Development by Collaboration

The characters in Absentia showcases six different corners of Melbourne that attempt to highlight six various cultures, lifestyles and ultimately, personas that make up the bulk of the series.

From the bright lights of the city, to the quite serenity of the suburbs, Absentia showcases a versatile backdrop that deploys Melbourne as a unique foreground character in itself that depicts the lives of Jack, Brittany (Jess), Ingrid, Jenny, Max, Thannassis – and Hitch (the linking protagonist).

In effect, the various surroundings that out characters find themselves placed in conjures up common themes such as friendship, love, adversity, loss of identity and finally, the struggle of fitting in – something that most Melbournians and non-Melbournians can relate too.

 

 

 

 

 

 

 

 

 

The Idea – Introduction to the Collaboration

When discussing of an idea when we first met a s group, Paul came up with a  concept  similar to the UK tv series “Skins” of an Anthology Series that could be watched in any order with the viewer still able to understand the concept or the story line no matter what. We eventually drew inspiration from shows such “Orange is the New Black” that utilised the anthology structure.

Moreover, one thing that Melbourne seems to be lacking is having a show that highlights the uniqueness and cultural characteristics of our city –  a market that had not been tapped into yet.

In effect, we all decided that to create a TV series of this particular genre, we would have six or seven different characters from all across Melbourne that would details the various surroundings and environments, with the city being its own persona or if not character in the series.

I than came up with the idea of created a melodrama type series that portrayed 6 different characters from Melbourne who are unexpectedly connected by one mutual friend – a protagonist who is the link in the chain.

Therefore, we have six characters from different walks of life that embody a different part of Melbourne in their own unique way that all connected by a common theme – death.

 

Episode Flame – Max Confrontation with Frank (Dad)

INT. KITCHEN – EARLY MORNING (SUNRISE)

 

Max (18) returns home surprisingly early from a night out in the city after meeting Ingrid. He enters his house, walks into the kitchen and finds he’s father sitting at the table with a cold motionless face.

 

For the first time, Max’s two personalities, his shy usual self his coupled is soon coupled with a relentless amount of rage that bursts out into the open.

 

MAX

Dad.

 

Stunned. Max’s charade has finally come to an end. His father knows the truth.

 

MAX

What are you doing…

 

FRANK (DAD)

Did you think I didn’t know?

 

Frank stands up and moves slowly towards Max until he is toe-to-toe with the teenager.

 

Max looks down at the floor and admits defeat.

 

FRANK (DAD)

After everything I’ve done for you…we’ve done for you!

 

Frank points to Max’s crying mother who quickly peaks her head into the kitchen

 

TRINA (MUM)

Take it easy Frank. He’s just a kid.

 

Frank has reached boiling point – he’s stonewall face is now turning red with a touch venom to it.

 

FRANK (DAD)

Don’t tell me to take it easy; he’s been doing this for months now behind our back and for what?

 

He (Frank) turns and shoves Max into the wall.

 

FRANK (DAD)

You were never like this; you were a happy, kind, polite kid with the world at your feet. We gave you everything. Everything! And this is how your repay us. By going out every weekend, destroying your body, your life, your family.

 

 

Frank manages to lower his voice and soon, anger turns to petty.

 

Max is on the floor leaning against the wall with tears pouring down is eyes.

 

FRANK (DAD)

Your nothing now. You’re a nobody. You’re just a scared shitless little kid – a fucking loser.

 

Max stands up and smirks at his father

 

MAX

No dad. I’m not. You always looked down on me, you always put these expectations on me and even when I was doing well, you laughed and told me to do better. You never once said ‘well done son’ or ‘we’re proud of you kid’, it was always the opposite.

 

Max starts walking towards his father with rage.

 

MAX

You know I’m happy you found out this way. Because every single time I left this house, it was in spite of you. I was never good enough for you and I will never fulfill your expectations of me. And that’s okay. Because for the first time ever I don’t care what you think. I’m done trying to please you and everyone around me.

 

Max starts slowly walking backwards towards the front door.

 

MAX

You were right dad. I know I’m not perfect but stop thinking that I have to be do be a somebody…

 

 

For the firs time he had stood up to his dad and finally had the balls to walk away from his demanding father.

 

The scene ends with Max leaving through the front door, walking down the street towards the park bench – Max is now at the cross roads of his young adolescent life.

Thanassis – The Car Scene

https://drive.google.com/a/student.rmit.edu.au/file/d/0B3zoMAe7VUGLOVRrdVpzQWNxQUE/view

I had the task of filming and editing the car scene from the Thanassis episode where the protagonist is greeted at the airport by his son Manuel (33). The pair than proceed towards the car where the monologue begins.

