I STILL HOWEVER MADE IT SUITABLE  TO THE SCENE. WE ASKED EMILY TO FILM SEVERAL LINES BUT WE ALWAYS BARED IN MIND THAT WE CAN SPLIT THE WORDS OR JUST BLADE IT WHERE SOMETHING WASN’T NEEDED. WE BLADED THE PART WHEN SHE SAYS, “I JUST DON’T KNOW”. WE DIDN’T USE THIS PART BECAUSE WE FELT IT WOULD OF RUINED THE AMBIENCE AND IT SOUNDED LIKE MY FRIEND DIDN’T KNOW WHAT TO SAY. WHEN I HEARD THE FIRST RECORDING, I INTERNALLY CRIED BECAUSE SHE SEEMED LIKE A LA VALLEY GIRL. IT WAS OBVIOUSLY JUST A PRACTICE RECORDING.

MUSIC:

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music 1

^ WE ONLY USED THIS MUSIC FOR THE INTRODUCTION AND BEGINNING TITLES. WE FELT IT WAS APPROPRIATE BECAUSE THE HARPS USED IN IT MADE IT APPEAR FANTASY LIKE BUT THERE WAS STILL SOME TENSION WITHIN THE MUSIC. THE MUSIC WAS NOT TOO TENSE AS THAT IT NOT THE PURPOSE OF THE TITLES. WHAT WE ALL LIKED WAS  AS THE TITLES APPEAR, THE MUSIC BECOMES EVEN MORE DRAMATIC, WHICH IS WHAT WE DEFINITELY WANTED. AS SOON AS THE TITLES FINISHED AND THE NEXT SCENE APPEARED WE HAD TO CREATE A SOUND BRIDGE IN ORDER TO MAKE THE SOUND FLOW MORE SMOOTH AND TO ALSO TO ACT AS A TRANSITION BETWEEN THIS MUSIC AND THE NEXT. IN ORDER TO DO THIS, WE HAD TO CLICK ON THE AUDIO FILE AND PULL ON THE TABS. WE ALSO MADE A COMPOUND CLIP AS THAT WOULD MAKE IT EASIER FOR US IMPORT MUSIC ON AND SEE IT AS A WHOLE. IF NEED BE, WE WOULD CLIP ON THE COMPOUND CLIP, CLICK ON AN INDIVIDUAL SHOT AND MUTE THE SOUND IF AEROPLANE SOUNDS COULD BE HEARD.

music 2

^ THE NEXT MUSIC WE USED WAS VERY SIMILAR TO THE FIRST ONE BUT IT WAS MORE SUBTLE. IT DIDN’T HAVE A DARK FEEL TO IT, WHICH WAS SOMETHING THE FIRST MUSIC HAD. WE WANTED TO REITERATE THAT OUR FILM IS NOT A THRILLER SO FAST PACED/ SCARY MUSIC WOULDN’T HAVE FITTED. A SLIGHT ISSUE WAS WITH THIS MUSIC, AFTER 30 SECONDS, IT STARTED TO CHANGE AND WE LIKED THE FIRST 30 SECONDS, SO WHAT I HAD TO DO WAS BLADE IT AFTER 30 SECONDS AND THEN MAKE SEVERAL COPIES UNTIL THE RED RIDING HOOD SCENES. WHAT THIS DID WAS THAT IT CREATED A LOOP. I DID LOWER THE VOLUME OF IT IN THE SUBWAY SCENES SO THE DIALOGUE COULD BE HEARD.

WE USED THIS MUSIC FOR THE SCENE IN WHICH EMILY WAKES UP IN THE FOREST AS RED RIDING HOOD. THE NAME OF THE SONG ITSELF, ‘SOLITUDE’ SORT OF ENTAILS THE THEME OF THE SCENE. SHE WAKES UP IN THE FOREST ALONE, SCARED AND THESE ARE THE EMOTIONS THAT HAVE BEEN INTESNIFIED THROUGH THE MUSIC. THE INSTRUMENT USED IN THE MUSIC IS A PIANO. WHAT I ENJOYED ABOUT THIS MUSIC WAS THAT IT WASN’T BLAND. IT HAD THIS MYSTERY ELEMENT TO IT WHICH WAS PERFECT FOR OUR FILM.

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From the feedback we was given in our peer assessment, we knew adding needed shots and lighting correction was essential!

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^ WE CAME BACK TO THE SUBWAY SCENE AS THERE WAS A KEY LIGHTING ISSUE. IN THIS RUNNING SCENE, THE LIGHT IN WHICH EMILY IS IN IS NORMAL, WHEREAS I AM IN THIS BLUE LIGHTING. TO CORRECT THIS WE HAD TO CLICK ON THE EMILY SHOT AND THEN MY SHOT, AND THEN CLICK ON MATCH COLOUR. THIS MADE THE SCENE APPEAR EVEN MORE INTENSE AS IT WAS NOW REALISTIC.

