SHOOT 1 preparation and reflection...

 ...

PREPARATION:

COSTUME, HAIR, MAKE-UP: 

Villain character:

The villain character was told to wear a shirt and grow some stubble, main reason for this is that the villain character in Baby Driver wore a suit and we found in our research that facial hair is commonly used to connote a character as being a villain/antihero. The costume was planned to be a suit and tie.:

Baby (protagonist):

The character who was supposed to be baby was meant to be dressed casually, as he was portrayed as more childish and doesn't take the situation as seriously in Baby Driver, so we had him wear a jumper and jeans.

CALL SHEET, SHOTLISTS

(This copy of the call sheet was not distributed physically but was distributed via google docs)

ANIMATION DRAFT:

We used animation software to make a draft of what we would be shooting on the day. 

• It was done in 3D so we could have greater control over the camera angles 
• we also made it so that we could use it to direct the cast

THE SHOOT:

RUSHES

raw footage + BTS:

The Final Draft:

PRODUCING + DIRECTING: BEHIND-THE-SCENES:

In the second video you can see that the criminal character, had facial hair (or stubble more specifically), we actually had the actor grow facial hair for this scene to connote him as the villain. 

REFLECTIONS ON THE SHOOT

CREATIVITY; ACTS OF GOD?:

- We could only use the car for a limited amount of time 

- It was very cold outside, making it hard to operate the camera and stay still in the car

- When we filmed the basement scene we forgot that we couldn't remove a boxing bag that was hanging in the middle of the table 

CAST PERFORMANCE + COSTUME; PREFERRED READING:

After this shoot we didnt feel that we had executed on our creative vision, for this reason we chose to re-write/re-do alot of our film opening

Changes we made:

• We need to have greater control over the mise-en-scene 
• We need to add more signifiers to anchor a narrative or preferred reading (e.g the villain has to be in a full suit to connote power)
• more shot variety 
• The colour correction filter that was added in post needs to be removed

SUMMARY: WHAT NOW?: 

• We will change the story so we dont have to rely on a car
• We will try to have greater control over the mise-en-scene
• Try to record shorter takes
• Have greater shot variety
• Have better knowledge of the equipment/technology we have available

 

Sample scenes

We produced a range of sample scenes before settling on a final cut - testing out ideas and checking for elements that needed tighter/different media language to enable audiences to follow our encoded preferred reading. Each sample scene is detailed below, including information on:

• any focus of that sample scene
• any FX used (differently than before)
• any added media (sound, fonts, images etc)
• evidence of audience feedback
• main points from audience feedback
• our conclusion on what to change for the next sample scene or cut (including any planned new/reshoots + narrative tweaks)

here are all the RAW videos where we put together all the recorded video: 

From here onwards it is very similar to the Rough Cuts Page:

FIRST IDEA:

First draft: 

For this one we were particularly focused on having a cut made so that we could better understand and show the flow of the idea, in a better way then with storyboards or other means of explaining the idea.

At this stage we were missing a many shots (noted with titles in the cut) and music.

Second draft: 

I did not upload this as the 3rd draft was very similar, but with minor improvements

Third draft: 

For this one we were particularly focused on building on the previous sample scenes and improving in general the entire edit, fixing issues that were rushed earlier and trying to see if this idea worked as we had originally planned.

At this stage we were missing a few shots and music. 

SECOND IDEA:

First drafts: 

For this one we were particularly focused on re-recording and re-editing it using previous footage and the footage of the re-recording to try and build a better edit then in the older versions.

At this stage we were missing a many shots and music. 

Second draft:

For this one we were particularly focused on building on the previous sample scenes and providing a more complete narrative cut to see if sample viewers could follow the basic preferred reading and if not, which particular element/s were attracting contested/oppositional readings.

At this stage we were missing a scene and music and titles.

Third draft:

For this one we were particularly focused on the titles and their positioning and styles.

At this stage we were missing a scene and the final music.

THIRD [FINAL] IDEA:

first draft: 

For this one we were particularly focused on building on the previous sample scenes and providing a near-complete narrative cut to see if sample viewers could follow the basic preferred reading and if not, which particular element/s were attracting contested/oppositional readings.

At this stage we were missing a few shots and many needed re-recording.

Second draft: 

For this one we were particularly focused on building on using the more content that we had recorded and incorporating it better, we also improved upon the titles and did general minor improvements throughout.

