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I have learned a lot about lighting and organisation throughout this process. I have learned about the various stages of pre-production and how important they are for things to run smoothly on the day of filming. Although I still have a lot more to learn, I am more confident with sound equipment than I was at the beginning of the module. I have also learned new editing techniques (especially sound and colour correction) this semester. I look forward to further enhancing these skills in future projects and next year.

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Here are a few examples of shots that I colour corrected.

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I made story boards based on the shot list.

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Here are a few examples of shots that I decided to shorten and my reasons for doing so.

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Here are a few examples of shots that I decided to crop and my reasons for doing so.

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Here are a few examples of shots that I didn't use in my final edit and my reasons for doing so.

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Here are the various continuity mistakes that I noticed when editing.

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I realised that there was a template on blackboard during reading week (week 6) when I printed out the story board templates. Although both shot lists mostly contain the same information, there are a few differences so I have included both. The other shot list contains more information on lighting and the placement of both the camera and lighting equipment.

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Tonilea's moodboards (I had no part in making these)

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From conversations with Tonilea and her mood boards, I knew that she wanted two distinct atmospheres throughout the short film: a cold one and a warm one. She wanted the warm atmosphere to be glowy like a dream.

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Although I had my flatmates authorisation to film in my student accommodation apartment, I made a sign so that they would be aware of which room we were filming in (kitchen or bedroom) at any time.

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FEEDBACK ON MY ROUGH CUT

I was first made aware of a few jump cuts throughout my edit. I also noticed a problem with Debra's text messages: I had used stills which wouldn't fill the frame without distorting the image. I was advised to adjust the volume throughout the edit (especially the dialogue). I also asked about the 'sh' sound and how to get rid of it. I learned that I could use the 'reduce noise' setting. However, this may reduce the reverb and make the dialogue sound unnatural. To fix this problem, I can use the 'reduce reverb' setting.

EDITING

I didn't have time to go through the sound but I fixed the jump cuts and the problem with Debra's text messages (I used the shots instead of stills).

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Unfortunately, the computers in the production edit suite wouldn't work. I used this time to update my padlet.

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FINAL FEEDBACK ON MY EDIT

I was told that my dialogue was too quiet and that it needs to fluctuate around -18dB and -12dB. I was also advised to add music. I was then advised to use white balance when colour correcting.

EDITING

I adjusted the volume of the dialogue and the rest of the sound accordingly. I then colour corrected my edit using the white balance and basic colour correcting menu. I also stabilised and sharpened some of the shots. I cut out anything that I had previously missed. Finally, I added music to my final cut and exported it.

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FINISHING MY FINAL CUT

After being given the final feedback during session 1, I set about correcting the sound and colour correcting my edit. I also stabilised and sharpened some of the shots. I then cut out anything that l didn't want in my final cut. I finished off my edit by adding some music. I used a comical soundtrack to enhance to comical aspect of the short film and Chris' performance.

FINISHING MY ASSESSMENT

I went through my pre-production documents and padlet to make sure that I hadn't forgotten anything before submitting my assessment.

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Although we originally wanted to take a feminist perspective, it didn't work out. The initial idea was reductive because we had reduced women's roles to being a mother and housewife. We also relied on gender stereotypes for both David and Debra. Although the addition of a period reinforced the comical aspects of the short film, it didn't help the feminist aspects. In the end, Chris' performance was very successful in terms of comedy. However, the exaggeration in his performance and the addition of a period reinforce the hysterical stereotype associated with women in general and women on their periods. In the end, we've created a comedy and a satirical short film but not a feminist one.

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EDITING SOUND

There were two main issues with the sound: first, the volume was inconsistent (especially the dialogue); second, there was a 'sh' sound in certain clips because the gain was too high on the first day of filming. Between sessions 1 and 2, I went through my edit adjusting the volume of the dialogue, sound effects, and room tone. I then tried to get rid of the 'sh' sound throughout my edit by using the 'reduce noise' and 'reduce reverb' settings.

CREATING A FINAL CUT

After session 2, I added an intro and credits to my edit. I will do colour correction and add music next week.

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ASSEMBLING A ROUGH CUT

I assembled a rough cut in between both sessions this week. I only had time to synchronise my footage during the first session.

STARTING TO EDIT

After the second session, I started experimenting with L and J cuts which I found made certain scenes more fluid. I also started experimenting with different effects such as 'fade to black' when David falls asleep at the end of scene 8. I then cropped out anything unwanted throughout the edit.