To ensure a similar setting to a car, we used the editing suites to pot ray the pair in the vehicle.

The first shot saw the camera out of the car, with a side angle shot of Thanassis and Manuel. this almost allows the viewers to become the onlooker which is enhanced by the voices partially being heard. However, in the editing process, i managed to mute the voices of pair to enhance this effect.

The second and Third shot showcased to low angle front on shots that attempt to highlight the grief and sadness of the pair. this is soon coupled with a a medium-front shot of the pair in the car. i drew inspiration from other car scenes that used this particular shot such as “On the Waterfront” and even “Rain Man”. In its simplest form, viewers witness two characters away from every one else driving looking past the camera.

in the climax of the scene, i than began to utilise the close up shot of both characters. firstly, a 45 degree angle close up of Thanassis that was soon followed up by a close-up of the Manuel. this attempted to exemplify the pain that the pair are enduring in this difficult time in their lives.

Nevertheless, there are a few things i could have done better pre and post filming. the variety of shots seemed limited whilst i would’ve liked to of added a panning shot of Manuel in the final shot.

In addiiton, the colour grading technique is another method i should have used to acknowledge the isolation of the two characters and the darkness (sadness) that lingers in their lives.

 

Absentia (Flame – MAxy’s Final Scene w/ Hitch

Max’s Final Scene w/ Hitch

 

BY Julian DI Nezza

 

INT. Park bench – morning (sunrise)

 

The final scene of the episode sees Max sitting at a park bench staring into the flame of the lighter that Hitch gave to him. In effect, Max endures two flashbacks – his first and last encounters with Hitch.

 

MAX stares deeply into the light of the flame, flicking it on and off where he remembers when and where he was given the lighter.

 

FLASHBACK – FIRST ENCOUNTER WITH HITCH

 

INT. SCHOOL YARD (RECESS) – 2 years earlier

 

Max is having a cigarette behind a wall at the back of the school – he’s ‘secret hideout’ where discovers him.

 

Hitch walks by an accidently sees Max – Max is startled

 

HITCH

Oh, sorry! Don’t mind me, I wont say anything

MAX

Thanks I guess…

HITCH

Do you mind if I join ya?

MAX

Yeh why not

MAX is trying to figure out the situation – new kid (Hitch) at school trying to find his way looking bright eyed and positive in his new surroundings.

 

MAX

I would offer you one but I have seemed to of misplaced by lighter

 

 

HITCH

Oh no need, I don’t smoke…but I’ve got this cool lighter that you could use?

 

 

HTICH gives MAX the silver 1960’s looking lighter that has the initials J.L in the bottom right corner of it.

 

The lighter impresses MAX.

 

 

MAX

Ah. Sick lighter… what was your name again?

HITCH

My family calls me Hitch. You?

MAX

Max.

HITCH

Pleasure.

They shake hands and smile at one another and the shot than fades back to Max sitting on the park bench – taking us back to the present day.

 

 

MAX looks at the lighter and stares at the initial J.L.

 

MAX has another flashback only this time it was from a week earlier – the last time he saw HITCH.

 

INT. walking down chapel street (morning), Max bumps into HITCH by pure chance – MAX has rarely seen HITCH at school and briefly catches up with him

 

 

 

MAX

Hitch! Long time no see; what’s been happening mate

 

HITCH, pleased to see MAX yet seems to be down again.

 

HITCH

Same old Maxy, just taking it day by day my friend.

 

MAX

 

Haven’t seen you around school lately, everything all good?

 

HITCH

 

Yeh I guess so… just been dealing with a few things from home, that’s all

 

HITCH gives MAX a rye smile and than looks to the pavement.

 

HITCH has just finished a session with INGRID – unaware to MAX.

 

He changes the subject.

 

HITCH

 

Still up to your usual ‘adventures’ Maxy.

 

MAX

 

Yeh just finished up a session now, I’m just about to head to a house party now, wanna join me?

 

HITCH

 

Nah, maybe another time mate

 

MAX notices HITCH isn’t his usual self – something he can relate too.

 

MAX

 

Is everything alright HITCH?

You seem a bit…

 

HITCH

 

Down?

 

MAX

 

Possibly.

 

MAX proceeds to give HITCH a frown.

 

MAX

 

You know if you ever…

 

HITCH

 

Ill be fine Maxy, just got some things to figure out first – but I should be right.

 

Take care of yourself mate

 

MAX gives a fake laugh and smiles at HITCH as he turns and walks the other way

 

 

MAX

 

Hey HITCH (yells out), that lighter you gave me – what does J.L stand for?