At this stage we were close to the end, now simply making improvements for the final result.

Third draft:

For this one we were particularly focused on improving upon the titles and doing general minor improvements throughout.

At this stage we were close to the end, now simply making improvements for the final result.

Fourth Draft:

For this one we were particularly focused doing general minor improvements throughout.

At this stage we were close to the end, now simply making improvements for the final result.

ROUGH CUTS:

FIRST IDEA:

First draft: 

For this one we were particularly focused on having a cut made so that we could better understand and show the flow of the idea, in a better way then with storyboards or other means of explaining the idea.

At this stage we were missing a many shots (noted with titles in the cut) and music.

Second draft: 

I did not upload this as the 3rd draft was very similar, but with minor improvements

Third draft: 

For this one we were particularly focused on building on the previous sample scenes and improving in general the entire edit, fixing issues that were rushed earlier and trying to see if this idea worked as we had originally planned.

At this stage we were missing a few shots and music. 

SECOND IDEA:

First drafts: 

For this one we were particularly focused on re-recording and re-editing it using previous footage and the footage of the re-recording to try and build a better edit then in the older versions.

At this stage we were missing a many shots and music. 

Second draft:

For this one we were particularly focused on building on the previous sample scenes and providing a more complete narrative cut to see if sample viewers could follow the basic preferred reading and if not, which particular element/s were attracting contested/oppositional readings.

At this stage we were missing a scene and music and titles.

Third draft:

For this one we were particularly focused on the titles and their positioning and styles.

At this stage we were missing a scene and the final music.

THIRD [FINAL] IDEA:

first draft: 

For this one we were particularly focused on building on the previous sample scenes and providing a near-complete narrative cut to see if sample viewers could follow the basic preferred reading and if not, which particular element/s were attracting contested/oppositional readings.

At this stage we were missing a few shots and many needed re-recording.

Here is a sample of the audience feedback we got:

"Alright so the part where he cuts the bread, I think that shot is too long, so it needs to be changed with some variety, I really like the overall flow of the editing though, it is very well paced and is enjoyable to watch."

     

"The video had good editing in terms of music, because the actors were always moving to the rhythm of the song. The change in mood as the phone rang was impact because the contrast showed the threat and unpleasantness on the main characters darker life. However, as the main character exits the room, it is confusing because as he opens the door to leave, in the next shot he opens the door to the church, and it kind of looks as if it was the same door. Some shots were also a few seconds longer than they had to be, like the toast cutting shot. The sound mixing was good, and all the shots looked good. I like how  a lot of the takes in the kitchen are from the perspective of the man eating/being served, especially when the main character gets the phone call, allowing you to place yourself in the uncomfortable position of someone who doesn't want someone close to him to live a life of crime."

 

We strongly agreed with many statements that they said, and we edited some of those edits by the next version, and by the final, all had been changed.

Second draft: 

For this one we were particularly focused on building on using the more content that we had recorded and incorporating it better, we also improved upon the titles and did general minor improvements throughout.

At this stage we were close to the end, now simply making improvements for the final result.

Third draft:

For this one we were particularly focused on improving upon the titles and doing general minor improvements throughout.

At this stage we were close to the end, now simply making improvements for the final result.

Fourth Draft:

For this one we were particularly focused doing general minor improvements throughout.

At this stage we were close to the end, now simply making improvements for the final result.

Final:

The final cut can seen here.

GENRE overview of key films etc

 ...

THEME 3: SOUND; GENRE SIGNIFICATION

We observed how in baby diver songs were chosen that were very upbeat and rhythmic, so that it would be easier to dance/choreograph to.

We looked for these things when we chose to remake sympathy for the devil by the rolling stones. As it contained the classic rock/funk elements that signify the heist genre.

HEIST MUSIC CONVENTIONS:

Example of stereotypical heist music:

• Heist music is typically quite rhythmic and has alot of groove. 
• Not uncommon to see funk music being used in the heist genre 
• Classic rock influence
• Music is typically upbeat and has a high tempo
• Usually features instrumentation (not electronic music)
• Has some jazz influence 

Instruments commonly found in 'Heist' music:

    - Electric bass

    - Electric guitar

    - acoustic drums

    - acoustic piano

    - Trumpets/Brass

    - Violin/Strings

FOLEY/HOW AUDIO CREATES VERISIMILITUDE:

The stereotype in the action genre is to add a beep sound effect every time someone is using a computer, although this is inaccurate to real life it still helps to create verisimilitude.

