Wednesday, 21 May 2014

Documenting The Doing #29: My Recurring Dream

This production all began with watching an extremely well executed production that I took a real shining to. My Recurring Dream is a music video directed by André Chocron and produced by Andrea Ottmar.

For this production, we had to recreate the video but put our own stamp on it. This would be a production we completed as a group, but did our own segment in groups of 5-6, and then added together to create one big video. The transitions were the most important feature of the whole video and we had to work around this really well, as they could make or break the whole thing. 


As a class, we had a trip to Mount Edgecombe booked for the Tuesday. Unfortunately, I was unwell so couldn't go on the trip. This is where I would've filmed the 'practice' run of the production. This was to get a rough idea of the filming and production side of the video, in preparation for the real and important shoot we would do the following week. 


Transitions were the key factor during this whole production, as stated before, and this would have been near on impossible to organise between the other groups. Tim, Neil and Billy decided to take control of this and sort us out with what we had to do. The plan was to be in synchronicity with the previous and next groups, as this would ensure smooth transitions from one group's video to another. 

The transition plan between all 10 groups

The following week, we had 3 days to plan, shoot and edit our part of the production. On the Monday, we began the planning. This meant storyboards, floor plans and general discussion about the production we would be completing on the Tuesday. As the weather was a bit hit and miss, we would have to take the destination of the final filming. The planning actually took a lot longer than anticipated. As we weren't really too sure on what we would do, we had to be extremely open minded on how we would shoot our section.

2 x floor plans

The day of the filming consisted of finding a location which ensured we would be inside for the duration of the day, as it was absolutely awful weather. We had been advised to film in the new building which was a light, open space with a lot of windows, meaning we had lots of natural light and big surroundings. I worked with my colleagues Naomi Doddridge, Tanye Chauruka, Chloe Binding and Kim Noot on this particular project. Tanye filmed with a fig-rig, ensuring a stable shot which would then be much easier to edit. Myself, Naomi and Chloe threw paper aeroplanes, and Kim was the blindfold holder which would be one of two key transitions to link us to the previous group. 

Our two transitions featured a black out, which was the blindfold, and the Iron Brew drink. This would be the start and finish of our segment which ensures that our part of the production would be in synchronicity with the previous and next segments. 

Transitions from group 7 > 8, and group 8 > 9

The editing process of this video was a challenge as I wanted to exceed the expectations and remain in synchronicity with the soundtrack. We had no choice about the sound, we had to use the My Recurring Dream song which was used in the original video (directed by André Chocron). During the editing process, I used a number of effects such as colour balance and adjusted the brightness and contrast. As we all filmed in different locations with extremely different lighting, I wanted to ensure the lighting for all of the shots was roughly the same. I understood it wouldn't be exact, but by dimming some segments and lightening others, I believe I matched them up to the best I could. 


We also used a number of film burns which gave it that little extra depth that we needed. For some shots, they began to get quite shaky in the sense that it was almost hard to watch. Instead of just cross-fading the cut clips, I decided to add a film burn to mix the edit around and make it a little unique. 

Flash burn with groups 2 and 4

After a number of cross fades and flash burns, it came to the end of the clips and this meant I had to fill about 1 minutes worth of song. After debating for about half an hour as to whether to do ending credits, I decided to do something I'd never done before and did a slight mix up within the edit. This can be seen at 0.15, 0.54, 2.37 and 3.25 mins. I'm not too sure what you would call it, but it added about 5 seconds each to the whole video. I reversed the video for a split second, so it duplicated the clip which meant you watched a segment twice. I thought this was quite a quirky feature and made it quite enjoyable to watch. 

The only confusing part about this production was the concept of the filming. As we were trying to make it supernatural make it unique, we would film the footage moving backwards. With this, when we edited it to make it go forwards, it would make it look like the objects within the video look like they were moving in an impossible way. My personal favourite was the segment at from 0.59 - 1.07. I really like the way the glasses and tie look, and thought this was a really clever way. Well done to Matt, Charlie, Sam, Seth, Joe and Jay for this! 

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In a sense, this was one of my most favourite productions for this whole assignment. My favourite part of this was the editing, as I really felt like I could go to town with it and experiment with Adobe Premier Pro with lighting, colour balance and reverse technology that then put my own spin on the final edit. I really hope we do another project like this in the second year, as I enjoyed the editing process on this.


Cheerio. :o)

- Olivia.

Monday, 12 May 2014

Critique: My Recurring Dream

My Recurring Dream is a music video directed by André Chocron. André is a Norwegian video director, who began with a dream to be a musician, but later changed to a music video director when he realised the talent that lye beneath him. 

