This particular track we focused on pacing. Since the shot itself is a non-stop tracking shot we marked the pacing through specific sounds in the track with specific frames. For instance, there is a consistent beat that coincides with a particular frame (a wide shot of the room that then tightens into a shot that only frames the two lamps and the chair with less headroom etc). I found this to achieve a very poetic effect that assisted in matching the intensity of the music. Similarly, the music itself changes from that of an eerie ticking clock to a high pitched screechy sound (this happens simultaneously with the tight framing on the couch so it establishes an abstract kind of narrative progression). We also saturated the colours to create more of an environment that looked a bit imaginative ( so that the audience could register that something didn’t seem right or all that natural)…

Link

working on a few more 🙂

Here we are after another meeting… J

Daniel and I experimented with particular details of the shot. The last take I updated had a strong bluish hue as we attempted to balance out the yellowish tones. Currently attempting to feather out the black circle as it blends it much more smoothly with the warmth of the room. The issue now that I am dealing with is how I can balance that black circle as it encloses on the frame I don’t want to have that effect whereby the audience is totally aware that this take was edited, rather some subtlety that makes you feel uneasy after watching it. To make someone feel anxious, in my opinion, is a much greater feat than to suddenly shock them. And that anxiety is left with them for a much longer period than the bang which simply exists in the moment of its happening.

We’ve chosen to work with the clips that have a little bit of a dip as opposed to a direct and clear pathway as we zoom into my face. Robin mentioned that the dip was more suspenseful as the viewer cannot totally predict where the camera will end. Initially I thought it would be effect that the camera movement was so predictable because it was a subtle technique, however, I’ve come to realize that I can be more liberal with that movement and it could enhance the suspense.

Meanwhile we are experiment with alternative soundtracks and their cohesiveness with the pacing of the camera movement…

After my discussion with Robin today I’ve realized that you can’t just stop once you’ve had a mental blockage. This may be a little on the philosophical side but you never stop learning in life. Likewise, I think it’s all too arrogant to believe we have fulfilled all of the knowledge about a particular thing. I’ve already chucked out the idea of montage as a component within my shot; focusing on the movement of my tracking shot for suspense. However I did not recognize the possibility of such suspense through an entire lack of movement of the camera. Robin mentioned this – and it really resonated with me- that everyone thinks of the long take as a movement shot. Why so? Perhaps we fear the still shot. Do we fear the fact that everything is cut so quickly nowadays that we’ve trained our minds to only perceive film through a lens of camera movement… ? Robin suggested I try to experiment with this. I agree as I think a great push for inspiration lies in the simple process of comparison and juxtaposition. What I mean by that is if you are trying out a certain technique, try to invert that technique and analyze the comparisons… they may just inspire you that little bit more…

“There is no terror in the bang, only in the anticipation of it.” – Alfred Hitchcock

What does the long take offer suspense that the montage may not? What if we let the long take simply exist? What if we were to devote our attention to the movement and pacing of the take and what it is trying to evoke in us?

So I’ve been thinking and thinking and thinking… what am I meant to learn from my exercise? What’s the next step. And that’s when it hit me….what I learn is whatever I want to learn..what I choose to do next is entirely up to me to decide. It won’t reveal itself and suddenly illuminate my mind…I foolishly thought that when developing this concept… I assumed I would film this project and have the perfect inspiration for what to do next.

I needed a direction. I wanted to understand what the long take means to me. I think I ignored a very important factor, that is: the soundtrack. Throughout this semester I’ve come to realise how much I am passionate about creating a soundtrack that synthesizes with the visual information to produce an atmosphere as opposed to a clearly defined narrative. So this is my next step. I am continuing to experiment with the soundtrack. I know I came into this semester with a proposal about the transition from innocence to insanity, however I want to turn my attention now to the ‘suspense’ genre. I want to see the limits I can push with different paced soundtracks in conjunction with the same long take. Since I have approximately 20 takes to choose from I am experimenting with the different takes as each take has slightly different pacing.

The take Linked here experiments with a new eerie track, focusing on suspense building up to a climactic/sudden cut to black as accentuated by the soundtrack accompanying. We experimented with filter colours on the outskirts of the frame, suggesting something is dangerously enclosing in on the girl (presenting her as vulnerable for most of the long take).