Here is an example of the sound effect in use:

Here is a video of the sound effect on its own:

In social realist films it is common not to see foley being done, this is because of budget limitations and can be a big signifier of genre.

 

Soundtrack

"Godless" SOUNDTRACK:

INDUSTRY:

Its common in the film industry to use a films OST as a way to help market the film and earn extra revenue, most notably this was done with Baby driver.

You can see they offer the OST as a vinyl, probably as a nod to the films more retro style. This is a good marketing move as the people who are the most likely to enjoy retro music are older, so this was done to target an older demographic who are more likely to own a vinyl player.

You can also see how the OST was used in the marketing, you can see in this poster how the phrase "All you need is one killer track" was featured on the poster. This shows how music was used as one of the main draws of the film.

OVERVIEW OF MUSIC WE USED:

Track #1; Classic Rock

We observed how in baby driver the first track was rock with heavy blues influence. For this reason we chose to recreate "Sympathy for the Devil" by the rolling stones, not only because it had a lot of grove making it easier to dance to but because we thought it would play well into the antihero theme. 

Original:

Our Version:

Our Version With Vocals by Amelie Marchand:

We used this song as an audio bridge in the opening. 

The creation process/Use of technologies:

For this song I used the software Ableton Live 10, I then used and layered multiple percussion samples including one that was recorded for this project by a music teacher from our school. Then another teacher from our school generously helped us with the "woo" parts in the song.

I then added a bass line with the free plugin "Ample Bass guitar II". This plugin simulates a real electric bass guitar which is what was used in the song.

Then Bitsonics "Key Zone Classic" plugin was used for the piano chords as it simulates an acoustic piano, this is again in order to be faithful to the original song.

 

Track 2 and 3: Incidental music + Choir

We also created some incidental music, this music is very intense compared to our version of sympathy for the devil which helps the viewer feel the tone switch better. We then also created a Gothic sounding choir to create some verisimilitude in the church scene. The choir and incidental music were made so that they could be looped. The choir is also meant to be dietetic. 

Our song: (The incidental music is labeled "Riser" in the video) 

The Creation Process/Use of technologies: 

The software used was Ableton Live 10 agian;

The violin was created with the stock "string section" plugin from the software Cakewalk, this plugin is capable of simulating an acoustic violin/cello/double bass and comes free with the Cakewalk software making it almost essential for this project.

The percussion part was a stock "Tom" preset that came with the software which I found worked well in the track if you add some reverb.

The third aspect of this riser or piece of incidental music as a very simple synth I made which was made to imitate a brass instrument and played the same notes as the violin at a much lower frequency. The synth also had a very high attack, this was done to simulate a build up (or to have the volume steadily increase from zero).

 The choir section was done primarily with a plugin called "Spitfire LABS" which is a free preset loader that came with a choir patch, which simulated a choir singing in a church. Although the software was very good and we ended up with a result we were both satisfied with, it had some limitations as the sound it produced already had effects so it was almost impossible to edit or shape the sound in any way.

LABS Plugin:

WHY WE USED THESE SONGS:

Sympathy for the Devil remake:

• Sympathy for the devil is a title that is very fitting for our film as our protagonist is an antihero and even if he is a criminal, the audience can sympathize with the fact hes being forced into crime
• The song is very upbeat and accurately sets the tone for the first scene, the tone being happy and playful
• Sympathy for the devil is a very rhythmic song making it easy to dance to, and it makes it easier to make cuts in sync with the beat.

 

Incidental Music:

• Helps build tension when the tone switches (when baby picks up the phone)
• Reflects Babys emotions when he hears he has to do another job

Choir:

• The choir plays in the church in order to add verisimilitude to the scene
• It is also meant to signify that the church is occupied while the scene takes place 

OVERVIEW OF HOW WE USED SOUND:

We didnt really..

PRE-PRODUCTION OVERVIEW incl screenplay, shotlist, storyboard or animatic

CASTING, CHARACTERS, REHEARSAL/DIRECTING

You need to carefully and meticulously (the 3 D's...) denote each significant character. What are you trying to connote and how? How does this relate to your research? 

Video and/or Ppt with plentiful illustration is vital.

Outline your ideal look/vision, then show who you've cast and in what ways you're planning to control their look to create the character you desire for a successful encoding of a preferred reading.