 

HITCH smiles.

 

HITCH

 

I have no idea; a kid from my old school gave it to me as a gift.

 

MAX

 

Oh Yeh. What did he say?

 

HITCH

 

Never got the chance, he died a few days later…

 

With a somber look, the pair give a rye smile at one another go their separate ways.

 

 

BLACK FADE OUT.

Week 12 Consultation –

Last week in the consult Stacy had the idea of doing the presentation (which is 15 minutes) as almost a kind of production pitch -selling our package, complete with casting details, location information, details of script development, table read-throughs etc

* We need to sell the uniqueness of our project – highlighting the particular design of our storytelling structure – how our characters relate – (which means concentrating and refining the hitch connection) – how each character has their own unique identity and location – how the show will be watched and experienced. 

* Cast (hypothetically) each of the roles – again, this is a good way of visualising our work – and creating an appearance of industry proficiency.

* We should present a title sequence, or some kind of video identity that serves as a title sequence – it should really sell our story, our characters and their individual locations. We discussed the idea of each sequence having a personalised modification that illustrates the centred character.

* The table read through will be an important part of the presentation – in a way it will physically embody our written words (and it will help fill some of the 15 minutes). Since our project is very much writing based, a table read through that is recorded and edited into segments is a good way to visualise the structure and style of our stories.

* The look book will need to be thought out – how will we visualise our stories? in what form will this materialise in the final presentation (stills?, video?) ?

* Paul mentioned that we should each search for some (copyright free or creative commons) music that we think is appropriate for the series and our characters. It could be something that we might even intergrate into the presentation?

– the music can be different to each character highlighting the uniqueness of each individual.

e.g. the environment Max is confronted with (nightclub scene) is a more deep-house techno that can be at the backdrop of the episode that also highlights an integral cultural aspect of Melbourne.

 

Colour Grading Techniques –

Colour grading is the process of altering and enhancing the colour of a motion picture, video image, or still image either electronically, photo-chemically or digitally. The photo-chemical process is also referred to as color-timing and is typically performed at a photographic laboratory.
Colour grading can be a useful technique in editing process that has the potential to portray a different image that is foreseen in the filming production phase.By changing the colour of a shot, the editor can portray a character or a scene in a different light – enhancing its overall effect and changing the ‘tone’ of the sequence.
https://static1.squarespace.com/static/5005b47424ac8599045698aa/5006e98be4b0ee36c46746d1/53d5bb40e4b0b557d6aa8697/1419218510823/?format=1000w
When editing the ‘car scene’ from the Thanassis episode, i utilised the colour grading technique and made the foreground of the shots dark than they previously were. I was able to portray to characters secluded in a confined space and away from the general public. the darkness also represented grief and sorrow considering that both the character were experiencing the the death of Hitch.

Key Board Shortcuts –

Learning keyboard shortcuts on Adobe Premiere is an essential part to making post-production process easier. The following short cuts have helped me during the editing process that have ultimately become essential for me understanding and developing my editing skills wight the use of Premiere Pro.

~ key toggles the full screen of the window that is selected.

Ctrl + ~ keys toggle the full screen of the video playback

HOME key brings progress line to start, END key to last clip (never came across these as I don’t have these keys on my personal computer)

I haven’t had to deal with large amounts of footage before that is consistent with documentary filmmaking;

the M key marks key points of an imported clip, making it easier for the editor to sort through the footage. These marked areas can then be labelled separately to the actual clip title.

 

Max – “Flame”

 

Max is the eccentric member of the group. Loyal to his friends yet always has the desire to prove him when in their company. 
His public life is merely a facade that intends to camouflage all the problems he faces at home including he’s fluctuating relationship with his father and his nurturing mother. As the eldest of 3 kids, the pressure is on Max to perform well a school, a task that he constantly battles to control where he turns to the Melbourne nightlife to run away from his problems. Hence, parties and drugs are a way to bury he’s inner demons. In effect, Max develops two different circles of friends – the ones he sees out at night and his school fiends, two sides from two different ends of Max’s personality. However, his newfound link with 5 strangers unexpectedly begins to change his perspective of himself as he attempts to battle his anxiety and depression in a whole new manner.

 

The episode is called ‘Flame’ – a metaphor referring to the old lighter given to Max by Hitch. The first scene shows Max sitting at a Park bench in the early hours of the morning after a long night out clubbing with his so called “night crawlers”. Viewers see Max flicking the lighter, staring at the bright flame that seems to be fading away.