Last Friday I had decided I would use LED panels for my project but after consideration and some research into the advantages and disadvantages of alternative film lights I’ve decided it best to use a Blonde (2000w) because it still has great strength when diffused so that I can establish that warm lighting that I intended on.

The drive behind the warm lighting choice is that this location should feel like home and thematically it makes sense that the lighting be warm so as to literally accentuate the figurative warmth of the home environment. I will also have a red and a blue gel so as to slightly alter the colour temperature depending on the natural lighting on Saturday.

Below I’ve written a basic pros/cons list including the Red Head, Blonde and the 2k Fresnel :

Red head

• Advantages – Strong, good if you have a smaller space because it doesn’t have wide projection.
• Disadvantages – because it doesn’t have a wide projection it wouldn’t function well as a fill light in a room. Even if you were to diffuse it using a white board the light would be too soft (particularly for the warmth I want to achieve).

Blonde – 2000w – it’s very hard but you can diffuse it

• Advantages – stronger than red head (2000w vs. 800w), therefore when diffused still has a powerful effect. I can put a blue gel on it to cool it down (full, half, quarter)
• Disadvantages – you need a power circuit, just need to ensure nothing else is plugged in

2k Fresnel with lens

• Advantages – still strong output, clean beam of light
• Disadvantages – has a lens so its not the same output as the Blondie, extremely hot, high power requirement

Today’s epiphany: Each film light has advantages and disadvantages and its so important to recognise the difference between them so as to choose the correct light for your particular project. Also, its important to remember that you can do so much more with the lights than you initially think at face value. For instance, you could diffuse the light using boards on a c-stand. Synonymously, you could completely reflect the light off a wall if it is too strong. You could use gels to change up the temperature. I guess what I’m saying is that the basics include choosing the light you want. Then, if need be,  narrow down exactly what it is you want using the extra elements such as the boards or gels….

🙂

I’ve attached a few photos so as to elaborate on the location/set of my project.  As previously mentioned we are filming in my living room. This particular room is the most elegant room in my house, you know, that one you can’t enter unless the queen visits. For this reason and many others i think it is the perfect location.

Firstly, it’s dimensions are :  4m x 2.5 m  with a  height of 2.75 m (meaning it is long enough to get a decent tracking shot and high enough to fit the crane above the dolly and tripod)

Secondly, the design/colour palette: the room looks homey and even with the natural lighting of the day has a warm tone of colours including cream, green, yellow, red etc. The wide cream coloured couch perfectly contrasts with the red dress I will be wearing so as to emphasise the subject of the frame. The lighter shade of green that drowns the background curtains frames the couch symmetrically, with one lamp on each side of the frame. There’s a subtle eeriness about this. It is almost too symmetrical. I am reminded again of Wes Anderson’s work where his symmetry in fact works to also emphasise the elusiveness of the world within the frame. I want to achieve the same effect but so subtly so that in hindsight, after the scene is viewed, the audience can look back and realise everything seemed too perfect .

Thirdly: Logically, we are in the middle of autumn therefore to  film outside is a risk I am not willing to take. For this particular project I want the comfort of knowing I can manipulate the extraneous variables more easily so that I can focus on my particular goal. Here the lighting is much more in my hands. I am ensure the dolly and the tracks are on dry ground (if wet the tracks could move, more dangerous for equipment and those holding it).

Last Friday I got the opportunity to undertake my own exercise as relevant to my upcoming project. Luckily I was assisted by a great group of four. I decided it a great opportunity to trial the use of the tripod on the dolly. Since I didn’t have a crane, I was simply going to attempt a tracking shot however after telling the team about my plan, Polly suggested we lower the tripod as we pan up to mimic the movement of the crane before we track closer to the central subject. GENIUS. I honestly never thought of that. Its great how you can share an Idea with others and they find alternative methods of achieving the same goal. I once heard the saying, “6+3=9… but so does 5+4”. That really stuck with me because their are countless methods of achieving the same objective and the only way to explore which is the most successful is to systematically alternate between methods.

After having attempted the lowering of the tripod I can safely say it does not work for the smoothness I want to achieve. The gradual lowering of the tripod using one person on each leg was difficult because each individual moves at their own pace so the result is a jarring movement that is eliminated by the crane. It’s good, however, that I experienced  this process because it eliminates the possibility of using it for smooth takes.