Are your cast expected to magically understand what is in your head? Evidence how you directed them to give them guidance on what to do. Actual rehearsal footage would be great - that can include Zoom (etc) recordings.

Characters:

• Villain/Kevin Spacey 
• Protagonist/Baby
• Deaf Brother

Casting:

CZM Godless cast czm from DB3igs

LOCATIONS, MISE-EN-SCENE, HEALTH AND SAFETY

What locations did you consider? Why these? Is there any link to your research findings? What factors were involved in your final choices?

Be very clear, with very clear evidence, of anything you've done to 'set dress' - basically, control the mise-en-scene to help steer audiences towards your preferred reading. Were you organised enough to gather props in good time? Were you ambitious enough to ask multiple sources to find these ... or did you look no further than what is already in your house?!

Did you review each shoot for health + safety concerns, summarising these + what cast/crew needed to be aware of + avoid doing? That currently must include covid considerations.

Draft 1:

We chose to record in Eduardos house, in the basement

Then in a parking lot near my house

Draft 2 and 3:

• We filmed in my kitchen

• And in a public church

EQUIPMENT + LOGISTICS

What equipment have you used?

• Panasonic lumix camera

• amazon basics monopod

• DaVinci Resolve

• SanDisc SD

• FCPX

• ZOOM Handy recorder
  
  
  
• Amazon basics cam bag

• Stabilizer Tool 

We transported most of the equipment in the "Amazon basics camera bag"

STORYBOARD

Draft 1:

SCREENPLAY

Screenplay draft 3: 

Eduardo, christian godless screenplay from DB3igs

THEORIES and KEY TERMS I've learnt

SHOT TYPES:

Extreme Long Shot (ELS): A shot from a very long distance away, any person on screen would be small, the main focus is on the surroundings.

Long Shot (LS): A shot from a long distance away, if a person is in frame, they should take up the whole height from the top of their head, to the bottom of their shoes; they are fully visible, this is often used as exposition for the clothing, and thus, the age, job, or ethnicity of the character.

Medium Long Shot (MLS): A shot from a slightly long distance away, if a person is in frame, they should take up the whole height from the top of their head, to the their knees.

Medium Shot (MS): A shot from a medium distance away, if a person is in frame, they should take up the whole height from the top of their head, to the their waist.

Medium Close Up (MCU): A shot from a slightly close distance away, if a person is in frame, they should take up the whole height from the top of their head, to the their chest.

Close Up (CU): A shot from a close distance away, if a person is in frame, they should take up the whole height from the top of their head, to the bottom of their head.

Big Close Up (BCU): A shot from a quite close distance away, if a person is in frame, they should take up the whole height from the top of their head, to around half way up their head.   

Extreme Close Up (ECU): A shot from a very close distance away, if a person is in frame, they should take up the whole height from the top of their head, to less then half way up their head.    

  

MORE CINEMATOGRAPHY TERMS:

Over The Shoulder shot (OTS): When the camera is placed roughly over the shoulder of a character showing their perspective, without having the creepiness of being first person.

Two Shot: When there are two people on scene, often connoting a relationship, or a lack of focus on them as main character.

Rule Of Thirds: The characters are in the center all 3rd from the top and from the side, but not quite in the center.

Dutch angle: Rotating the camera, connoting weirdness or sickness.

Low Angle: Looking upward towards the character, signifying power, or that the character is threatening.

High angle: Looking downwards towards the character, signifying weakness, or that the character is vulnerable.

Worms eye: Camera is placed on the ground, as if it was a worm.

Birds eye: Camera placed in the sky as if it was a bird.

Drone/Helicopter shot: Convergence, Disruption and Digitization, mean that its often now a drone shot, this shot is often also a tracking shot, a shot that is from the sky taken from a drone or helicopter.

Panning: Rotating the camera without changing take, rotating left or right.

Whip pan: Rotating camera quickly, is an action code (Barthes).

Tilting: Rotating camera up or down.

Tracking: Camera is following a character, can be hand held, is an action code (Barthes).

Dolly shot: Tracking shot, but the camera is mounted on wheels.

Push/Pull focus: Shifting the focus from deep to shallow or vise versa in a single take.

Shallow/Deep field of focus: Having close (shallow) or further (deep) objects in the field of focus.

Mise-en-scene: Everything in frame, including buildings, clothing, and everything that creates verisimilitude. 