This production is a series of dizzy tracking shots that employ a ton of different techniques (time lapse, backwards film). It also shows some fantastic scenes of underwater dancers, apocalyptic landscapes, skateboard commutes and mysterious women on trains. It's got that 'virtual insanity' sensibility - hypnotic enough to keep you glued.


This music video has a number of incredible transitions from one scene to another which keeps the audience guessing on what will happen next. It draws the viewer in with a number of random yet fascinating features, which personally, I have never seen in a music video before. It's such a simple concept, yet so effective.



My Recurring Dream - Cold Mailman

The video begins with a long shot of a hospital corridor, which leaves us with a cold atmosphere due to the blue and grey tones in the shot. This sets the scene of the whole production which then begins to develop the mood of the production in the sense that no other video has done before. 

There are many different destinations in this production as a whole which targets audiences of all ages. I really like the concept of the video as it creates a simplistic look with one shot scenes, yet the transitions make it very professional and sleek. There are many scenes in which Chocron reversed the sequence in post production, meaning the camera is moving forwards, but everything in shot is moving backwards. 


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"The narrative is just free imagination, visual ideas I’ve wanted to do for a long time, and stuff I came up with while listening to the song. Matching the energy and the beat of the song is something I’m very concerned with in general, and especially on this one." - André Chocron


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There is a particular feature that I read during an interview with director André Chocron that fascinated me in a sense that I didn't think it would. André stated that he didn't use a green screen at all during this production. "Everything was shot on location! I'm not very fond of green screens, at least not when it's just an easy way out." I really like his honesty here, and how everything we saw in the production was real. Music videos and movies in general all seem to have computer generated images these days and it's really great to see a production that doesn't have all of the over-rated stuff that supposedly makes videos good.

The title of this video also interlocks with the concept. There are a number of recurring features and scenes that are in synchronicity with each other that are discreetly under wraps. The scene in which the older woman, dressed in yellow, is on the train is intertwining with the scene that appears later on in the video, and this is the scene in which the younger girl is running through the hospital. The shot of the older woman shows she is trapped, and therefore the younger girl is running away.

Throughout this video we see a number of absolutely incredible transitions that I have never seen before in any video. It's such a simplistic design yet the outcome is perfect, and the transitions are the main focus of the video. My favourite transition is approximately 54 seconds into the video. The instant switch from the stairs on the actors t-shirt, to actual stairs, was an absolutely incredible switch and I think this is the most complexed of all the transitions.

Transition from t-shirt design to real stairs

The shot in which the camera is slowly moving downwards towards the bottom of the stairs is a really simple yet amazing shot. The slight movement of people in the background gives it that little extra depth. I can only imagine the production behind this segment, as it would've had to have been a camera dolly-like piece of machinery to create such a steady flow of the movement. It has inspired me to try something like this at some point in the future.

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On the whole, this music video was one of my most enjoyable videos to watch and review. The concept was so simple, and the transitions were so effective. They were the epitome of the whole music video and I really believe that it should be given a lot more credit in the film and movie-making industry.


Cheerio. :o)

- Olivia.
 

Wednesday, 7 May 2014

Documenting The Doing #28: Foley

Production number 28 was well underway, and taking into consideration that we only had 1 day to plan and record this, I think we did quite well. Myself and fellow colleagues; Matthew Jury, Naomi Doddridge, Chloe Binding and Sam Shaw were all in a group together.

Our task was to recreate a scene from a given film, however only using sound. Foley was the key inspiration here and we had to use everyday objects to produce sounds which matched the scene from the 1979 hit film Alien. Our scene consisted of 2 main characters that appeared to have been in a ship which had crashed, hence the volume of sheer panic and catastrophic events.

Firstly, we had to create a Gantt Chart, which would make our lives a lot easier when it came to recording the sounds for the final production. A Gantt Chart is a type of bar chart, which was developed by Henry Gantt in the 1910s, that illustrates a project schedule. Gantt Charts illustrate the start and finish dates of the terminal elements and summary elements of a project.

Our Gantt Chart

We used this Gantt Chart to illustrate the specific sounds we would make, how long for and in what order. This made it a lot easier to edit, as it was just a case of matching this up with the footage. Before we began the chart, we watched the clip we were given and tried to think of ideas as to what sounds we could remake with everyday objects.

Foley Sound List

As we only had one day to complete the recordings, we were restricted on time and destinations. When it came to recording, we used Zoom and Boom microphones. In some cases, we used a 'dead cat', which is a fluffy texture that covers the Boom mic that blocks out any background noise, and focuses on the foreground noise that we made closest to the mic. 

We made sounds like with jewellery clanging on metal, heavy breathing, and deodorant spray for the steam/smoke. Taking everyday objects to create the sounds was easier than we thought it would be, as we just continued to find random things to bash together. Looking back, the planning was more work than the actual recording. 