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Week 9 Session 2 - Types of cuts and transitions

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Week 9 Session 2 - Types of cuts and transitions

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DIFFERENT CUTS

When you move directly from one shot to another, it's called a standard cut. It's the most common cut. When you hear dialogue that introduces the upcoming sequence, it's called an J cut. When the audio from a preceding scene carries over the image of the following scene, it's called an L cut. L and J cuts can be used to create a natural rhythm between scenes with dialogue, allow narration over montage, open or close a scene, enable flashbacks, and suggest thoughts of a character.

DIFFERENT TRANSITIONS

Fade to black usually signals a change in time and/or space where there is no connection between the scene that has just ended, and the scene that is starting. On the other hand, a dissolve draws attention to the connection between the scene that has just ended and the scene that is beginning.

EDITING

With this in mind, I started to experiment with transitions. I found the L and J cuts especially helpful in creating a smooth and natural rhythm to my edit. I also used a fade to black when David falls asleep between scene 6 shots 6A and 6B and scenes 9 and 10.

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Week 9 Session 1 - Premiere tech skills recap

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Week 9 Session 1 - Premiere tech skills recap

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BASIC EDITING TECHNIQUES RECAP

As I transferred all of the footage to my crew members, we were given a recap on how to use premiere pro (importing and organising footage, synchronising and linking/merging clips, and how to use various other features).

STARTING MY EDIT

I imported my footage and organised it all into bins. I then synchronised and merged my footage and sound.

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OVERVIEW

Although a few of our crew members were ill, we managed to reshoot everything that we had decided to reshoot. I also got a little experience producing since I was in charge of the clapperboard and keeping track of the shots. I would be interested in this role in future projects since I enjoyed the organisation aspect of it.

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Reshoots - Reviewing and labelling footage

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Reshoots - Reviewing and labelling footage

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I kept the SD cards again to label, review, and organise the footage. We had fixed all of the problems but scene 2 shots 2D and 2F had Isabel's feet in them. Sene 10 shot 10A also had some continuity mistakes (the jumpers on the shelf shouldn't be there and the picture is missing on the bedroom door). I communicated with my crew and we decided that we would each crop them out in post-production.

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Filming day 1 - Reviewing and labelling footage

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Filming day 1 - Reviewing and labelling footage

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All of the equipment, SD cards, and props were left at my student accommodation after filming so I looked over and downloaded the footage. The bathroom scene (scene 8 shot 8A) was too dark, the camera was shaky and shifted out of focus. We also had some problems with the sound. The gain was too high (I looked at the zoom and noticed that it was on 9) so there was a 'sh' sound in the recordings. There were also some noises that sounded like the xlr cable hitting the boom pole at certain points during Debra's dialogue. There were also a few shots that were out of focus and shaky so I told my crew and Tonilea so that she could decide whether she wanted to reshoot any of it. She decided that we would reshoot the bathroom scene and parts of scene 1 again on filming day 2. Unfortunately, we couldn't reshoot any shots featuring Debra since Gemma wasn't available that day.

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PROBLEMS WITH ABSENTEEISM

Tonilea and Aoife were ill so they couldn’t join us. I communicated with Tonilea to make sure that I knew exactly what she wanted us to reshoot. Isabel was in charge of sound (replacing Aoife) and I was in charge of the clapperboard and keeping track of the shots.

FILMING

We met up at 10 a.m. at my student accommodation. Isabel and I picked up the sound equipment, lighting equipment, and clapperboard at 9:30 a.m. I taught her how to use the sound equipment since she had never used it before while waiting for Melissa and Chris to arrive. They arrived at around 10:30 a.m. We got through all of the shots in a few hours with an hour break for lunch.

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REVIEWING FOOTAGE

I went through all of the footage with my crew and Tonilea made a list of which shots we needed to reshoot. Scene 3 shot 3A (the entire scene is one shot) because the camera went out of focus, zoomed in and out, and the door looked dirty (purely aesthetic). Scene 10 shot 10A because the camera was too shaky and shot 10B because there was a spelling mistake in the text message. Scene 2 shot 2A because there wasn't the same sense of urgency than in shot 2B, shot 2D and 2F because there was a continuity mistake with the jumper and Isabel was in shot, and shot 2I because the lighting was different to rest of the scene.

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OVERVIEW

I have learned a lot from this process so far. First of all, I have learned a lot about lighting which I will discuss in the next section. Second, I learned a lot about pre-production and all of the documents which are needed for filming to run smoothly. I have enjoyed making floor plans and story boards as it made me feel more prepared for filming. I also feel like it broke down the task of being responsible for lighting into smaller steps which made it feel more manageable. I have also learned that if I feel there is a miscommunication or a problem with a pre-production document, I should speak up since it could prevent problems further on in the process.

