we used this tutorial to learn how we could correctly edit. we used this software because it is an integrated, forward-thinking production environment designed for a new generation of creative professionals. Combining a familiar track-based timeline with hundreds of thoughtful workflow innovations, Vegas Pro 12 is a refreshing, modern approach to post-production. Supporting more formats, more workflows, and more creative control than ever before, Vegas Pro 12 makes it easy to deliver your message and express your artistic vision.
Here is the final and completed titles sequence for your 2 minute film - outgone.
we believe that these where the apporpiate titles for our film because they hit the criteria for the action/thriller film that we were trying to portray. The fire, bullet, and sparks added to th effect and imprint6ed the ideas of action within the audiences mind.
The two title sequences for our short film were both done on Sony Vegas Pro 11, which is a very good and highly rated editing programme. The first one is just a simple fade in and out from different letts spelling out - OUTGONE. Where as the new finalised one has a more action theme towards it as there is a bullet and the crashing of the title at the start with the title (OUTGONE) highlighted in the centre of the scree, adding bullet holes around the title aswell to give it the action feel towards the audience watching it. It is also 3D in a way as it catches the viewers eyes.
These two were made by two completely different tutorials where one of them was on youtube and the other was on a website that I found by typing it in on google.
Overall i am proud of both of these as they all took time to make and shows the progress of the different types of editing used.
The new one will be used in our opening 2 minutes as it gives the audience a more action/thriller/crime effect that will be useful for our film. It also links in with our interrogation scene that we are using for our film, hence that this will give us the effect needed for an action film.
This is just a simple brainstorm/Mind Map of our movie - Outgone. The different colour arrows show what exactly what we are going to use in our film. The Green linking up to the right type of setting/location, Costume, Genre and Extra on what we are going to use/do in our film. The Purple Arrows show the other ideas/possibilities on what we were thinking about using or the setting we were going to use, just before discussing it and then choosing our film idea. The Red Arrows simply just show the different subheadings/sub categories.
We all decided that in our film we are going to be wearing suits, the setting will be in an interrogation room where questions and answers will be asked (action scenes too) and the genre will be Action/Crime.
We have recently decided that we are going to film the rest of the short film on Friday 24th January
Editing has started - Sunday 18th January New Title Sequence and opening titles were made - Tuesday 21st January and was uploaded to the blogs on that day too. Script is still to be finalized and last bits needed to be added in, should be finished by Thursday 23rd January and then ready for the filming on Friday Everything should be completed and uploaded to our blogs, including; Finishing the film, editing and checking for any bloopers etc by Wednesday 29th January - Friday 31st January
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e starting sequence starts with showing the company idents such as Dolby Digital, MGM studios and Columbia. These are shown for recognition and credit for being part of that film. The film then starts its main narration with an establishing shot of the building the sequence is taking place in to tell the audience the location, weather and the time of day at this point. The establishing shot is also accompanied by the place name (Prague) in the bottom left hand corner to indicate to the audience what country they are in. This sequence is in black and white to indicate that its in the past and has already happened. There is no sound at this point apart from ambient sound such as footsteps and the lift door.
There are many enigma codes set at this point such as who is the man entering the building and why is he important? Why is James Bond in the office and why does he kill him?
When in conversation there are flashbacks (within the flashback) to the past. The scene is very white which contrasts the dark black scene in the office.
After the initial narration sequence the films animated title sequence starts. The non-diagetic sound the plays along side this is a real song as there are words. The credits list many names with job titles, they appear in this order: production company, main stars, writer of the book that the film was based on, co-stars, associate producer, sound unit director, costume designer, editor, director of photography, production designer, writer/singer and producer of the song being played along with the director of music for the whole of the film, executive producers and then a repetition of the novel writer. As most films do the credits end with the producer and the director last.
The title sequence is around 4 minutes which is very long compared to most other modern films. I think this is because they wanted to keep the titles the same since the older movies as Casino Royale is now 1 of 23.
In terms of camera work there is a large range of shots.There is an establishing shot of the building where the action is about to take place to indicate to the audience where the characters are to make the narrative easier to understand and follow. There are lots of close ups in the first two minutes on all the characters faces, mostly James and the man who he is accusing of sellling secrets. This is to show emotion as they are clearly in a confrontation and the close ups can give the audience and insight into what the characters are thinking or feeling at that time. Around 1 minute into the sequence, there is a very interesting shot where James and the other man are either side of the shot facing eachother, there is nothing in the middle and you can only just make out where the characters are as there is little light. I think they have used this shot to show that the two characters are the complete opposite of eachother and that one is the hero and one is the villain at the time.
