Archive for January, 2011

EVALUATION QUESTION 1 & Evaluative reference material

Posted in Uncategorized on January 16, 2011 by elvinhqegs

Iv decided to be original. I know how sick to the back teeth you must get of reading evaluations, so here’s me using new media representation of my evaluation questions. 🙂
It’ll be just like having me right by you for a chat!

Combined with the odd paragraph and picture…

The lesson that followed the viewing of all our films saw the return of our surveys, we have spent this lesson sifting through all of our sheets (all 24 of them!!!) and I have wacked all the data into pie charts using open office (with a little help from photoshop for decorative purposes). Here it is, the feed back from Upper and Lower 6th students, including Mr Grant & Miss Hughes.

In what ways does your media product use, develop or challenge forms and conventions of real media products?

Visually we have drawn parallels from the film ‘Hunger’, its execrable presence on screen is one that appealed to us greatly despite me only being aware of the film  following the seemingly original concept I had for our own opening primarily. The stagnant, dark imagery creates an instant tone, nothing is clean or fresh. The man centrally framed is semi naked, unshaven and alone. As shown pictorially above we have conformed to this vulnerable imagery seen in Hunger.

The second real media product that our film opening has developed is Harry Brown by Daniel Barber. Here is the opening credits to Harry Brown.

We took from this, the structural element, in the way that the calm and stillness of the credits put emphasis on the visual dissonance previous to them.

Through the collation of comments left on our survey for Honey, the positive feedback we received summarised to say: the effects that we used to optimise the efficiency of colours, sound and imagery built tension and were mostly visually and aurally coherent (however, one individual thought it was perhaps over-edited, and another thought the coloured shots of the hands and the eyes detracted from the overall desired dull aesthetic); 100% of people asked stated that the order of the shots, actual footage and pace of the two minutes portrayed a definitive film genre; 100% of people also stated that Honey‘s representation of a particular social group – abused minors with ambiguous nationality – was completely evident; our created set was commented to be “authentic”; suppositions were made to condense the ident to a few seconds rather than ten seconds (but, our research showed that generally idents are around 10-13 seconds in duration); and although the emotive response was definite – unhinging and disoriented – the distinction between Horror genre and Thriller genre was not, perhaps due to a deliberate complete lack of plot.


Honey

Posted in Uncategorized on January 12, 2011 by elvinhqegs

http://www.youtube.com/watch?v=cTBY9VA8WAI

After all the fun, the stress (not much), from being stood in nothing but a thin pair of cloth pants that were too small for me in Andys garage at the end of November to being sat here in my warm bedroom having completed the sound with the help from my wonderful new computer (MacBook Pro 13″) looking back at a finished product! aahhhh, lovely jubbly!

Right suppose I ought to actually do some proper blogging, now the film its self is out the way, and tell you how i did it all…. Huff, where to start. 😦 Crickey.

MUSIC!

Posted in Uncategorized on January 11, 2011 by elvinhqegs

I’d just like to do a little “sub blog” in this space if I could, please. Thanks.

For Christmas I was lucky enough to receive a MacBook Pro 13″, in case your wandering, I did pay for it mostly myself. Any hooo, I got stuck right in there and had a fiddle with imovie and all the rest of it (I’ve also recently gone through a period of serious chess playing against my Mac in the hope that one day I will be triumphant over it) and whilst taking the pilot run with garage band I found myself gradually constructing parts, samples and sounds towards a soundtrack for Honey. My knowledge and fluidity around Garage band expanded ten-fold by the hour and from the beginning- Dec 27th, to the finished product (which in my own eyes at the time was nothing more than a mock of ideas pieced together)- 29th Dec I had discovered hundreds more sounds and samples in the process. Anyway I’ll talk you through it as best i can with some pretty little pictures to aid your learning 🙂

P.S. Go Mac! You’ll never go back! (honest)

————————————- * ————————————-

GARAGE BAND!

(to be continued…)

the editing proccess.