LIGHTING

Overall, I am happy with my first practical role in a project. I feel like I am more confident with lighting than I was at the beginning of the process. I was also pleased to hear that I had managed to create the lighting and atmosphere that the director wanted although I personally felt that it was unrealistic. I have also learned from making mistakes during filming and asking about how to fix these issues for future projects. I didn't like the natural 'shine' created by the rayzr lights in the kitchen. I tried to lower the intensity of the lights, diffuse the lights, and direct them to another surface but it didn't work. I was then told that I could have directed them towards the ceiling to create more natural lighting. I will remember this for future projects. In the same shots, there was an unnatural shadow of our actor (Chris) on the wall. This issue could have also been fixed by directing the light towards the ceiling. Furthermore, du to the second day of filming being unorganised, I couldn't keep track of the lights. We were going back and forth between the bedroom and the kitchen and filming scenes out of order and I noticed afterwards that the lighting was different in two shots from scene 2. A kitchen light was also on when we were filming scene 4. I will make sure in future projects to keep track of the lighting during filming (taking photos of the settings on the lights...).

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Filming day 2 - Reviewing and labelling footage 

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Filming day 2 - Reviewing and labelling footage 

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I was left with the SD cards since I had already downloaded the footage from the first day of filming onto my computer and flash drive. I looked through the footage a first time to label it all according to the clapperboard and Isabel's log sheet that she made during filming. I then looked through all the footage a second time to look for any major issues. I found a few things that I wanted to bring up during the next lecture (week 8 session 1): a few shots were shaky and shifted out of focus, there were also a few continuity mistakes. In the last few scenes we shot, there were two sound recordings for each take. Channels L and R which were connected to a directional attachment on the zoom H6 had been switched on as well as the channel (channel 3) connected to the shotgun microphone we had been using throughout filming. However, there were no issues with the shotgun microphone recordings. I just made sure to label everything thoroughly.

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PROBLEMS WITH THE SCRIPT

When Tonilea sent me photos of her marked-up script, I noticed some issues: scenes carried across multiple locations and time frames (scene 3 covers the car scene and desk scene which take place during the day, and kitchen scene which takes place at dusk), shots with the same numbers (two shots 3C), shots which should be multiple shots (shot 6A covers David falling asleep and waking up), and the delimitation and distinction between the different shots was unclear (no brackets). I had brought these issues up by asking questions (doesn't a scene start when the lication changes?) because I didn't want to overstep and create any tension within the crew. No modifications were made so I marked-up my script, created a shot list, and floor plans based on Tonilea's marked up script as best as I could. However, there were issues and I would be more direct if this situation was to arise in any future project.

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I marked-up my script according to Tonilea's marked-up script.

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I marked-up another script after filming finished so that I could better understand the shots that we ended up filming. I was a little bit lost and wanted to have a script I could refer to when editing. Every shot I mention in this padlet is based on this marked-up script.

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PROBLEMS WITH TIMING

We had arranged to meet up at 2 p.m. Unfortunately, Melissa and Aoife were late again. However, Melissa hadn't come to our radio lesson that morning (10 a.m.-1 p.m.) so we were happy that she had managed to come over to film.

PROBLEMS WITH SCENE 3 SHOT 3A (CAR)

Unfortunately, Thara Jess was very ill that day so we couldn't use her car to film. We didn't have an alternative car to use and we were running out of time so we decided to film David leaving the apartment to take his children to school.

OVERALL PROBLEMS

On the day of filming, Isabel, Tonilea and I went straight to my apartment after our radio lecture (10 a.m. - 1 p.m.). There was already tension because we hadn't managed to film much on Monday, we had to reshoot some shots from Monday, and Melissa wasn't present at that morning's lecture so we didn't know if Melissa would be able to film until she confirmed that she would be able to film around 2 p.m. Everyone arrived and we started filming before 3 p.m. However, we found out about Thara being ill and not being able to use her car which added stress. In a panic, we started filming without thinking about the marked-up script and the shot list enough.This created a big problem in terms of organisation. We were going back and forth between the bedroom and the kitchen and filming scenes out of order. Unfortunately, both Tonilea and Isabel felt guilty for the lack of organisation. Tonilea thought that it was due to her marked-up script whereas Isabel thought that it was due to the schedule. No one got mad at anyone but this situation added tension.

FILMING

We managed to film shots that covered our entire script even though there were many changes to the original script, marked-up script, and shot list. We felt like we respected the overall narrative and the comedic elements were definitely present.