The film opens with a series of shots of panoramic landscape vistas showcasing the bleak desolation of the snowy mountainous surroundings, which will provide the backdrop for the film’s subsequent narrative developments. Various birds’ eye view shots intermittently cross dissolve into one another, and depict an expansive clear blue lake, a snow-capped mountain range, and a densely populated forest of evergreen trees. The camera moves swiftly through its surroundings in each shot, sweeping past the breadth of the natural environs below it, and thus conveys to the audience a sense of the massive scale and large land span of the location depicted.
During the camera’s continual movement, it occasionally captures its views from distorted angles, which undermines the idea otherwise created by this series of shots of the benevolent purity of natural beauty and the wintry American landscape. It thus uses spatial manipulation to contradict the principal connotations of the images of nature captured in these shots, and hence foreshadows the heavy deployment of themes and imagery centred upon the supernatural that will follow.
Also indicative of this theme is the use of slow, sombre, unnerving and deliberate electronic music, which in conjunction with the seemingly oppositional images suggest a malevolence to the surroundings shown and imply an unknown danger amongst them.
Eventually the camera finds a road snaking through an aerial shot of a thickly forested area then picks out and follows a lone car in extreme high angle long shot, making its way along the road. The camera gradually moves increasingly closer maintaining its birds’ eye view position, but also gradually rotates to distort the angle and create a sense of unsettling foreboding in the manner described above. A series of shot changes track the car’s journey and depict a range of different natural backdrops indicating the traversal of time and space. As the camera finally tracks speedily in to a mid shot of the car from behind, revealing it to be a yellow Volkswagen Beetle, credits rise up through the frame from below in blue typeface, and each gives way to the next, departing the frame by rising out of it.
The moving camera overtakes the car and veers away to the left, aerially crossing country before again finding the car and tracking its journey, once again with another series of extreme high angle long shots, while the eeriness of the electronic score continues to aurally unsettle the viewer.
The camera’s point of view eventually shifts to depict an extreme long shot of a remotely located building amongst the mountains, trees and lakes. It slowly circles the building, getting gradually closer. This building is the Overlook Hotel, and will be the yellow car’s final destination, and the principal location for almost all of the film’s subsequent action.
Overall, the opening sequence has been gradually building up to this elaborate establishing shot of the hotel, and has served to highlight its isolation and remoteness and communicate an implication of danger, that the audience should by now have associated with this idyllic yet spectral location and its backdrop.
The opening titles to Fight Club (David Fincher, 1999) provides an excellent example of a sequence that symbolically references aspects of the film to come. This is what a title sequence must do. It should give the spectator clues as to what the film is about and in doing so shape their expectations. These clues are not always overt clues about characters and narrative but are often subtle suggestions regarding theme and mood.
The Fight Club title sequence is constructed of subtle references to themes of identity, deception and physical and psychological instability, all of which are explored in the film. The text itself can be seen to strongly suggest themes of identity. The cast and crew’s identity is displayed to the spectator in the form of titles, however the appearance and movement of these titles can be seen to connote strong ideas of not only identity but more specifically, hidden and fractured identity. In some of the titles there are what appears to be chunks absent from some letters, lines of text overlap each other and the top line of text moves further behind the more prominent, bottom line of text as if becoming hidden from the audience. The text is displayed for a short duration each time before seeming to disintegrate through use of transition that looks as though the text transforms to dust or vapour. The fact that the spectator is not given a lot of time to process the information before the titles disappear alludes to the concept of illusive identity. This is reinforced by the extremely quick presentation (one or two frames, when the film’s title ‘Fight Club’ is introduced on screen)
of a larger, unreadable title card where letters fill most of the frame. This combined with the appearance of white ‘flashes’ throughout the sequence can be read as a prelude to the subliminal flashes of Tyler Durden’s character later in the film ( extremely short duration, missable visual suggestions of his presence).
The other graphics in the sequence connote ideas about the physical structure of the body. Although only suggested until the end of the title sequence, the spectator is viewing matter inside of the main character’s (and narrator’s) body and brain. We seem to be presented with particles, veins, tissue and cells – suggested but not clearly identifiable. Electric currents run through connective synaptic tissue as the camera winds its way through the represented physical environment. This immediate focus on the human body is also a precursor to themes and narrative events: The main character, experiencing severe insomnia, finds comfort in frequenting a number of support groups for sufferers of serious physical diseases such as testicular cancer. Throughout the film the body and its fragility is a focus, particularly shown in the fighting scenes. At the end of the title sequence the spectator is introduced to the main character as the camera reveals an extreme close up of his terrified face. The theme of threat to the human body is further suggested as we see him with a swollen black eye and a gun pointed into his mouth.
