The Mountain from TSO Photography on Vimeo.
Monday, 21 November 2011
Sunday, 13 November 2011
Storyboarding;
These are the storyboards for my camera & edit exercise, while it doesn't document the whole project, it includes the more complex external sequence, filmed at the Sheffield botanical gardens.
Wednesday, 9 November 2011
Edale Schedule;
EDALE LOCATION SHOOTING STUDY VISIT - SCHEDULE
| WED 26TH OCT | |
| BY 4.00PM | ENSURE YOU HAVE COLLECTED YOUR EQUIPMENT FROM STORES & CHECKED IT. PLEASE BRING AN EQUIPMENT LIST WITH YOU WHEN BOOKING OUT KIT. |
| THURS 27TH OCT | |
| 9.45AM | MEET SHEFFIELD TRAIN STATION BRING: · EQUIPMENT · PLANNING DOCS FOR YOUR SHOOT (treatments, scripts, storyboards, schedules, shot lists, reference materials) · ANY OTHER THINGS YOU REQUIRE FOR YOUR FILM SUCH AS PROPS/MAKE UP/COSTUMES ETC. · FOOD · WATER · APPROPRIATE CLOTHING · TRAIN FARE · MOBILE PHONE · COMPASS · MAP OF THE AREA · ANY ESSENTIAL MEDICATION YOU REQUIRE IF FOR EXAMPLE YOU ARE DIABETIC |
| 10.14AM | TRAIN LEAVES FOR EDALE |
| 10.47AM | ARRIVE EDALE |
| 11.00AM | PRE SHOOT BRIEFING - The Rambler Inn Edale, Hope Valley, Derbyshire S33 7ZA Tel: 01433 670268 E-mail: therambler@dorbiere.co.uk |
| 11.15AM | PRODUCTION OF PROJECTS SUPERVISION TUTORS GROUP A - ESTHER JOHNSON GROUP B - DEBBIE BALLIN GROUP C - DOMINIC GREEN |
| 6.00 PM | MEET WITH STAFF BACK AT THE Ramblers Inn FOR DEBRIEF & POST SHOOT PINT |
| 19.28PM | TRAIN LEAVES FOR SHEFFIELD |
| 20.03PM | ARRIVE SHEFFIELD |
| FRI 28TH OCT | |
| 10.00AM | RETURN CHECKED EQUIPMENT TO STORES |
Portrait of Place; Tutorial
After receiving feedback, it was agreed that our rough cut didn't need to much doing do it. The simplicity of the cuts were thought to enhance the mood of the piece, rather than down grade it.
There was a bit of a dispute on how to get to the final shot of the film, we knew we wanted to keep a symmetrical element by starting and finishing with a shot of our character looking at first where he was headed, then looking back at where he had come. The problem was with the fading day light, come the end of the shooting day we had run out of time to film any more inserts that would help solve the otherwise clumsy transition to the final shot. In the end we decided to include two unplanned cross-fades, while this takes from the simplistic and somewhat bare feel of the film, it made a much better and well rounded ending, not only by solving the problem of a lack of usable footage, but adding to the sense of a passing of time and completion of the journey made by our character.
If anything was learnt from this it would be to always over shoot. Even if at the time that extreme close up of a bush seems a little pointless, you never know when it might come in use.
There was a bit of a dispute on how to get to the final shot of the film, we knew we wanted to keep a symmetrical element by starting and finishing with a shot of our character looking at first where he was headed, then looking back at where he had come. The problem was with the fading day light, come the end of the shooting day we had run out of time to film any more inserts that would help solve the otherwise clumsy transition to the final shot. In the end we decided to include two unplanned cross-fades, while this takes from the simplistic and somewhat bare feel of the film, it made a much better and well rounded ending, not only by solving the problem of a lack of usable footage, but adding to the sense of a passing of time and completion of the journey made by our character.
If anything was learnt from this it would be to always over shoot. Even if at the time that extreme close up of a bush seems a little pointless, you never know when it might come in use.
Squarepusher - Come on my Selector (Directed & Edited by Chris Cunningham)
Like a lot of Cunningham's work the use of editing really sets his stuff apart from others. Usually partnered heavily with music, he manages to bring to life the non-dietetic sounds and turn them into an integral part of his films. Obviously being the official music video its was important the piece be relevant to the soundtrack, however whats inspiring is the way that the images match up so perfectly and arguably artistically with the sounds.
All his work, be it in partnership (as it often is) with Aphex Twin or Bjork, he always seems to be able to capture the essence of the song in his films, a feat that your average 'chart song' video desperately lacks.
Like a lot of Cunningham's work the use of editing really sets his stuff apart from others. Usually partnered heavily with music, he manages to bring to life the non-dietetic sounds and turn them into an integral part of his films. Obviously being the official music video its was important the piece be relevant to the soundtrack, however whats inspiring is the way that the images match up so perfectly and arguably artistically with the sounds.