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PROBLEMS WITH TIMING

We had scheduled to meet up at 9:30 a.m. since I needed help picking up the lighting and sound equipment at that time. Isabel helped me with the equipment and Tonilea met up with us soon afterwards. However, no one else showed up for the next hour. Unfortunately, Melissa had slept through her alarm and had missed her camera booking so she didn't arrive until around 11 a.m. Aoife thought that we had said 'come anytime' on the group chat. However, we had said 'come anytime from 9:30', knowing that I was picking up her equipment at that time and knowing that we wanted to start at 10 a.m. She didn't arrive until 10.30-11 a.m. Tonilea, Isabel, and I set up the kitchen and bedroom during that time. I also set up the lighting in the bedroom since we were starting with scenes 1 and 4. Gemma (Debra) was only available that day so our priority were scenes 1 and 4 since she features in them. Gemma arrived around 11 because she has problems getting ready and Chris (David) around 11:30 because he had the times mixed up (he thought we were starting at 12).

PROBLEMS WITH SCHEDULING

There was a mix up the week prior concerning who was supposed to create a filming schedule. Isabel had brought up the schedule in our group chat. However, Tonilea thought that she was supposed to make it. I told them to look at the week 4 slides (I didn't want to overstep because I am on lighting so I hoped to nudge them in to going on blackboard). Isabel had started making a schedule but then stopped thinking that Tonilea was supposed to do it and Tonilea thought that Isabel was going to finish it. We didn't have a schedule the day of filming.

FILMING

We started filming at around 11:40 a.m. We filmed parts of scenes 1, 4, and 5 (bathroom). We finished all of Gemma's scenes and recorded room tone.

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STORY BOARDS

I continued my pre-production tasks by creating some storyboards for each scene based on the shot list.

PROPS AND COSTUMES

I communicated with Isabel to find out about the props and costumes we would need. For costumes, I acquired a frilly apron from Hannah. For props, I had many household items in my apartment already (a toaster, plates, glasses, pens, blankets...). However, I made a powerpoint presentation (Talking About Me by David Thompson) so that David could be working on something at his desk in scene 3. I also found some photos from when I was younger and some illustrations (above) that I could print out and put into picture frames around the bedroom and kitchen. I also purchased bread, cordial (to make fake wine), and glitter the day before filming because Isabel hadn't been able to acquire them in time.

BOOKING SOUND EQUIPMENT

Three days before filming started, Aoife reminded us that she couldn't book out any equipment since she had lost her student ID. I booked out the sound equipment and the clapperboard.

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Pictures to print for The Other Side of the Apron

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I filled in the floor plans that I had previously made based on the shot list. I have included both lighting and camera since they work side by side.

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I created a shot list based on Tonilea and my marked-up script and the decisions we made during the practical research. I completed it during week 5 after session 1 and shared it with my group (on snapchat).

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SHOT LIST

I created a shot list based on Tonilea's and my marked-up script. It includes both lighting and camera since they work side by side. I discussed the camera placement with Melissa during the practical research.

FLOOR PLANS

I filled in the floor plans that I had previously made based on the shot list. It also includes both lighting and camera since they work side by side.

BOOKING EQUIPMENT

I also booked out my equipment for the week of filming. I booked it out for the whole week in case we had any problems and had to film again that week.

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PRACTICAL RESEARCH FEEDBACK

We got feedback on our practical research. We had recorded room tone in which the fridges were loud. We were told that we could switch the fridges off during takes in order to get a cleaner room tone. I asked about the natural 'shine' on the walls. I was told that I could either use a diffuser or angle the light to another surface or to a reflective surface. I also asked about the lighting in the bathroom. Since the lights are automatic, I was told that I could tape bin bags to the ceiling to get rid of the natural light. However, I realised afterwards that I couldn't use a rayzr light because of the lack of space. I decided that I would leave the bathroom lights on and use an aputure light as a fill light.

PLANNING TO SHOOT

We agreed on two dates for filming: Monday the 24th of February and Wednesday the 26th. Christopher Lloyd agreed to play David and Gemma Millard agreed to play Debra (since Kaitlyn Cook could no longer play Debra). However, Gemma is only free on Monday the 24th so we will have to film her scenes on that day. Since we would be using Thara Jess' car, we also agreed on a date with her: she preferred Wednesday the 26th. Unfortunately, we couldn't arrange a time to meet during assessment prep week so we all agreed to stay in touch with the rest of our pre-production and planning.

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After the practical research, I measured my bedroom and bathroom to make a floor plan and shared it with my group.I made it during week 5 after session 1 and shared it with my group (on snapchat).

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After the practical research, I measured my kitchen to make a floor plan and shared it with my group. I made it during week 5 after session 1 and shared it with my group (on snapchat).

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On the same day we did the practical research, Hannah (director for Insight) had booked out a camera and sound equipment to test out independently from her group. We met up at my student accommodation to test out the equipment together. I helped her with lighting and sound (I was supposed to be responsible for sound last semester before I changed groups and took on the role of production assistant). She helped me understand the camera and its various settings.