The setting within this sequence is an interrogation room and office in the basement of Gotham police station. It is a naturalistic, interior location similar to that of many police dramas and films; dingy, grimy and isolated. The interrogation room has white marked walls, a dirty floor, two way mirrors and fluorescent lights. The only objects in the room are a metal table, two chairs and a lamp. It is a very minimalistic setting, allowing the audience to focus solely on the action and speech that take place. The office is a direct contrast to this; it is cluttered with desks, filing cabinets and papers. Police officers have filled the room, showing their intrigue into the interrogation of the Joker. The textures within both rooms are very harsh, reinforcing the setting as a harsh, official environment. The colours also reinforce this idea, consisting of blacks, greys and browns – a colour scheme seen throughout the film, echoing the colour schemes used in many police dramas and modern attempts at film noir. However the white walls of the interrogation room contrast with other settings, allowing everything to be seen. This could signify that all that is said within that room is truth, or at least appears to be. The colour of the room also contrasts with the characters of Batman (Christian Bale) and the Joker (Heath Ledger), the main characters within this sequence. Batman wears a very black armoured suit whilst the Joker wears his trademark purple and green suit. Both of these costumes stand out against the background of the white walls, demonstrating their comic book origins.
The lighting within the setting allows the audience to connect with the action. The lighting is all electrical, using lamps and fluorescent ceiling lights. The sequence within the interrogation room begins in darkness, with one ceiling light and a lamp lighting the room. At 01:22:13, the audience see Commissioner Gordon’s (Gary Oldman) face half in shadow, signifying that he is hiding something from both the audience and the Joker. In contrast to this the Joker’s face is fully seen, yet altered in the dim lamp light, creating a rather harrowing image; this contrast demonstrates that the Joker is not lying. When Batman enters (01:23:43), the full ceiling of fluorescent lights is lit, allowing the audience to see his presence. It also allows them to see the action and small details within the scene, such as the Joker’s facial expressions and Batman’s sudden change in mood. The full lighting is contrasted by the lighting of the office which remains in lamplight throughout; this could signify that the people within this office are left in the dark as to what is really going on within the interrogation room, signifying their importance within the scene.
Sound is used in a different way, showing the genre of the film or adding depth to a scene. Non-diegetic sound is used to heighten the tension of the sequence and show the changes in mood. At 01:24:47, soft music begins to play, this could show Batman’s train of thought after the Joker’s line, “Don’t talk like one of them, you’re not! Even if you’d like to be.” But it could also show the change in conversation, to idea of civilised society is nothing but a bad joke (01:25:07). This non-diegetic music becomes increasingly loud, but it slows down, insinuating there will be a sudden change in the pace of the scene, ending at 01:25:59, when Batman draws the Joker over the table. The music then becomes a drum beat, like a ticking clock, indicating that time is running out. After the Joker confesses that there are two people missing (01:25:55), this music changes to a high, piercing note. This note is typical of action and also horror films, creating tension between the audience and the action. However this is contrasted with the noises of the Joker, the cracking of his back and his clown-like laugh echo above this non-diegetic sound, highlighting his comical nature even in the face of violence.
The shot composition of this sequence is also important. The open framing of the scene allows the characters to move in and out as they wish, all except the Joker, who seems to be the highest influence of the space. This creates an uneasy atmosphere for the audience as they are unable to identify who controls the situation. There is a voyeuristic nature surrounding this scene, as police officers listen in and watch from outside the interrogation room. However the fact that one of the voyeuristic two-way mirrors is smashed could signify a link between the interrogation room and the office, opening the frame. Yet this link is restricted by Batman placing a chair against the door. This suggests that the frame is controlled, by both Gordon’s security door and Batman’s placement of the chair.
Nolan’s use of camera distance helps the audience perceive the relationships between characters within the situation. Long shots are used to set the scene within the interrogation room, showing Gordon enter the room (01:22:15) and the Joker sitting handcuffed at the table (01:22:18). Medium close-ups are used to show the Joker’s reactions and speech to Gordon, to show that he is not joking. A medium close-up is also used when the full lights are switched on, showing the Joker wince at the sudden change of lighting and Batman standing behind him. This allows the audience to see one step ahead of the action. A long shot is used to demonstrate Batman’s physical dominance, when he punches the Joker’s hand into the table (01:23:51). As the conversation between the two characters continues medium shot/reverse shots are used to allow the audience to read each character’s reaction. This is coupled with a pan around these characters, slowly taking the audience past the back of both Batman and the Joker. This also enhances their experience of the conversation, allowing them to see every point of it. Tracking shots follow the action, the audience become involved following Batman’s every step and punch. This cuts to a reaction shot of the police officers and Gordon, allowing the audience to see that Batman is out of line, letting his emotions take away his self-control. This use of camera distance creates a links between the audience and the action, permitting them to engage with it.
