David Rabin

Today I took 3 random shots on an old camcorder and used curves to blow out the highlights similar to water BRTHR do.

This was just an experiment of what the camcorder can produce and how I can piece imagery together using very basic footage to develop meaning after the fact.

This is a montage of someone running out of drugs but not having the money to pay for it.

30/03/20

Before I began my break, I completed a lot of work on the weekend and Monday. The weekends are the most important days of my project because those are the days most people are free to be able to take part in the project. 

Before my family and I took ill, I was able to shoot the majority of the bathroom scenes where the daughter starts preparing the bath and then later drops the soup into it.

The main problems I knew I was to face for the shoot was how I was going to compose the shots without having the bikini in frame and also how I was going to frame the soup pouring into the bath without showing the soup going in. I want to infer the soup was poured in rather than it actually happening in reality due to the mess it will create.

In preparation for the shoot, I revised my shot list and then added what equipment I intended to use to the shots. After doing that, I categorised the shots by equipment in a word doc. I used this list in order to reduce the amount of times I switched camera and lenses which, in turn, increased efficiency on set. 

When I was looking back at the footage, I found numerous issues. The first being continuity errors. Because I wasn't shooting the scenes in a chronological order, the lighting between scenes changed. Another issue was that the actor may have not performed the same movement for each shot. For example, the actor would walk slowly into a doorway (cut) and then the next shot the actor would be walking quickly into the room. 

In terms of exposures, a monitor would've assisted me with getting consistent exposures between shots for it would provide me with a histogram and RGB.

For the continuity errors in terms of movement, I could either shoot everything in chronological order (which would take a significantly more amount of time) or I could have someone by my side to assist me when shooting so I can focus more on directing. 

Unfortunately, the current situation outside means I can't pull these resources in.

I feel for this project, now, I have to reign in my initial ideas and intentions. There are two avenues - developing a completely new way of proving and showing my findings regarding colour or redesigning my shot list to include more montages where continuity isn't needed.

Today has been a week of reflection and... recovering from illness. The UK has been put into complete lockdown since Monday which has put not only pressure on the project, but myself included.

Working on my project didn't allow me to fully grasp what was going on around me and it became almost an isolation of isolation.

My mind works in such a way that if I have free time at home, I work and continue on with my project. I always want to be productive. Now, however, all time is free time for I am confined to my house. My avenues of escape from the project have all but been closed off. 

Lockdown has changed my life in a drastic way. I have had to reset the way in which I operate day to day in order to adapt to these new circumstances. For the last few days, I have taken a chill pill. My days have consisted of going outside into the garden as often as possible, waking up at regular times and watching a new film every night. These steps have helped me become accustomed to not talking to those outside of my family circle. 

The main issue Ive had for the project is I’m not able to rent the equipment I was hoping to rent out, nor am I able to use some of the actors for they are either in a separate household or they are ill. 

I may have to rethink my project proposal and form it to the new circumstances. It is still technically possible to achieve something close to what I set out to do but this change in lifestyle across the board has not only had an effect on me but also others. Those who may have wished to take part in my project previously may not be able to now or feel like doing so.

These unprecedented times have not only hampered my materials, but also the manpower that I was hoping to have available during this project.

I had a group tutorial with my tutor today about how we’re coping with the lockdown as well as how we’re doing with our projects. It was really nice to talk to the others again for its one of the first bits of socialisation Ive had in a while with the outer world. 

Many people don't have the resources they were hoping to have and are having to adapt. However, I think the problem most people have at the moment is how much we are able to adapt for the guidelines that are being reviewed of which we are being marked against havent been confirmed. I have been keeping up to tabs with the websites but they havent shed very much light on the future of my course. 

This lack of light has cast much shadow on my project and, in turn, my mind as I am venturing into the dark not knowing what I should/can do. When such doubt is present , it is difficult to put your heart the work for you worry that it is going to be taken away and broken. 

My action plan now is to take every day as it comes and see what I can do in regards to spurring on my project and not letting it become a burden. This project should be seen as an escape - not another thinking casting a shadow onto me.

Today I tested some LED lights and a light panel for the dining room table scene. Not only did I test lighting equipment, I also tested a couple lenses - Canon 16-35mm f2.8 and a Sigma 150mm f2.8.