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Practical Research and Plan Of Action (week 4)

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Practical Research and Plan Of Action (week 4)

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PRACTICAL RESEARCH

Before the practical research, I made a mood board (lighting) to get some inspiration and a better idea of what we want for lighting and marked-up my script according to Tonilea's marked-up script. After the practical research, I made another mood board to summarise the practical research (what I learned, liked, and needed guidance on) and floor plans.

PLAN OF ACTION

We haven't decided on filming dates yet. However, I plan on filling in the floor plans, making a shot list detailing camera and lighting set-ups and requirements for each shot after week 5 session 1 so that I can talk to Tonilea and Melissa about the decisions we made during the practical research about camera and lighting placements.

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Melissa, Aoife, and I met up at my student accommodation. Tonilea joined on a video call (snapchat). We started by reading through the script. I provided scripts and pens for anyone who hadn't printed one out and for anyone who wanted to mark-up their script there and then. We then planned out where the camera and lighting would be in the kitchen. We did the same thing in the bedroom and then in the bathroom. We figured out how to navigate around the small bathroom. The camera can be placed outside the bathroom on a tripod and record through the mirror. The natural lighting in the bathroom won't be enough to light up our actor. However, I can stand next to the toilet and hold up an aputure light without being in shot. In the bedroom and the kitchen, there was an unrealistic 'shine' on the wall which I would like to bring up in next week's (week 5) session (session 1).

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SCRIPT FEEDBACK

Our script was read out and we got some feedback. The main issue is crating a realistic family home setting in student accommodation. We were also reminded of the golden rule for filming the car scene.

PRE-PRODUCTION TASKS (LIGHTING)

Going through the director's marked-up script to establish camera and lighting requirements for each scene and the overall film

Creating and filling in floor plans to work out where the camera and lights will be set up for each scene

Creating storyboards for each scene

Creating a shot list based on the marked-up script to detail camera and lighting set-ups, requirements for each shot

PLANNING OUR PRACTICAL RESEARCH

To get it right on the day, we need to make sure that we know what we are doing on the day and with the equipment. We all booked out the equipment that we needed for our practical research. I booked out lighting equipment, sound equipment (since Aoife has lost her student ID card, she can't book out equipment), and a clapper board. We planned to meet up at my student accommodation (Peel Park Quarter) since we will be filming there. Tonilea marked-up her script and I took photos of it in order to mark-up my script accordingly. We discussed visual style with Melissa to get a better idea of which shots we would need to test on the day of the practical research. I need to make sure I know which settings I am using to create a warm atmosphere and a cold atmosphere when needed. We also have some logistical issues to work out (how to film in my very small bathroom).

PLAN OF ACTION

We each need to create a plan of action for our respective roles.

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SCRIPTWRITING

We communicated through snapchat and Melissa finished writing the script between both sessions in week 3. We also came up with a title for our short film: The Other Side of the Apron.

STATEMENT OF INTENT

We organised a phone call between both sessions in week 3 to write our statement of intent. I scribed. We struggled to figure out what the intended audience was but we settled on men and women in their 20s.

WHAT SKILLS I HAVE AND WANT TO DEVELOP IN ORDER TO ACHIEVE WHAT I WANT IN MY ROLE (LIGHTING)

I haven't worked with lights since our practical session last semester in which we learned about the different lights we have in the equipment store, how to set them up, use the different settings, and some basic techniques (three point lighting technique). I have read through my notes so I have a basic overview. However, I will have to book out some lights to make sure that I remember how to use the different settings and values. I have talked with Tonilea about what kind of atmosphere she wants to portray in general and through the lighting. She hasn't made any mood boards yet but she has mentioned using both warm lighting to create a dreamy atmosphere and contrasting cold lighting. I will make a mood board next week (before the practical research) to have a better understanding of what we're looking for.

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Week 3 Session 2 - Sound Design and Editing

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Week 3 Session 2 - Sound Design and Editing

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THE IMPORTANCE OF SOUND QUALITY

Good sound recording is invisible like good editing. Bad sound recording draws attention to the film making process and disrupts the viewing

TYPICAL PROBLEMS WITH SOUND

weather

external noise (outside the filming environment)

internal noise (inside the filming environment)

Technical issues (gain is too high)

= ALWAYS RECORD ROOM TONE

TYPES OF SOUND

Voice

Music

Sound effects

Sound is either recorded on set or added in post-production (ADR = automated dialogue recording)

SOUND DESIGN

How the three elements (voice, music, and sound effects) are composed

CONTINUITY EDITING

Films are usually shot out of sequence and then reassembled in such a way that events transpire in a coherent and continuous format or narrative. It is the process of preserving temporal and spatial continuity (an illusion of it).

