Sonny Layton

Today Sam, James and I visited Wembury to scout a location we had in mind for my film. The area has an old fort and large grassy surroundings. It also includes a fantastic view of the sea. This scenic location would fit my music video because I am looking for interesting and lovely looking places I can have my actor perform in. 

As can be seen in the photo above, golden hour really adds to the beauty of the place. If I shoot here, I will make sure it is in the afternoon.

We also took the Blackmagic Pocket camera we had booked out from the ERC. This was the first time testing it so it took awhile to get to grips with the interface but we managed to shoot some footage that turned out really great. We used a 14mm lens that gave the image a very wide appearance.

This past week has been the beginning of testing shots for my grad film. After being issued equipment on Friday, I have been experimenting with each bit, getting to grips with anything I might decide to use for shooting in 303. I have been excited to play with a projector for quite some time as it is the crutch of my film and a majority of shots depend on projection. 

I booked out a short-throw projector. After experimenting with it at home, I am disappointed with how the tests turned out. I have only brief experience with short throw projectors so I was surprised to learn that the projector would have to be pressed against a wall to produce the right image. This means I cannont achieve some of the shots I had in mind of projecting onto both a performer and the wall behind them since they physically will be unable to get behind the projector. 

This week we were assigned the task of creating an image or visual poem that encapsulates one or more of the themes or moods that we would like to explore in our grad film. A focal point for this task was cinematography, taking care in lighting and composition. 

My image features Sam standing next to a projected image of a burning flame. The projection is hitting his body, creating interesting colour and lighting arrangements, along with a sharp shadow on the wall. 

This task was slightly hard for me as I am still very unsure about what the content of my grad film will be. I would like to experiment with the music video form and so this is what I went with for this task. Some ideas I used came with projection and the interesting ways it can be used in film. If I was to make a music video, I would want to use projection on the performers rather than the background, to create surreal visuals.

I like the vivid bright colours in this image, the reds and yellow pop nicely against the blue hues of the background and the tints on Sam’s face. 

This week my group filmed both our digital and final super 8 horror films. I found this to be such an exciting and challenging task in every aspect. Having been recently used to large-ish crews on sets, the stripped back nature of the shoots with almost no equipment, felt uneasy and slightly refreshing. 

I was on camera duty and would be solely handling the super 8. Having used super 8 in first year, and loved it, I could not wait to repeat the experience. My only worry was that with the straight 8 rule of ‘only one take’, the uncertain nature of the super 8 film would be increased. I handled this by creating a detailed shotlist and storyboard that I could refer to during filming. Luckily, the film and story allowed for a fairly freestyle and relaxed filming style. 

The digital shoot was really helpful in allowing me to understand positioning of actors and the framing I could achieve in the locations we had picked. The locations were wide spaces like the town centre and Beaumont park which gave me plenty of options for shooting. 

We shot the film in entirely one afternoon. This was much easier and went much more smoothly than I had anticipated. The morale between the crew was great and we managed to work with COVID guidelines well. 

Now, we wait for the film to be developed and to produce our soundtrack to be played along side it at the screening. 

Above is my presentation slide for our ‘work in progress’ task. It captures my idea and overall concept for my upcoming dissertation. That is to document and explore the influence that art history, specifically painting, has had on film-making. 

So far I have an initial draft for my introduction which I feel is fairly strong. I also have a collection of research material including books, articles and TV shows. Next, I plan to collate more research that I can use to sculpt the majority of my dissertation. Although I know the structure, I still need a clearer idea of exactly what I intend to write. This should become easier after conversations with my assigned lecturer. 

Since my film has taken a more experimental route in terms of visuals and sound design, I thought I would research into the work of David Lynch who is renowned for his experimental filmography and techniques. Lynch started his career as a painter but moved into video art at an early age after college. I found that his early films are surprisingly reminiscent and similar to his more recent work in Twin Peaks. Below is a compilation of his short films over the years. 

After watching the above video, I have decided I want to lean more into the experimental for my film, disregarding cliche narrative storytelling, preferring to use more jarring editing to reflect the human memory and dreams which are recurring themes in Lynch’s work. 

I want to create an opening scene similar to this scene from Twin Peaks: The Return. The sequence is mesmorising due to its vivid mixture of slow and fast paced imagery combined with an equally hectic soundtrack. 

After realising that sound design will likely play a big role in my final film and helping bring an authenticity to the animation, I was reminded of the sound in Studio Ghibli films. I was particularly reminded of the lack of music and instead the utilising of natural sounds like wind or running water. After some research into this, I found a very interesting video essay by the Youtuber KaptainKristian. 

The video details exactly how the sound design in Studio Ghibli films, lead by Hayao Myazaki, creates an intense variety of atmospheres. I am really looking forward to implementing some of these techniques into my film. 

Music will play a key part in the film, due to its frequent mention in my dad’s journal and its role in setting the scene of 1977. I have already began compliling a list and spotify playlist of songs that topped the charts in 1977 or 1976. 

Adaption:

‘The Killers’, a short story by Ernest Hemingway, adapted in to 3 different films.   A 1946 Film Noir adaption extended the plot.  The 1958 Tarkovsky version changed the language.  Hemingway's writing allowed itself to adaption due to its clear, descriptive style.