The dining room table scene is the part of the film where practical, coloured, lighting comes into play the most as I introduce the viewer to two new characters and the social dynamic between all three characters - most notably the daughter and the significant other.

I picked one colour per person to show the family dynamic. 

Red is tied to the aggressive significant, other who thinks ill of the daughter.

Blue is tied to the shy, anxious and threatened daughter.

Purple is tied to the mother who is trying to bridge the gap between the two.

For the compositions I wanted to create an ambiance with the coloured LED lights. This means having diffused light being cast over the subject with little to no shadow. Unfortunately, I wasn't able to diffuse the direct light coming from the LEDs very much. The direct lighting was very strong and, in turn, large shadows occurred not only behind the subject but also on the face. To offset some of the aggressive shadow, I got my LED light panel and tried to shine the light by the other side of the face to counteract the shade as much as possible and make things, overall, cleaner. The LED panel isn't very powerful, however, which meant I had to place it very close to the face to have any impact on the subject. The light cast from the LED still, wasn't powerful enough and it was very difficult to keep it out of frame while shooting. I found the panel to be more effort than its worth and I have decided to ditch it for these scenes.

With Sidelight

Without Sidelight 

Due to how direct the main coloured lights, I have decided to only have the blue and red lights when introducing the two characters and to get rid of the purple shining on the mothers face. This will not only make things look more aesthetically pleasing to the viewer but it will also heighten the importance of the colours shone on the two characters in the first few scenes between the significant other and the daughter. 

After shooting the test, I uploaded the footage onto my computer and started comparing the different compositions. I found the difference between the 150mm and 16-35mm to be huge and, in turn, it has lead me to tweak my shot and equipment list. 

Previously, I was planning on using the 16-35mm on all shots to accentuate how large the significant other is and emphasise how small the daughter is in comparison. The focal length would remain the same but the angle would change. When I used the 150mm it made the composition significantly more intense and the significant other, in red, look larger. From this test, I have decided not to use the 16-35mm lens for the shots with only the significant other for the 150mm made the compositions more intense and made the character look larger than life. Due to the 16-35mm being so wide, it can lead to the subject to become slimmer. This is called compression... or lack thereof. The less compression the slimmer the subject and the higher the compression (longer focal length) the wider the subject becomes. 

For the scenes between the daughter and significant other, I will use not only the contrasting light, but also the two lenses to contrast how vulnerable/threatening the characters are to each other.

I also tried to use the 16-35mm lens for the scene that covers the whole table. The table is too long for the lens unfortunately which means I have to think of other ways of having all 3 people in the shot at one time on the dinner table. My plan is to either test splitting the screen up like “Requiem For A Dream” to show all three characters within a singular composition or to attempt to block the characters in the composition. 

20/03/20

This week has been probably the most dramatic of weeks that have stretched over my FMP. Face-to-face teaching has been cancelled and social distancing has been implemented. Many people’s projects have hit a wall and their proposals may need to be reconstructed to be able to move past it.

Fortunately for me, I have been working a lot from home and much of the equipment needed for the project I already have. The potential of UCA closing in the coming days may limit the equipment I was wanted to rent out and test. This may lower the amount of tests needed before production and may make me more reliant on colour grading. However, these issues don’t have a strong effect on the overall production of the film. These pieces of equipment were more luxuries than necessities.

Over the hectic week, I let my project breath. I found myself to become quite restless regarding my project and identified that this work ethic was not sustainable. After watching the talk by Darren Aronofsky, the director of “Requiem For A Dream”, my perspective on procrastination has changed to something more positive. Changing surroundings and letting your brain take a breather can really increase productivity, surprisingly. It can change your outlook and way of thinking. Procrastination can spawn new ideas and freshen your eyes to the world around you, how you interpret things.

Since harnessing my procrastination, I have begun watching more films of late which has spawned new ideas, bursts of inspiration and backed up my thoughts regarding my film.

This project has not only developed me in my practice technically, but it has also let me learn more about myself regarding the way in which I can, and should, work.