CONTINUITY EDITING TECHNIQUES

ellipsis which is an apparent break in time in the narrative world (narrative world) usually singled by a dissolve, transition, fade to black

diegetic sound that occurs within the narrative world during action being viewed, reminding us that narrative time is ongoing

non-diegetic sound that occurs outside the narrative world, conveying narrative time in temporally questionable cuts

match on action or match cut which is when one shot cuts to another shot portraying the action of the subject in the first shots

DIFFERENT CUTS

standard cut and continuity editing (seamless flow)

jump cut (a jump forwards in time)

match cut (juxtaposition)

cutaway shot (a cutaway from the narrative action before returning to said action)

insert (a close-up that focuses on a specific object, prop, or detail, signalling to the audience that it's important)

cross-cut (cutting between two or more sequences as they progress)

transitions (fade to black, dissolve...)

BASIC EDITING TECHNIQUES

ordering shots (establishing the setting and following the action - leads attention and focus)

cutting in on action (cutting together multiple angles of the same action - focuses attention)

timing (starting 'late' and 'finishing' early)

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This short film is a 5 minute long comedy. We are taking a feminist perspective to shed light on the mental load of women who are expected to take care of a household, children, a husband, and . We will expose this issue through David, a businessman who has woken up in a parallel universe in which he has swapped places with his wife Debra. The audience will follow David as he struggles with his children, household chores, useless partner, and unusual stomach cramps… We are aiming to create a dream-like atmosphere throughout the whole short film. Our crew is made up of women so our inspiration comes from being women in a world in which we are held to a higher standard than men. Our intended audience is men and women in their 20s.

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FEEDBACK

We didn't have a finalised script to present but we talked about locations, actors, props, and costumes. The main issue that was brought up was turning student accommodation into a home. We will have to do a fair amount of set design which needs to be taken into consideration props wise and time wise. The other important issue at hand was filming in a student accommodation bathroom since it is very small.

VISUAL STYLE

In film, visual information is used to tell a story. However, it is also aesthetic since it conveys the 'look' and 'feel' of a film.

FRAME COMPOSISTION

Frame composition = the frame of the image and how elements of mise-en-scène appear in it. We then recalled the differences between static composition (majority of lines are vertical and horizontal = soothing) and dynamic composition (lines are diagonal = unsettling). We then talked about lead room or lead space (the space in front or in the direction of a moving or stationary objects) and the rule of thirds (the intersections of the lines are 'points of interest')

FRAMING

We recalled the differences between a single shot, two shot, and three shot. We also mentioned over-shoulder shot OS (places within the world of the shot) and point of view POV shot (seeing through the eyes of the character)

CAMERA SHOT SIZE RECAP

When filming people, shot size is determined by the amount of the person shown in shot. We went through the different shot sizes: extreme close-up ECU or XCU (detail, emphasis, intimacy), close-up CU (top of head to upper chest), medium close-up MCU (just above the head down to midway on torso), medium shot MS (cuts body just above or below waist), long shot LS (entire person plus just above and below the body), extreme long shot ELS or XLS (significant space above and/or below the subject)

CAMERA ANGLES RECAP

We recalled the differences between high-angle (makes subject appear vulnerable) and low-angle (makes subject appear powerful), dutch-angle (creates disorientation), and bird's eye view / overhead shot (creates a sense of scale and movement)

MOVEMENT (OF THE CAMERA)

We recalled the difference between a static shot (no movement), a pan shot (moves side to side from a fixed position), a title shot (moves up and down from a fixed position), and a track shot (attached to a steadicam or dolly and moves with the action)

BASIC SHOOTING TECHNIQUES RECAP

First, we went through the line of action (180° rule). Then, we established the order in which shots are usually taken. We start wide to establish the setting (establishing shot LS, XLS) and the actors or objects involved (MS) and then get closer to examine things (objects, emotions...) (OS, MCU) in more detail

COLOUR

We went through various colours and talked about the different moods and meanings that they each convey.

LIGHTING TECHNIQUES RECAP

We recalled the difference between soft light (wraps around the subject, immersive, diffuses shadows, soft edges) and hard light (contrast between subject and setting, stands out, clear shadows with crisp edges). We then take about the three point lighting technique (key light: main light; fill light: lights subject from a side angle; and back light: lights subject from behind creating a rim around the subject), and the Rembrandt lighting scheme (main light lights subject from a side angle, a reflector is placed the other side of the subject)

MOOD BOARDS

A mood board is a collection of images that convey a specific theme (they can be made for scenes, locations, characters, costumes, or productions as a whole)

STATEMENT OF INTENT

A statement of intent (or director's statement) is a written description that presents the motive and vision behind making a particular film. It is used in proposals for producers or finances, in press materials for film festival programers, journalists, or critics. It must include: the basic story premise, technical details (length, format), genre, purpose (what you want to do with film and where it will be seen), intended audience, genesis of the idea (what inspired it), theme, and vision (visual style, aesthetic choices)

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Final script - 'The Other Side of the Apron'

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Final script - 'The Other Side of the Apron'

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We met up for the first time in week 2 to start writing our script. Melissa took on the responsibility of scribing. We then continued to communicate via Snapchat and Melissa finished the script in week 3 (after our first session). We chose to call our short film The Other Side of the Apron.