Camera angles are used to influence the audience further, showing the preferred point of view of the scene. Straight angles are used throughout at the eye level of the audience, allowing them to integrate themselves within the scene. High angles are used to demonstrate the physical power held by the characters of Gordon and Batman. Throughout the scene, Batman is viewed from a slightly higher angle than the Joker, telling the audience that he appears to be dominant. The Joker is viewed as inferior, through the use of low angles. The main example of this is when Batman is beating the Joker for answers (01:26:47 – 01:26:59). The audience is positioned on Batman’s right, with his punching hand, limiting the field of vision, looking down upon the Joker, and then switched to a reaction shot of Batman’s face, following the movements of the Joker. These camera angles conflict with the actions and motives of the characters. Batman appears physically dominant, yet the Joker is mentally in control. He dominates the scene, causing Batman to play his game and lose his temper. There is one camera angle that seems out of place within this sequence. At 01:26:11, a tilted camera shot shows the Joker about to rise from the table. This is the only shot like this within the scene, causing the audience to feel disorientated. However, this shot could be seen as at the climax of the action within the scene. Batman has finally lost his temper, causing him to act violently, just as the Joker wanted him to.
Nolan appears to use this sequence to demonstrate the Joker’s intelligence and power with words. Using camera angles that have differing connotations to the action taking place and non-diegetic sound that heightens the tension, Nolan manages to influence the audience to feel the same confusion that Batman and Gordon are feeling. The dominance of character is shifted, showing the audience that both characters are equally matched, creating an intriguing inversion of connotations which causes them to rethink their point of view.
Sunday, 19 January 2014
You still have several incomplete posts where you have not yet uploaded what is missing. Ensure missing work is uploaded.
Focus on completing in the lessons this week: Practise Titles, an Animatic Storyboard and any further Online Tutorials. You can then create a post evaluating your tutorials and experiments on Adobe with the Animatic Storyboard and comment on whether they were useful or not.
Upload a post a day to ensure that you meet the deadline for research and planning on the 27th January.
non diagetic music of a struggle, scene is black with the titles showing. mid paced diagetic music
-henchman removes bag of face
-point of view show of dark room
-jump cut to close up of fairly bruised confused face.
-zooms out to mid shot establishing three character, two henchmen and a victim in the middle.
-shot establishes the surroundings, which is dark and industrial looking.
SAM: w-whats happening? why am i here?
-non diagetic music voice accompanied by footsteps
-maintaining mid shot of three characters.
Avraj: the reason for your being here is due to the consequences of your actions.
-jump cut to point of view shot of feet the feet of the man walking into the room.
- point of view shot of feet slowly pans up to reveal who he is as he continues to walk in.
- shot reverse shot,close up of Sam.
SAM: w-what do you mean my actions?
-shot back to mid shot of man in suit as he removes his jacket and pulls chair opposite Sam.
Avraj: Don't play games with me boy, you are well aware of your actions
-Avraj rolls up sleeves
Avraj: however, if you wish for me to clarify
- grabs sams hand and places it in vice.
Avraj: then i would be glad to make it apparent
-shot reverse shot
Sam: w-who are you?
- shot reverse shot
Avraj: i am here to deliver punishment for the sins of the wicked
-close up of vice being tightened
-jump cut to sams face, showing pain
Sam: STOP! please, STOP!
cose up of avraj's face
Avraj: Did you stop?
-contimnues to tighten
This video shows a tutorial on how to make bruise/busted up make up tutorial, just to show how to make things realistic and have an action feel to our opening 2 minutes. This would really help/benefit us as our group have never used make up before so following this step by step tutorial would help us our a lot. At the end of this, we would expect to have the finish product just like the person in the tutorial as it would give the audience the effect of someone look like they have been beaten up or attacked in a sort of fight, or in our case, to get answers out of someone. This would have an effect on the audience once completed by giving them the effect of it being an action film and we can see the physical pain that has been inflicted.
In order to efficiently manage our filming timings we had to create a schedule so that there we could film as quickly as possible and focus more on other aspects such as editing or re shooting.in addition to this, due to the us changing our script and plot, we had to find another location and that postponed filming and we had to change our schedule again.
Currently our schedule is to complete filming within a week and focus on the editing and other things.
Monday 9th December- location scouting for the appropriate place to film an interrogation scene.
Friday 13th December - costume searching and props shopping.
Saturday 28th December- rewritten script.
Monday 12th January - Film for 2 hours after school from 4pm to 6pm
Tuesday 13th January- film for one hour from 2pm till 3pm
Wednesday 14th January- Edit what filming we had to give us indications of what needed to be improved or redone.
Thursday15th January- re shoot some scenes if needs be, finish filming.
Friday16th January- Finish or get close to finishing editing.