Procrastinating this week hasn’t meant lack of practical work however. The films I watched over the weekend gave me new ideas regarding how I can represent certain aspects of the storyline in my film (montages) and from that I began testing these through test shots and editing them. The tests provided a strong backboard to spring off from for the rest the next steps of my project. I now know the key elements of what makes a montage successful (quick, consistent cuts paired with strong sound design) and that less is more regarding the amount of shots present in a sequence to tell a story. Too many cuts can make things jarring and, in turn, get in the way of the storyline. The camera is supposed to tell it, not get in the way. This finding has lead me to revise my shot list. Ive lowered the amount of shots in my list as well as thinking more about composition and how I can pack as much information within them as possible.

Another thing Ive found this week is planning is key. Planning every shot out before a shoot and organising the shots in such a way where you are more efficient on set is very important. Having more time to breath between takes is incredibly important for it will lead to less continuity errors and, consequently, lessen the probability of the necessity to reshoot certain parts.

On Wednesday I got a conditional offer from my top choice university, Ravensbourne, after having a successful interview that is contingent on me getting a pass or above. I believe I am well on my way to achieve that.

I spoke to my tutor, Joel, yesterday via an online video about the way I go forward with my project. For we are currently in the unknown regarding the way in which we will be examined, I was told to keep on doing what I’m doing – business as usual. We also discussed what I have accomplished over the week and my findings. Joel and I were very much on the same page about my next steps but he also told me that I may have to lower my expectations for my final piece. I want the film to be perfect, but such may not be feasible due to equipment and time constraints. I will of course have to make compromises over the course of this project, but I want to create the best piece I can with the resources I have. Make my disadvantages, advantages.

Yesterday, I had my first university interview. My interview was with Ravensbourne University and, due to the outbreak of Covid-19, it was held online. I passed the interview with flying colours and have received a conditional offer - the condition being that I get a pass or above.

This information will steady the ship in regards to my plans in September/October.

Today I looked back at the shot list I developed the other day. I started making tweaks immediately after editing together the first act. When I was editing, I found that less is more when trying to tell a story. Too many shots can lead to things looking rushed, jarring and can represent a lack of confidence the production team possessed when creating the film.

Now that I have detailed the shots for the next two acts, I plan on grabbing some lights and begin testing the next few scenes. 

There are two things I want to investigate during these tests.

Number 1 is whether or not I can create the looks I want in regards to colour via the practical lights I have. These lights could limit the necessity for intense colour grading in post. A less complex grade means a lower potential of colour banding and artefacts to creep into the image. 

Number 2 is if I can use solely one camera during production. 

Using one camera can limit the potential for shots looking out of place between takes/scenes. One camera may feature more noise than the other or represent colours differently.  The use of a singular camera throughout the production will make shots more consistent and fluid and, in turn, make the shots less jarring for the viewer. 

Another upside of using a singular camera through the production is that I wouldn't have to keep switching and changing rigs. Swapping between the T7i and 5DSR between takes was really time consuming and frustrating. Running against the clock may make one cut corners - corners, they probably shouldn't cut.

After looking over my shot list, I had a video tutorial with Joel - my first since the closing of UCA. We discussed the way we will operate going from this point onwards in terms of tutorials and also talked about the way in which I should carry my FMP forward. 

After editing the test shots, I started looking at various storyboard creator sites. 

I found a storyboard maker called “StudioBinder” and I started placing images into the timeline as well as detailing the equipment used etc. It was a really good site to create and develop my storyboard for things could be rearranged with ease, organised according to specific rigs and tons more features. Unfortunately, however, I quickly discovered there was a cap for the amount of shots one can place into the list... 10. If I wanted to use more I would have to pay $30 a month.

Due to this cap, I restarted my search. After looking around for another site I thought... why dont I use Keynote. I formed a template for my storyboard in the application and placed the images in, along with various descriptions. Using Keynote isnt as user friendly, nor as intelligent, compared to “StudioBinder” but it does the job.

One thing I will have to be very careful about when creating my storyboard in Keynote is to make sure all the shots inputted are definite. This reason being is, if I need to add, rearrange or subtract a shot, I would have to manually adjust everything that came before/after it.