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The Other Side of the Apron final script

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I created another mood board based on our practical research. Overall, I feel more confident in using the lighting equipment. I've highlighted what I liked and some problems that I would like to bring up in next week's (week 5) session (session 1).

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The Other Side of the Apron Mood board (lighting)

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The Other Side of the Apron Mood board (lighting)

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I created a mood board to get some inspiration and a better idea of what we want for lighting. Tonilea approved.

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Inspiration - Je ne suis pas un homme facile (Eléonore Pourrriat, 2018)

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Inspiration - Je ne suis pas un homme facile (Eléonore Pourrriat, 2018)

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I discovered this film a few years ago and told my crew about it since it covers some similar themes to our short film. A man has an accident and wakes up in a world dominated by women. The power dynamics and social norms have been inverted. The protagonist is stripped of his male privilege and struggles to adapt to this new world in which his voice is ignored and mocked. He must also learn how to shave, put makeup on, and wear skirts and heals. It is an eye opening comedy since the viewer gets used to this world and when the protagonist and the viewer eventually go back to living in the real world, the social norms we have all internalised feel unusual. This still is from the opening scene in which Damien (the protagonist) recalls a memory in which he wore a dress to impress a girl and was subsequently mocked for it. I like the dreamy atmosphere created by the warm lights. I would like to replicate this in our short film since it creates a (false) sense of comfort and security.

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Debra is a 30 year old primary school teacher. She works part time now that she is the mother of two children. She often wears a dress and trainers to work. She is well put together but less obsessive over her appearance than her husband. She is well-organised and never forgets anything that is said to her. She is kind and nurturing, she always loves being around children.

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SYNOPSIS

We arranged a phone call before our first lesson in week two to write our synopsis. I scribed.

CHARACTER DESCRIPTIONS

During the first lesson in week two, we wrote our character descriptions.

SCRIPTWRITING

We met up before our second lesson in week 2 to start writing our script. Melissa was the scribe.

SCRIPT BREAKDOWN

We didn't start breaking down the script. However, we did start talking about actors, locations, props, and costumes. We decided that we would ask Christopher Lloyd to play David and Kaitlyn Cook to play Debra. We would use my room and kitchen (student accommodation - Peel Park Quarter) and Thara Jess' car as locations. We started listing props that we would need to make student accommodation look like a home (kids' drawings, cushions, blankets, fridge magnets...) and costumes (a frilly apron, a business suit for Debra..)

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ROLES

We first decided on our roles which are the following:

Director - Tonilea

Producer - Isabel

Camera - Melissa

Lighting - Eve

Sound - Aoife

THEMES AND GENRES

We created a group on snapchat and started talking about our ideas, themes, and genres. We are an all female group and want to take a feminist perspective. Most of us personally enjoy darker genres and themes so we wanted to expose the scary side of being a woman. However, two of our crew members don't enjoy dark narratives and we want to cater for everyone so we decided to expose some of the double standards that exist in today's society between men and women. We then decided to expose the mental load carried by women who are expected to take care of all of the household chores (especially when they become mothers).

NARRATIVE

We decided that our main character would be man who wakes up in an alternate universe in which he has swapped places with his wife. He must take care of the house and kids while his wife goes to work. We want it to be a comedy.

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Week 2 Session 2 - The Roles of the Director and the Producer

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Week 2 Session 2 - The Roles of the Director and the Producer

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THE DIFFERENCE BETWEEN A DIRECTOR AND A PRODUCER

A producer is concerned with the logistics of filmmaking whereas a director is concerned with the creative aspects of a production. However, their roles can overlap. A good relationship between them is important.