Establishing shot: An extreme long shot as the first scene, used to establish the location, and can ensure there is at least some narrative enigma

Shot reverse shot: when a view is recorded, and then the next shot is the revers, as in what the camera would see of it turned around, this is often used in conversations to show both of the POVs of the characters.

180 degree rule: having all shots from a single side to not cause confusion as to why the characters flipped side, this can be circumvented, if you have a BCU or an ECU.

 

SEMIOTICS:

Signifier: A single detail that is used to convey what the preferred reading is, or to inform us about something. 

Denotation/Denote: Obvious meaning, e.g. "this school is the best school i have ever been too" denotes that they are in a school.

Connotation/Connote: Deduced meaning, e.g. "i have to get to class", this connotes that they are in a school, as its not certain, but probably that that's what is meant.

Anchorage: When a lot of signifies point to a certain idea, the preferred reading, this is known as anchorage.

Polysemic: Has more than one possible meaning.

Verisimilitude: It is the success in creating realism, this is created with small details in the mise en scene, and with sometimes major parts of the film, having it credible enough, without being real. 

Serif, Sans-Serif: This has serif: Georgia, this does not: Ariel.

EDITING, SOUND:

Transition: Instead of a normal cut, a transition is put over the takes, to transition from one take to the next e.g. a cross-fade.

Take: The time the between a switch in camera's perspective and another, roughly 5s long takes, depending on the target audience, and the genre of the film.

(non-)diagetic: Sound that is in scene, as in it is diagetic, so can be heard by anyone around, this is shown, when you see a radio, or maybe birds, who are chirping, non-diagetic sound is simply sound that is played over what is happening.

Voice-over: A recording of a voice normally recorded after the recording of the film, used normally as narration, or in some rare cases in situations where the audio quality had failed.

Audio leveling: Setting the audio levels to be fairly similar to each other, so that there is no random decrease or increase in volume.

Shot variation: A variation of shots, and not only having, for example, only close ups.

Continuity Editing: showing similar shots one after the next in a sequence, without showing unrelated information that would confuse the audience.

 

NARRATIVE:

Exposition: providing information to the audience.

Intertextuality: the preferred reading is linked to that of another.

Primary, Secondary audience: The primary audience are the people (young, old, male, female) which the film is created for, and will then attempt to attract. secondary audience, are the people who the film is also meant for, but is not focusing on.

Narrative Enigma: A lack of knowledge of what is going to happen, often in the first shot, the hero (Propp, Campell) of the film is not shown, this creates narrative enigma.

Ambient sound: Sound that is not diagetic, but is placed to seem diagetic in an attempt to have verisimilitude. 

Audio Bridge: Sound carrying from one scene to the next, or starting in the previous scene. 

Preferred Reading (Hall): The preferred understanding of the film that was carefully created by the director.

Vertical Integration: a company that owns more than one (usually all) parts of the film cycle (production, distribution, exhibition/exchange)

Quota System: China has a quota system in place that only allows a few non-Chinese films per year to be shown in china, last year it was 42 films, chines films are now getting bigger then American tent-poles (DB post) (tag)

Conglomerate: A company that owns many smaller subsidiaries, such as NBCUniversal, is a Comcast company, and has universal and working title amongst others as subsidiaries

Subsidiary: A company that is owned by a larger company

blockbuster/tent-pole: a film that is a tent-pole to conglomerates success, the budgets are roughly 400m. Elberse argued that conglomerates should focus even more on their blockbuster films

Art-house vs Multiplex: binary opposite, multiplex will have only have hit movies, art-house might have some too, but mainly smaller films, only multiplex can get 3D films, and the cost is higher than what indie companies such as warp could ever afford, Imax is a huge screen, like 3D, is only for multiplexes.

 

EQUIPMENT:

Mono-Pod: A stand for a camera with a single leg, used for stability, and to decrease the shakiness of hand held.

Tri-Pod: A stand for a camera with three legs, used for stability, and to decrease the shakiness of hand held, but can be annoying when moving the camera.

Hand Held: A way of holding a camera which can be shaky at times, but increases maneuverability.

OTHER:

Feature Film: A film that is longer than 40 minutes according to BFI, but longer than 75 minutes according to Screen Actors Guild.

Short Film: A film that is less than 40 minutes according to BFI, but less than 75 minutes according to Screen Actors Guild.