I think my plan going forward is to develop a shot list in Word, test the shot list, edit it and, once I’m happy with it, I’ll input the shots into the storyboard. 

Today I edited the footage I shot yesterday in my bathroom and kitchen.

Using my shot list as a rough skeleton, I started to place various shots into the timeline. However, I quickly found it difficult to pace the shots for the audio itself was quite jagged for my main focus of the test shoot was the visuals and seeing how I can piece everything together.

I began my search of music on the website “FreeSound” and wasn't very successful in finding the right track to fit the tone of the piece. After scouring the site for royalty free music, I came across the audio library on Youtube. A song popped up in the cinematic section that ‘caught my ear’. It’s dramatic yet uplifting. Reminded me a lot of “Requiem For A Dream”.

From there, I started editing more concisely and became a lot more efficient for I now understood the tone and flow of the piece. After cutting the main elements, the task of creating a quick, energetic montage began. I cut each shot to the movement and made sure it was as quick and jarring as possible while keeping things linear. 

During the shoot, I found the top down shots to be out of focus. However, I was able to use a piece of footage from my tripod test that didn't have hands present. This matched perfectly with the scene. I may have been lucky in this instance but I will have to be really careful on the day of shoot that my focus is perfect and to not try any shots that may make focussing tricky.

Another thing I have to be careful of when shooting is continuity. I didn't look out for continuity too much for the shoot for it was a quick test of my shot list. Although not an issue for the tests, it would be a big issue if continuity messed up on the shoot. For the next test shoot, I am going to try to keep my eyes peeled for any continuity errors. This practice in training my eye for continuity on set will help prevent me having to re-shoot footage due to continuity.

Once the core elements of the montage were set, I added some sound effects from “FreeSound” such as gates opening, a washing machine and sand paper. These sounds, I felt, were the most dramatic sounds that closely resemble the action on screen. The sounds in the montage scenes in “Requiem For A Dream” were more abstract than mine but I feel the abstract nature of the film’s footage enabled them to take a more conceptual approach in their audio choices.

After editing for some time, it can be quite difficult to pick up certain issues with the edit; whether that be flow, tone or necessity of the shot(s). I took a break and came back a little bit later. When I was looking back, I exported the piece and then made some extra changes. I felt that when one creates a montage that is frequently repeated, to dramatise it, it is best to use the exact same length of each shot for each repetition. Before I re-edited it, the end shot of the water going down the drain was cut down significantly. I thought this would be an interesting concept, playing around with the speed of the montage, but I found the end drain shot made it more dramatic, impactful and visually pleasing. It is certainly one of my favourite shots in the montage.

All in all, the test shots were very useful and I have a good sense of understanding of the shots I will need for act 1. Not only that, it has given me some good experience regarding what I should look for on set and also things to avoid - such as obscure angled shots etc.

Today I test-shot the first part of my film. This is where we are introduced to the OCD mother. 

I used my shot list as a loose guide to achieving my end goal. It is very time consuming going back and fourth between camera and computer. To speed things up and maintain acting fluidity, I would look at some of the shots that I intended to use and get shots that were based around the end goal of the scene. 

Shooting was difficult and at times stressful when in a small, cramped space, but I believe the test was definitely worth it for it will allow me to iron most, if not all, kinks before the official shoot date. 

After watching the films over the weekend, I found myself more confident in my filmmaking ability to string together shots. I’m not very used to narrative and, due to my past experience in more abstract, commercial works, I can be prone to overcomplicating things. Only time will tell if I've overcomplicated things when I come to edit the film tomorrow!

I shot on two cameras. I used my 5DSR (Full Frame) camera for wides (16-35mm f/2.8) and used my rebel T7i (APS C) for my close up shots (50mm f/1.8). 

The 5DSR is a full frame sensor which means I could get more shot coverage. However, it’s autofocus for film isn't very good and it doesn't have a flip out screen. It was quite difficult to shoot on this camera for I wasn't sure what was in frame for extreme high and low angled shots as well as shots that involved movement.

My T7i has very solid autofocus and a flip out screen which made things easier and faster when composing frame, exposing the image and shooting movement. The problem I found however was that I couldn't get nice wides like my other camera - the 5DSR. 