THE ROLE OF THE DIRECTOR

marking up the script based on the director's vision: deciding on shot types/angles, establishing mise-en-scène (everything that appears in a frame:the actors/characters involved, costumes, props, setting/staging, lighting, and camera need to be taken into consideration), and then turning it into a shooting script (a detailed script for shooting)

making mood boards and storyboards

making a shot list (in shooting order)

making floor-plans (simple and effective)

working with actors (in auditions, in rehearsals, and on set)

THE ROLE OF THE PRODUCER

creating script breakdowns (identifying props, costumes, hair and make-up, locations, set design, actions)

scouting and securing locations

securing release/consent forms for actors and locations

securing equipment (camera, clapper board, sound, and lighting)

completing the risk assessment

budgeting (equipment, travel, food/drink, location costs, costume and props)

creating a shooting schedule

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Week 2 Session 1 - Screenwriting and Character Descriptions

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Week 2 Session 1 - Screenwriting and Character Descriptions

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SYNOPSIS FEEDBACK

We read out our synopsis and got some feedback. The main logistical issue would be the representation of children. However, we had already decided that we would only include their voices. We were also warned about feminist messages which could sometimes come across as misogynist. We will take this into consideration throughout the screenwriting, character development, and overall planning.

CHARACTERS

We will have to include as few characters as possible since we don't have enough screen time to introduce many. We need to create brief descriptions which create a clear mental image, without too much detail. Show don't tell.

SCREENWRITING

Scripts include all the audio, visual, action, and dialogue elements needed to tell a story. Characters, backstories, dialogue, and locations must be kept to a minimum. Start on action, show don't tell, and less is more. 1 page of script = 1 minute of film time. The structure should be simple: a beginning, a middle, and an end.

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David is a 30 year old business man who works in the stock market. He has good posture and always makes sure to be well groomed. He often wears a blue suit to work. He is hard working and looks forward to his next promotion. He is level-headed, proud, and set in his ways. His wife and children are his pride and joy, they are the reason he works so hard.

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David, a stern businessman, wakes up one morning and finds himself in an alternate universe where stereotypical gender roles have been swapped. After a condescending goodbye, his wife leaves for work wearing a grey suit like the ones David would usually wear. She has left him alone with three feral children to get ready for school, a household to run, and a part time job. Throughout the day, he is constantly distracted by phone calls from his wife and his children’s school while experiencing funny stomach cramps. Once he finishes work, he sets about doing various household chores. He stops to make dinner before picking the children up from school but there is no food in the cupboards. He leaves to go to the shops. Later, he’s making dinner when his wife comes home from work. They realise that he has forgotten to pick the children up from school. She patronisingly offers to pick them up for him. Later, he is putting his children’s drawings away and accidentally gets glitter on his face. He goes to bed, exhausted. The next morning, his wife, wearing a robe, greets him with his morning coffee. Thinking he is back in the real world, he offers to get the children ready for school. David notices that he is still experiencing cramps. He goes to the bathroom and notices that he has a period. He looks up and notices that he still has glitter on his face from the previous day. He gets up and screams, realising that he is stuck in this new reality.

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DEVELOPING A STORY

Story development is taking an idea and turning it into a fully-formed screenplay or pitch. You need to think about characters, structure, logistics, story type, underlying themes, and genre to develop a story.

DEVELOPING A CHARACTER

When developing a character, we must think about what is important to them, if they are integral to the main plot of the story or a supporting character, what is special about them, how we want the viewer to connect and react to them, and how they interact with the world around them and what that says about them as a person.

CHARCATER DESCRIPTIONS

A character description should help you understand the connection between what a character looks like and their position in the world. It must stimulate the reader's imagination should enable anyone to picture the character clearly.

STORY TYPES

We learned about the different story types (the seven basic plots, Blake Snyder's ten basic plots, and the different types of conflict).

THEMES, STRUCTURE, AND GENRES

The theme is the film's unifying concept. A theme evokes a universal human experience. Narrative based short films follow the same 3 act structure (act 1: beginning, act 2: middle, and act 3: end). We also listed the many different genres that exist.

BEATS

A beat is a moment that propels the story forward and compels the viewer to take stock of what could happen next. Beats include events, realisations, resolutions, and interactions. A beat sheet identifies the key important and emotional moments in a story (opening image, introduction, catalyst, low point, climax, and finale).

THE TREATMENT PACKAGE

A treatment package presents the story idea of a film before writing the entire script. It is used to pitch ideas to studios, financiers, and talent. This includes the title, logline, and synopsis.

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Week 1 Session 1 - Understanding Short Films

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Week 1 Session 1 - Understanding Short Films

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INTRODUCTION TO THE MODULE

We learned about the module, assessments, and outcomes. We talked about short films and how they differ from feature films in their form and content. We were also introduced to our fellow crew members. Last semester, I took on the role of a production assistant. I was mostly responsible for organisation and filling in the risk assessment. This semester, I would like to take on a more practical role (lighting, camera, or sound). I am currently leaning towards lighting but my crew and I have not made any final decisions yet. Overall, I am excited to work with new people and learn about their ideas and inspirations. I am also looking forward to creating an original story, having more freedom to experiment, and learning new editing techniques.