As stated before, as we used the Gantt Chart, is made our lives a whole lot easier when it came to editing. All we really had to do was follow it and make sure it matched up to the original clip we were given which had no sound on. We edited it all together as a group, because if we all followed the charts individually, we would pretty much have the same edit. Each and every one of us did have a specific input during the edit.

If I have the chance to do a Foley production again, I'd like us to be given at least a week to complete it, as I feel we rushed it and it wasn't as good as we thought it would be. We were so restricted on time that we didn't really plan any destinations to record in. I hope we get to experience another Foley production as I'd love to do a longer segment of a film, and maybe a film of our choice.


Cheerio. :o)

- Olivia.


http://en.wikipedia.org/wiki/Gantt_chart - accessed on 2nd-June-2014
http://www.imdb.com/title/tt0078748/ - accessed on 2nd-June-2014

Tuesday, 6 May 2014

Research into Foley

Foley is the reproduction of everyday sound effects that are added to film, video and other media in post-production to enhance audio quality. These reproduced sounds can be anything form the swishing of clothing and footsteps to squeaky doors and breaking glass. The best foley art is so well integrated into a film that it goes unnoticed by the audience. It helps create a sense of reality within a scene. Without these crucial background noises, movies feel unnaturally quiet and uncomfortable.

Foley artists recreate the realistic ambient sounds that the film portrays. The props and sets of a film do not react the same way acoustically as their real life counterparts. Foley sounds are used to enhance the auditory experience of the movie. Foley can also be used to cover up unwanted sounds captured on the set of a movie during filming, such as overflying airplanes or passing traffic.

The man behind the Foley effect was Jack Donovan Foley. Jack was born on 12th April 1891 and died on 9th November 1967. The art of sound began in 1927, when Jack Foley helped turn the film studio's "silent" Show Boat into a full-on musical extravaganza. Because microphones could only pick up on dialogue, Foley had to add in the other sounds later. He projected the film onto a screen and recorded the footsteps, the movement, the props - all in one track. He walked with a cane to create the footsteps of three people.

Jack Donovan Foley

A few years ago, Alex Joseph, one of the country's premier Foley supervisors, stated:

"A Foley artist can be playing a big brute one minute and a cute little girl the next. A footstep is not just a footstep - it can be angry, happy, sad, confused, clumsy, slick, swaggering, light, heavy, wet, dry, young, old, male, female, slutty, sophisticated... The list goes on. It's the performance that gets across the meaning to the viewers. And that performance could only ever come from the human mind."

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Foley has been used in a number of different film genres, but one that stood out for me is Pixar. I came across an interview with Jana Vance and Dennie Thorpe, who were Foley Artists on Pixar's Up

There were many questions within the interview that interested me but one in particular stood out, and this was: "There are a lot of dogs in 'UP'; How did you create their footsteps? Did you shoot feet for the dog stampede?"  I've always had an interest in how animal noises for animated films are created as they obviously have a very particular sound. The sound of a dogs paw is completely different to a normal footstep, but as this film was a stampede as opposed to an individual dog, it was probably a lot easier to blend.

The answer given by Dennie Thorpe was:
"I did Dug, Rotty and the bulldog. The information was that Dug should have NO nails and be friendly and have a soft, padded sound. Rotty and the bulldog could have nails. They weren't supposed to be as friendly - they were supposed to be more menacing. Their body language also creates their emotional qualities and we support that sonically. We did shoot feet for the dog stampede. We shoot those kind of scenes working together in a format where we concentrate on the left side of the screen, then the center, then the right. Depending on the shot, we will also definitely also concentrate on close, medium and far."


The dogs from "UP"

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From a personal experience, I have been lucky enough to have a tour of Media City UK in Salford, Manchester. During this, I was taken to a radio studio in which the staff participate in making realistic noises with everyday objects to create a radio piece. I understand that this isn't pure Foley, but I thought it was really interesting to see all the different lay outs, rooms and objects that create artificial sounds, yet sound like the action being described.

The radio station is more for people that have challenges with sight, so this makes their hearing ability a lot clearer and more sensitive. They can notice a difference in a hose pipe drip of water, and a tap drip. Male footsteps and female footsteps sound a lot different to them, as do things like a metal spoon tapping on a glass rather than a mug. The little everyday things we don't notice, are noticed by so many people, which is a real talent to have I think.

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Rounding up the research of Foley, it's a really unique and simple way of creating layers of sound for a production which may need a helping hand with its soundtrack. Creating sounds with different everyday objects gives a film that naturalistic sound and can be used all around the world.


Cheerio. :o)

- Olivia.