Posted in Uncategorized on January 11, 2011 by elvinhqegs


I created our ident through the use of Photoshop CS5 and Final Cut Express, the original image was in fact found through a google image search, however, I have gone on to manipulate it in such away to reinforce the originality of the group. The production company – Andrew Helmervin Productions – we decided, needed to be established as a production company that particularly position themselves within the very genre and style of this film, therefore it shows that this production company wouldnt produce jolly fairytales and love stories, we clearly set our selves out as a company that deal in these slightly disturbing and close to the bone films. I used the innocent appearance of a child to portray our way of turning things on its side and not being scared of presenting gritty themes and ideas in our films, the single image of the child is changed and developed from its original state to then its eyes glazed or sewn shut- I used the spot healing brush in photoshop to drag skin tones over the eyes, then to a darker, sinister, possessed image that flashes in sync with the non-diegetic scream, and final to the production company logo that jitters and blips enforcing the uneasy, unnerving feel in our audience leaving them not particularly knowing what to expect. I used the wire frame on the image in final cut to bring the still image closer and back again creating the blips throughout the clip.

Once the ident was complete and our very first clip was decided on we left the computer and sat down and had a discussion on the order of events, we had already spent a while sifting through all our footage and it was CRUCIAL that the two minutes played through in an order the optimised its effect on the audience, because a lot of our footage was similar, all in one confined space, one scene, the same props the same two actors- who’s faces we barely ever see, every shot needed to be choreographed into an order that worked and that kept the viewers mind away from the idea that everything was so similar to make sure you felt captivated by it and not bored! Part of this decision came down to the order of the credits and the title of the film. The order in which we wanted the credits were sketched and noted down on paper show here-

The order we wanted them in and why we wanted them in that order was a fine, important detail also keeping in mind the fact that the introduction of Henry in the two minutes would be a part of intensity in the sequence so his title would be specifically positioned two thirds of the way through, small aspects of the film such as this were regularly debated and mapped out intricately. We previously did various research into the order of credits in existing films one of which being Se7en just to see who were listed first and where abouts the actors names were positioned within the credit order.

In Final Cut I predominantly took the reigns following Chris’ self confessed incapability with computers and software in general. Andy tried his hand now and again but more than anything I was merely the groups hands, the ideas and insructions were being fed into me, in each ear and my hand on the mouse would make it happen. With no changing scenes, introduction of new characters, new settings, my description of the editing process will most probably sound dull. The group and I discovered a new best friend relatively early on in the process-

“Dip to colour” became a transitional favourite for Andrew Helmervin and saw us through a lot of hard times, i’d just like to take this moment to thank it for all it did towards the vast success that Honey has gone on to obtain.

On a serious note, for what ever reason, perhaps the colour and darkness in our shots, dip to colour provided us with great subtle and seamless transitions from clip to clip, and along with my other little friend-

Vignette, if you are not already aware does this to a shot or an image-

Although a very gawky example, vignette, I think, gives quite a professional look to low light images with the levels manipulated to up the contrast slightly, followed by a tweak with the RGB balance just to get everything looking as good as it can do with the grainy texture that comes with shooting dark shots.

Examples of where I’ve taken shots and separated them and altered each of their colour balances for effect is the flashing sequence following Henry’s credit.

When integrating credits into our two minutes I made another little friend that allowed me to make text imported from photoshop transparent completely, to expose the scene behind it through a black screen. “Chroma keyer” was in fact introduced to me by a dear, close friend Mr. Bevan John Morris – an experienced, superior media student who had enjoyed its benefits many a time in the past (Y).

In Photoshop I opened a new canvas and selected “Film & Video” (because thats what its for, i’m making a film :))

making sure that the dimmensions were correct to be compatible with Final Cut I opened the new canvas.

The guidelines shown in the PS canvas help me to make sure I keep everything within the shot and that nothing gets chopped off the edges.

I used the bucket tool to fill the canvas in black and then the text tool to type my text over the black backgound.

I selected a bright, vivid green to type in so that Final Cut would have the best possible chance of highlighting the colours I wanted rid of (green) and the contrast between the two colours will allow this 🙂

Here is the chroma keyer tool in final cut

I widen the measure focussed on the green area in the top bar to allow the tool to extract as wider tone of green as possible so that no bright green pixels or anything show up in the credits of our final film… ha. That wouldn’t be great. Then I would bring the saturation level right down the far end leaving the lighter measure where it is and finally open up the luma levels completely allowing the tool to extract all light and dark shades of the colour selected, again to make everything is clean and crisp and therefore effective as it can be .