https://vimeo.com/92111688

The greatest challenge in filming the Lenny was the time constraint. Despite the scarce 20 minutes of shooting time, we still managed to complete the shoot – kudos to the good team effort and cooperation of the actors. I think that this is a good exercise for us as a newly formed production team, as well as for us as individuals to get to know each other’s flaws and strengths. The end result of our Lenny has provided us with some good insight into our implementations for the upcoming short film.

In the lighting lecture, I learnt that electrical power and output are very important factors for lighting. As lighting plays a major role in films, it is crucial that suitable lights are used for optimal filming ambience. However, different lights have different power requirements and it is important that we bear in mind that our set can accommodate them.

I was fairly fascinated with how lighting opens up so many aesthetic prospects of a subject. With the quality of equipment that we are provided with, it can provide a great boost to the visual element of our film. What excites me more is that how easily this can be achieved!

 

From the week 4 lecture describe at least two reasons why we ‘shoot to edit’?

First off, the ‘shoot to edit’ process is imperative in providing the editor maximum control during postproduction.

Although the types of shots may be imposed during preproduction, filming similar shots with different angles during the shoot may provide producers with more flexibility in the ways the want the film to be presented. Some of these shots may have better frame, angle, action, or even dialogue.

In the tute we screened a short film called Rolling – a film made in Film-TV1 a few years ago.  In 300 words or less describe what you thought worked or didn’t. At this stage we don’t expect you to have a great deal of film knowledge or language. Don’t be afraid to use your own words. Things you could talk about – script, casting, timing, camera movement, location. You may not remember much detail, if so, it could be helpful to talk about your first impressions, after all this is what most of us are left with after one viewing.

I felt that the film in it’s entirety was great. It had a simple and solid plot, it was witty, it was well executed. Most of all, it was genuine. I love the fact that the story is in reverse chronological order, where they show the end first. I was engaged from the start. The script was brilliant, and having an exceptional cast (guy) to complement it just makes it perfect. One thing that did not stand out to me was the female lead. The male lead overshadowed her throughout the film, which did not lead to the ‘spark’ between them that I was expecting. The cinematography was slightly clumsy as some scenes were not framed properly, and subjects were sometimes out of focus. I feel that it is fairly difficult to film a short in just 2 confined locations, and Rolling was able to pull it off. Overall, it was a good short.

Select from one of the readings, up to but not including Week 5, and briefly describe two points that you have taken from it. Points that excite you, something that was completely new to you.

According to Week 3’s reading, Creating the Sound Design, Alten proposed that listening is perceiving sound with careful and responsive discrimination. I find it very relatable as I feel that sound, like all senses, if not paid specific attention, is subconscious stimuli. In my opinion, good sound design is sound that captures the attention the audience. It is not to be assumed that all sound in a film is ‘picked up’ by a listener, as a single prevailing sound might capture the listener’s attention and every other accompanying sound is just blocked out. I think films with brilliant sound design are the ones that are able to truly captivate me.

He also said that it is pivotal to use the correct type of microphone. Pitch, tempo, dynamics, etc, are all crucial elements in sound recording. In relation to the first point, listening may be selective, but the microphone is not selective. Therefore, I think it is important that we take a careful approach towards sound design – picking up what you ACTUALLY want.

In the film Clown Train how does sound contribute to the atmosphere of this film? Describe what you heard? Can you make reference to another genre film and how they utilise sound to create tension and a unique filmic space?

The soundscape of Clown Train has undeniably played a big part of the film, as it successfully generates an eerie and uncanny atmosphere. The constant rattling of the air-conditioner and frequent sounds of flickering lights creates an unsettling mood and has contributed much to the entire atmosphere. The 30-second intro was exemplary as it provided significant build up to the setting of the film. The drum audio that is played along with the abrupt shots of the clown gave it much more character. The constant percussions and music gave it a really sinister undertone.

The clown reminded me of the Joker in The Dark Knight, who had outstanding dark humor and ominous characteristics. Although really incomparable with the immense budget and setting of the Hollywood blockbuster and outstanding acting of the late Heath Ledger, the setting and tension portrayed in Clown Train came in good comparison. The constant utilization of build-up music to immense climaxes in The Dark Knight was what I really thought could be applied to Clown Train and make it a much more captivating performance.

In the Week 1 reading, he says,

“The content of the story told on film will be shaped by the medium itself.”

I get my ideas from all sorts of “unimaginable” areas. Some are bizarre, some are ‘normal’, but when put on specific mediums, they are sometimes perceived as a radically different idea and piece from what was originally proposed.

She also mentions that ideas for a film could be anything, and ultimately a plot or structure has to be constituted for that idea, but they do not necessarily have to be starting points. I find myself subjugated to a ‘system’ whereby I brainstorm, and I write the script or screenplay. Plunkett’s fine examples show exactly how do you actually ‘get’ an idea.

“I am God.”
When these words were projected, I was fairly fascinated. It is true that beauty is in the eye of the beholder, but I believe that it is my job to ensure that this beauty is shared. To be a screenwriter is to be god, to be the creator of your own world, to be able to realise and construct a dreamscape – full of possibilities.
I have always wanted to convey my views and perspectives of beauty through lens and film, and I believe that screenwriting is the pillar of all of it.

Upon arriving at Melbourne, my intentions were to acquire a degree and get a job – very typical. I completed Broadcast Media last summer, which reignited my passion for film making. I registered for Film/TV 1 without any further hesitation, hoping that this course will propel me further on the course of creative film making – which is, so far so good. I have always been searching for people that share my vision and passion for film making, I have met some people in and out of university who are so dedicated to their passion and work, it truly inspires me. Hopefully in the near future, I will be able to find or even form my own production team.

There were muffled sounds of drawers banging across the hallway.

“Have you seen my phone?” yelled dad.

“Of course,” I thought to myself.

Seconds later he barged into my room, he lost his phone again. He always had this annoying habit of misplacing belongings at time of need.

“Can you ring my phone, son?” he asked.

He did this so often that there was once I almost vowed to never respond to his pleads. But then again, he is my dad.

I sighed. I grabbed my phone, scrolled through my contacts to ‘Dad’, and gave it a ring.

“I’m calling your number now.”

He left the room and I could hear him slowly walking down the hallway. I have this habit of putting my phone to my ear whenever I am making calls, even if the person I am calling is nearby. I just disliked the loudspeaker function. I listened. There was a decent amount of ringing until finally, dad picked up the phone.

“Found it. It was in the basement. Come see what I found.”

“Just a second, dad.”

The call ended.

I stood up, and just when I approached my room door, my father entered the room again.

“What did you want me to see in the basement?”

His concerned look was now a confused one.

“The basement? That door’s been locked for years. Where’s my phone?”

 

-End-