05/01/24 – All Present
Begin filming sound (sound effects, foley, etc.) – completed
Shoot house scene at Tegan’s house (planned for 13/12 or 16/12) (whole team) – completed
Shoot pickups for forest scenes – planned for 12/1/24
Shoot party scene on camcorder – TBC
Car scene pickups – planned for 12/1/24
Reshoot dialogue on sound recorder – TBC
Begin editing – in progress
11/12 – All present
Begin filming sound (music) – completed
Shoot house scene at Tegan’s house (planned for 13/12 or 16/12) (whole team)
Begin filming sound (sound effects, foley, etc.) – in progress (12/12) (Noah)
Shoot pickups for forest scenes (18/12) (whole team)
See Noah’s blog to see the minutes from this meeting
For my 3rd role in my film portfolio, I’m planning to produce a 3 minute film, focusing more on the editing aspect of the project. I also plan to do the directing as I have a vision for how I want the editing to go, and I feel that my skills in editing are stronger.
The main techniques I want to focus on with editing are:
The outline for the plot is as follows:
I want to use colour as a primary technique in telling the narrative and establishing mood – using blues, purples and darker tones to portray a more depressing tone, and using oranges, yellows and brighter tones to produces the opposite. I want to use the 180 degree rule for the purpose of establishing an open dialogue and connection between the two main characters; despite the fact that they’re both apart and are trying to move on from one another. My planned use of putting together match/match on action cuts should be used similarly, and should help the plot progress quickly.
I only really want a shooting script for this project, as I want to use music and ambient sound to portray the narrative as opposed to dialogue.
My inspirations for this project are Ray Lovejoy – particularly his usage (and violations) of the 180 degree rule in The Shining (1980) to tell a story – and Hoyte Van Hoytema – as I might try to experiment with non-linear storytelling like his work in Dunkirk (2017). My movement influences for this project are German Expressionism and French New Wave.
14/11/2023
Present – Noah, George, Aaron, Iona
Action Points
| CHOSEN ROLE | EDITING |
| INFLUENCES | Stanley Kubrick, Quentin Tarantino, Edgar Wright |
| SPECIFIC TECHNIQUES | Montage, 180 degree rule, match cut, match on action |
| GENRE | Romance |
| STORY OUTLINE | The narrative follows a young couple as they split up and try to move on |
| LOCATION | Parks, restaurants, a house, an office, two cars |
| KIT REQUIRED | Camera, tripod, lights |
| ADDITIONAL CREW | Sound designer (soundtrack) |
| CAST | Two main characters, 4 or so faceless extras |
We met up at Jardin d’Olivet in Trinity to plan and shoot part of our collaborative project, discussing different areas where we could shoot our burial scene at the end of our film.
We came up with the idea of this shot as an establishing shot for when our protagonists arrive in the car late at night, the car entering from the left side of the shot, illuminating the car park. The shot should be long enough for the car to park.
We then planned to have an overhead shot of the boot of the car as it opens, transitioning to a worm’s eye/POV shot from the boot, facing our characters looming over the body. One of the characters pulls a shovel from the boot that they previously took from the house.
We then plan to have the next shot follow the characters through the gap in this slot in one of the abandoned buildings as they moved the body deeper into the woods. We should probably open this part with a shot showing the building so that the audience knows where we are before looking through the slot.
Similarly, the next shot would have the characters moving the body through a more wooded area to emphasise their struggle as they move further.
Again, we can have the characters pass this small castle-looking structure before finally stopping to bury the body.
This small window could be used for a distant shot of them burying the body, as it overlooks a large slope where we plan to shoot the final shots of the burial scene.
We then shot some rushes of Noah digging the shovel into the ground in preparation for when we shoot the rest of the scene with everyone, which should hopefully save us some time later down the line.
We also discussed how we will light our scene, which I think we can do on a particularly bright night with a full moon, given that it isn’t too cloudy. Otherwise, we plan to use torches and the flashlights on our phones as they’re a universal, convenient source of light that would fit in more with our characters.
Alfonso Cuarón’s Children of Men is a 2006 Sci-Fi/Action film set in a dystopian future England in the year 2027. This film will be the focus of my textual analysis, in particular the section from 00:16:43 to 00:21:06 – where the protagonist, Theo, meets his cousin, Nigel, in order to obtain travel documents for the terrorist organisation “The Fishes”. To analyse this section, I will look at the mise-en-scene, cinematography, representation and ideologies. The context examined focuses on economical and political contexts connected to the film around the time of its production.
Film: Children of Men
Scene: 00:16:43 to 00:21:06
Micros: Mise-en-scene + Cinematography
Macros: Representation + Ideology
Contexts: Economic + Political