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^ THIS IS THE SHOT AFTER SHE TAKES DRUGS. WE JUST KNEW WE HAD TO MAKE THIS SCENE APPEAR DRUG LIKE, ESPECIALLY AFTER OUR PEERS HAD SAID THE DRUG SCENE WAS NOT VERY REALISTIC. THIS QUICK INTENSE DRUG SCENE WOULD HOPEFULLY BALANCE OUT THE PREVIOUS LONG SCENE IN WHICH I POUR OUT THE DRUGS. FOR THE SHOT ABOVE, WE FIRSTLY ADDED A LIGHTING EFFECT WHICH MADE THINGS APPEAR MORE BRIGHT AND QUITE SHARP. WE WANTED THE EFFECTS TO IMITATE WHAT EMILY WOULD BE SEEING; WE WANTED IT TO BE VERY DISORIENTATED. WE ALSO OVERLAPPED THIS EFFECT WITH ANOTHER TO MAKE IT EVEN MORE EFFECTIVE. AS WE WANTED THIS SHOT TO APPEAR DISORIENTATED, WE ADDED AN EFFECT CALLED ‘EARTHQUAKE’ WHICH SORT OF MADE THE SHOT SHAKY. WE HAD CONTROL OF HOW INTENSE THE SHAKINESS WAS. WE HAD TO BE CAREFUL BECAUSE IF IT WAS TOO SHAKY, THE SHOT WOULD MOVE IN AND OUT OF THE BLACK BACKGROUND BEHIND THE FILM (IF THAT MADE ANY SENSE)

STRAIGHT AFTER THIS SHOT, IT CUT TO A CLOSE UP OF EMILY (RED RIDING HOOD’S) EYE OPENING IN THE FOREST. WE LOVED HOW AFTER SHE FALLS INTO RAK, SHE WAKES UP IN A DIFFERENT SETTING.  IT WASN’T VERY EFFECTIVE WITH JUST A SIMPLE CUT SO WE PLAYED WITH TRANSITIONS. WE FIRST HAD A RIPPLE EFFECT FOR A FEW DAYS BUT THEN WE REALISED WITH THE PREVIOUS SCENE, IT WAS JUST A BIT TOO EFFECTS HEAVY, ESPECIALLY AS THE SCENE IN WHICH RED OPENS HER EYES WAS EXTREMELY QUICK. WE LATER DECIDED ON A CROSS DISSOLVE TRANSITION. THIS MADE SENSE AS IT WAS USED IN BETWEEN TWO DIFFERENT SHOTS. WE DID HOWEVER, SHORTEN DOWN THE CROSS DISSOLVE TO STILL MAKE IT SHARP AND EFFECTIVE.

FOR THE RED RIDING HOOD SCENES, WE DIDN’T USE TRANSITIONS AS IT WAS NOT NECESSARY AND WE WANTED THE AUDIENCE TO FOCUS ON THAT LONG SCENE. WE DID USE A LOT OF CUTS AND VARIATION IN OUR SHOTS SO IT WASN’T UNHOOKED

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^ WE ADDED THE PRESET SPRING SUN

2!

^ EVEN AFTER INCLUDING THE PRESET, WE PLAYED WITH TONES AND COLOUR SCALES

3!

^ WE DID EXPERIMENT WITH A BLOOM EFFECT BUT LATER DECIDED WE DIDN’T LIKE IT. I HAD TO USE THE SAME MEASUREMENTS OF THE DAZZLE EFFECT FOR THE DEFINITION SCENE AND THE SCENE ABOVE. A LOT OF NOTES WERE MADE IN THIS CREATIVE MEDIA LESSON!

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FILMING 4

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^ ABOVE IS SOME OF THE FOOTAGE WE FILMED. THIS A MIDSHOT OF EMILY WAKING UP IN THE FOREST. WE ARE PLANNING TO HAVE AN IMMEDIATE CUT FROM THIS SCENE TO A CLOSE UP..

^ WE’RE THINKING OF INCLUDING THIS SCENE AS EMILY ENCOUNTERS RAK BUT SHE HASN’T QUITE REALISED WHAT IS HAPPENING

^ THIS IS GOING TO BE THE FIRST HALF OF THE CLONE/SPLIT HALF SCENE WHERE THERE WILL BE TWO EMILY’S. I STOOD THERE JUST SO WE KNOW WHAT POSITION ME AND EMILY SHOULD BE IN FOR WHEN WE FILMED THE SECOND HALF OF THE SCENE

ME AND NABEELA EACH HAD A COPY OF MY SHOT BY SHOT LIST WHICH WAS EXTREMELY USEFUL! WE DID STICK TO IT IN THE BEGINNING, USING MID SHOTS AND POINT OF VIEW SHOTS IN THE START BUT DID USE VARIOUS SHOTS WHICH WE HADN’T ORIGINALLY PLANNED TO. IT WASN’T SPONTANEOUS BUT JUST NEW SHOTS THAT WE REALISED WE COULD OF USED AFTER FILMING 3.

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SCHMEMS

SESSION 1:

SCHMEMS

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^ FOR ONE OF OUR FINAL SCENES, WE WANT EMILY AND THE RED RIDING HOOD VERSION OF HERSELF TOGETHER IN THE SAME SHOT, INCLUDING RAK AS WELL.  NABEELA KNOWS HOW TO DO THIS AWESOME TECHNIQUE BUT I WANTED TO RESEARCH UPON IT AS IT WAS SO INTERESTING! I HAD STUMBLED ACROSS A VERY ENGAGING VIDEO WHICH I CAN’T FIND NOW BUT I HAVE FOUND AN EXTREMELY SIMILAR VIDEO (ABOVE). WHAT I LEARNT IS THATCAMERA AND TRIPOD MUST NOT BE MOVED IF YOU WANT TO CREATE THE EFFECT AND ALSO THAT THE LIGHTING MUST BE THE SAME

SESSION 2:

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