 

We are taken back 24 hours where Max wakes up, gets out of bed and gets ready for school. He wakes up and finds he’s mum making breakfast for his younger brother. His dad walks into the room gazing at Max’s appearance, belittling him in front of his family. At home he is shy and timid and that resonates at school in front of his mates – lost in his own little world. Even though he does well at school there’s always that voice in his head saying ‘he is not good enough’ – a trait passed down by his dad.

 

At school, he subtly continues to ask his friends on joining him on a so-called “adventure” later on that night yet he already knows the answer to the question – they emphatically decline the offer with the intent of staying home and studying on a Friday night.

 

Once again, Max tiptoes down the stares and goes out the back door of the house where he will soon make his trek on a train from the suburbs to the city alone with no one by his side. There he will meet the “night crawlers” and begin their escapades in the early hours of the morning – changing his personality overnight into someone totally different – eccentric, loud and always living on the edge.

 

Only this time, Max is at the bar ordering a drink and he sees an unfamiliar face. It’s Ingrid. Not knowing that the pair is both mutual friends of Hitch, they begin to tell each other their problems that continue to engulf their lives. Ingrid, a psychologist, begins to comfort Max and tells him of a story of a patient she currently is dealing with who shares the same problems as Max (the patient is in fact Hitch). She details her struggles to “understand his problems” and at some points, she feels that she is “letting him down” – resulting to her to draw to alcohol as a form of “medication”.

 

After talking to Ingrid for over an hour, Max begins to return home earlier than expected. As he walks through the door, the light turns on and it’s his father sitting at the kitchen table. He begins to berate Max waking up the whole house in the meantime. For the first time Max responds in kind where he’s shy nature is overrun by anger and hate as he unleashes on his father “for never being there for him when it mattered most”.

 

Max storms out of the house and that’s where the scene returns to our protagonist sitting at the park bench. As he stares into the flame of the lighter, Max has come tot the realization that something has to change. Either he continues down a path of destroying himself and everyone around him, or he mends the broken bridges that stop him from finding out what he truly wants in life.

 

Initiative Post

Recently, I had stumbled across one of sports documentaries finest films entitled “Thrilla in Manila” that details the iconic bout between world heavyweight champion Muhammad Ali and challenger Joe Frazier – a fight that took both men to brink of death that ultimately led to the demise of their careers. 32 years after the fight, HBO takes a look back at two men who changed the world and the sport of boxing with recounts from members of both camps including Joe Frazier himself. The opening shots provide viewers of the Philippine Coliseum that once held the bout where today it showcases Cockfights. With the jungle music heard in the background, this acts as an analogy for viewers as the Ali and Frazier are compared to two animals fighting to the death with one interviewee saying, “its an animalistic quality where we want to see two people fight it out, wars are fought that way”. Dubbed “the greatest fight of the 20th century”, this war between two gladiators had spawned on bad blood, racial politics of the 1970s and shear hatred towards each other that left Frazier seeking to destroy Ali at any cost – even death. Moreover, as the intro concludes, we are taken to the world of Frazier today, to the ghettos of Philadelphia where he owns he’s own gym and resides only next door. With the country guitar playing in the foreground, viewers witness a weary yet cheerful Joe who’s just about to start work for the day. What the documentary brings up is the distant fortunes that the duo have today. Ali, who has earned roughly $50 million post his career his substantially higher than Frazier “who is living in a room above a gym” (Hauser). This is almost a cruel blow for Frazier who undoubtedly was in Ali’s category as one of the greatest yet his life after boxing tells a different tale. “It just shows how America treats its former sporting icons, some are recorded a special status and others a largely forgotten”.

 

The film begins to dissect the pair who were once very close and how this fearsome rivalry had come about. Ali, who was stripped of the title after refusing to head to Vietnam in a time of war, was exiled for three years that allowed Frazier to take the mantle of champion of the world. In effect, to ensure that their were no doubters of Frazier’s reign as champion, he was more than happy to set the fight up for the foreseeable future and even went as far as helping Ali get his boxing license back.

 

However, Ali did not return the favor in kind and began a tirade of abuse on Frazier that lasted until the conclusion of Manila. What the film does well is showcasing the ferocity of both men and how Manila staged a spectacle of blood and guts, the will and win, and whatever it takes to ensure not only victory, but also respect – something Frazier finally received after years of animosity.

 

In the end, the brutality that both men endured still haunts the pair today but their comrades as well. The moment where they both deserved to “to go forth into the sunset” had passed where Joe still resented Ali more than thirty years after the bout – a sad end to two of sports most courageous warriors.