All his work, be it in partnership (as it often is) with Aphex Twin or Bjork, he always seems to be able to capture the essence of the song in his films, a feat that your average 'chart song' video desperately lacks.
Edale Shot List;
As neither me or George had been to Edale before, although the research had been useful, we still had to use a bit of guess work when coming up with a shot list. The following are just starting points on which to elaborate when actually there and able to see what we had to work with.
Long Shots:
Shots of the natural landscape, the hills, fields, far away villages/grouped houses. Both with and without our character moving through them.
Mid shots:
Character moving through a verity of scenes (Progressing further into wilderness). Streams, woodland, country lanes, wildlife
Close up's & extreme close up's:
(For use as inserts) Stone walls, foliage, water or any interesting natural textures.
Two shots that we know we would want to capture were a couple of over the shoulder perspectives, looking firstly up at the hills and then secondly a similar shot, looking back down from atop a hill at the village our character has traveled from. These will be our opening and closing shots, used to express the idea of a journey.
Long Shots:
Shots of the natural landscape, the hills, fields, far away villages/grouped houses. Both with and without our character moving through them.
Mid shots:
Character moving through a verity of scenes (Progressing further into wilderness). Streams, woodland, country lanes, wildlife
Close up's & extreme close up's:
(For use as inserts) Stone walls, foliage, water or any interesting natural textures.
Two shots that we know we would want to capture were a couple of over the shoulder perspectives, looking firstly up at the hills and then secondly a similar shot, looking back down from atop a hill at the village our character has traveled from. These will be our opening and closing shots, used to express the idea of a journey.
Tuesday, 8 November 2011
Portrait of Place
The aim of this piece of work was to work in pairs in producing a three minute, silent film. To be shot in the peak district, its main purpose was to explore and portray the space in which we were filming. While the main focus of the work should be on interpreting the landscape, the use of characters or individuals within this could be used also.
Me and my partner chose to create an experimental piece with a narrative thread in the form of a person moving through their environment, starting their journey in the village (civilization) and ending atop one of the peaks (wilderness). We thought this a good method to further illustrative the wildness and seclusion of the peak district. While the idea of silence may in other projects hinder the emotive response, we felt in this case, due to our want to portray the landscape as plainly and honestly as possible, silence wouldn't distract from the imagery of the landscape and actually enhance the sensation of isolation.
Research:
As neither of us had ever been to Edale we thought it necessary to do a little research into what surrounds we would find ourself's in once we arrive. A simple google map search of the area proved very valuable and gave us a pretty clear view of what type of terrain we would encounter. Due to growing up very close to Dartmoor in Devon, (a landscape very similar to the Yorkshire Dales) I was well aware of the limitations as well as opportunities for shooting.
The official Edale website (www.edale-valley.co.uk) was also very useful in planning our shoot. Like Google, it gave us a better idea of what to expect when we arrived to start filming and helped plan for certain shots, such as wide's of the rural landscape.
Before going to shoot in Edale, we thought it best to have a look at similar pieces for creative inspiration. While the two videos are vastly different in the landscapes they portray, the way they are filmed are very similar and very relevant to the my own project.
Afghanistan – touch down in flight from Augustin Pictures on Vimeo.
Dartmoor - Philip Bloom Comp from James Watson on Vimeo.
Me and my partner chose to create an experimental piece with a narrative thread in the form of a person moving through their environment, starting their journey in the village (civilization) and ending atop one of the peaks (wilderness). We thought this a good method to further illustrative the wildness and seclusion of the peak district. While the idea of silence may in other projects hinder the emotive response, we felt in this case, due to our want to portray the landscape as plainly and honestly as possible, silence wouldn't distract from the imagery of the landscape and actually enhance the sensation of isolation.
Research:
As neither of us had ever been to Edale we thought it necessary to do a little research into what surrounds we would find ourself's in once we arrive. A simple google map search of the area proved very valuable and gave us a pretty clear view of what type of terrain we would encounter. Due to growing up very close to Dartmoor in Devon, (a landscape very similar to the Yorkshire Dales) I was well aware of the limitations as well as opportunities for shooting.
The official Edale website (www.edale-valley.co.uk) was also very useful in planning our shoot. Like Google, it gave us a better idea of what to expect when we arrived to start filming and helped plan for certain shots, such as wide's of the rural landscape.
Before going to shoot in Edale, we thought it best to have a look at similar pieces for creative inspiration. While the two videos are vastly different in the landscapes they portray, the way they are filmed are very similar and very relevant to the my own project.
Afghanistan – touch down in flight from Augustin Pictures on Vimeo.
Dartmoor - Philip Bloom Comp from James Watson on Vimeo.
Here is a short film we were shown during university hours, this is what inspired me the most when developing our own ideas. Where as this was filmed over the course of a year and ours only one day i never expected my own work to match anything like this, however its use of editing and coloring is crucial to the feel of the work. A method i hope to apply to my own film.
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