For the test, I thought I’d shoot on both cameras and see whether or not I could use the two in tandem to help me with achieving certain shots for the final film. On set, it was rather frustrating having to switch the tripod base plate onto the two cameras. However, as I develop my storyboard, I should be able to limit the amount of base plate switched and shoot all shots needed with the 5DSR before switching to the T7i. 

One thing I will have to figure out however is the way in which the cameras interpret colour. Of course, I could correct this in post but not having to do a completely separate colour correction for the 5DSR may save a lot of time.

These are things I will have to check out during the edit process.

Storyboards

Today I also began drawing up some storyboards for my piece. Developing storyboards is a good way of piecing together shots and seeing if it will work well in the edit.

However, storyboards requires a good drawer and that I am not. Given my lack of ability in this department, the drawings take a long time to illustrate and they are merely poor interpretations of what I've written in my shot list.

Given the location I am using is in my house, I think it will be quicker and more effective that I take test shots of my shot list and use screen grabs for the successful shots and add them to the shot list to develop a more realistic storyboard.

The storyboard on the HelloFresh shoot used photographs as visual references. This is what I plan to do for my shoot. Storyboarding is for saving time on set and knowing exactly what you want. My poor drawings will most likely hinder the process than benefit it. 

SXSW Talk w/ Darren Aronofsky

I later watched a talk by Darren Aronofsky, the director of “Requiem For A Dream”, who discussed the ‘10 commandments of indie film’.

These are the ten he went over:

1.    Make the film only you can make. 2. Persistence is 9/10ths of the game. 3. Work like a family. 4. Do your homework. 5. Adapt to reality. 6. Don’t be afraid of your actors. 7. Where is my audience? 8. Commit to the vision, and see it through to the end. 9. Let your child go, you never finish a film, you abandon a film. 10. Give a shit.

The filmmaker had a very interesting take on indie filmmaking and it is something I can very much relate to – even in my limited experience. Listening to this was a breath of fresh air for one can fall into a pit of self-doubt and restlessness when creating a film - something I have experienced during the my Year 2 Final Major Project.

He talked about planning, relationships with crew, as well as working on low budgets, constraints and turning those constraints into advantages.

One of the main points that stuck out to me was that it’s okay to procrastinate. During my project, I have hit a couple of brick walls as I have tried to come up with ideas, shot lists and investigate various pathways in my research. Beating oneself about not being productive enough and trying to power through it is not productive. To ease into the filmmaking process is a lot more productive in the long term. Even though one may not be sat in front of a computer, meticulously punching text into a keyboard and seeing what sticks, taking a break can lead to inspiration and allow for fresh ideas to develop and evolve in mind.

Recently, I’ve been cramming in a lot of work as I have been trying to use every spare moment productively. This method of working isnt healthy and has lead me to become unproductive as my mind has been sapped dry.  

I have found the best ideas have come to me while I’m focussing on something else; whether that be watching a film or going out for dinner. When you leave the computer, your creative mind doesn’t just switch off until you’re by the computer again.   It keeps running in the background. The best ideas are the ones that slip into the mind as you’re relaxing. Fixating too hard on something can lead to exhaustion and, consequently, nothingness.

For my project, I am going to try to take things a little bit slower and to not be afraid of procrastinating when I hit a brick wall. Sometimes ‘not being’ productive is more productive than trying to be productive.

Darren also discussed filmmaking on a budget and working with constraints.

The director only uses one camera during the filming of a movie. Many high-budget films use multiple cameras and they choose their favourite one in post.

The use of only one camera during production as an advantage for him for it allows you to sculpt each composition and make every scene perfect. As a filmmaker, he believes there is only one spot where a camera should be in a room and that is where the director places it. It is where the camera best tells the story from. At the end of the day, for him, filmmaking is all about storytelling and using the camera as a device to tell it.

Another example of a constraint is time. Many film productions span over 6 weeks to film every shot, go to every location etc. The best way to maximise your time on set is to plan. Planning as many logistics out as possible before you step onto the set makes everything quicker, and in doing so, allows the filmmaker to test new ideas out during the shoot.

Ive found my test shots to be very beneficial to my project for it allows me to gauge better what I want to display and how I can best display it.