‘A Fistful of Dollars’ is an adaption of Kurosawa’s ‘Yojimbo’ made three years later. Sergio Leone did not have the rights to Yojimbo. The film did not change the time period. It did change the setting and language. It also changed the character of the Samurai to a Cowboy.

Appropriation:

Changing the way something is presented. Changes the context.

Andy Warhol ‘takes away the artists hand’, its original style and stroke. He re purposes soup cans to symbolise life in the 1960s.

Beastie Boys appropriated samples and beats from Led Zeppelin.

Homage:

‘Psycho’ by Robert Black. Adapted into film by Alfred Hitchcock. Gus Van Sant recreates Psycho, shot for shot, in colour. This was a tribute.

Plagarism:

Utopia: Past, simplicity. Artists and film makers often look back to the past when envisioning a Utopian society. It often features nature and greenery. 

In the Star Trek episode ‘This Side of Paradise’, Gene Roddenberry looks back to 1920s Americana, using simplicity such as children playing, jumpsuits and farming. The TV Show has a positive outlook, focusing on research and exploration. 

Things To Come (1936) Made three years before World War 2. Predicted the conflict of the war. 

-Sergei Parajanov: Made films in Soviet Armenia. The films featured traditional costumes. Parajanov draws upon Armenian subculture but also mixes it with Byzantine and Islamic outfits. 

-Folkloric outfits can be seen around the world especially in Romania, Turkey and Judiast or Islamic practicing countries. 

Man Ray, American photographer, radical in 1920s Paris:

- Raygram: A camera less photo

- Solarisation: Invert during process of developng film

- Man Ray was inspired by Marcel Duchamp who exhibited a urinal in protest against the state and art world under the art form Dada. Man Ray began experimenting and invented the Rayogram. 

- Man Ray was part of the surrealist movement along with Dali. They used absurdity and dreams. 

Muhamas Yunus, Bangladesh Economist

- Concept: Give money to the poor in groups to help them create a project / start up

- “Credit is a human right”

- Human Rights: Water, freedom, shelter. Is the lack of these rights a problem of ‘the State’? This can be seen in recent Eastern European history, countries like The Soviet Union, Ukraine and the Czech Republic. 

Alberto Moravia - ‘The Conformist’, ‘Woman of Rome’

Moravia lived through Mussolini’s reign. He was part of the Modernist writer’s movement. He wrote in a clear concise style, often from the POV of a person without power. He fell out of favour due to his subject matter and themes of sex. 

Moravia often links themes of sex and politics in his work. Many of his books feature protagonists who suffer from impotence due to the political climate. In one book, ‘Two Friends’, a woman is used by the main character to seduce a man to join communism.  Additionally, Woman of Rome is set from the point of view of a prostitute. 

Keen to use the rotoscoping technique as the form of animation for my film, I decided to practice the technique on photoshop. Following a simple online tutorial, I was able to create the GIF above fairly easily. 

I drew over some stock footage I found for free online using a Bamboo drawing tablet. I have not used one of these before but luckily got to grips with it very quickly and found it to be much more efficient than drawing with a mouse or laptop pad as I had been doing, especially since this animation technique takes up a lot of time. 

Since Sam was away for a week, I had to begin the process of recording instruments and some SFX by myself. I booked out the PCA Audio studio along with several mics and a H5 Zoom which Sam and I have familiarised ourselves with (after some research on Sam’s part, we decided to use a H5 rather than a H4 from now on). 

Before using the studio, I wanted to practice the editing of music beforehand. First, I recorded myself playing some experimental drum beats. I used a hi-hat and snare drum rather than a full kit because I wanted to replicate the simplistic nature of the Birdman soundtrack. After some editing I felt that something was lacking so had my Dad, who is a musician, play some improvisational jazz on an acoustic guitar (an instrument I felt fit the relaxed, romantic vibe we wanted). I played him some of the examples I had collected and pointed him to musicians he knew such as Django Reinhardt. I then described the rhythm and energy I wanted from the music, explaining the synopsis of the film, and was able to compose several different pieces I liked very much. I edited the guitar to the drums and was able to create a cohesive piece that fitted the vibe I wanted. Later, I also added some harmonica motifs that helped the ambience and added to the ‘spaghetti western’ style. 

In the studio I had my Dad come in and produce the same piece of music he had improvised several days before, this time under much more professional circumstances. I gained a lot of experience using the desk and setting up the different mics with help from the ERC staff. I experimented with Logic which is something I realised I need to improve in. 

My role on the Screencraft module was Producer and on the Kodak project I am one of two sound designers. 

I believe the Screencraft module was an extremely useful tool and process in terms of improving my film making practice. Used to being behind the scenes and hardly ever on a large crew such as that, being producer was of course quite daunting for me at first. Being out of my comfort zone however was brilliant as I was forced to take the reigns of the film and be decisive under pressure. Having to perform under the various pressures of time keeping, budgeting and man management ultimately increased my confidence both in my practice and in my self massively. Although stressed at times, I handled everything well which is something I am proud of. 

Screencraft also helped provide me with a unique view of a set and its mechanics. I was able to gain deeper knowledge into my role not just as a producer but how other roles need to coordinate together. This ties in with the improvement of my communication skills, the module helping me understand that I often need to be clear and concise in my wording and confident when communicating ideas. This new knowledge of a production, having overseen all roles, is invaluable to my future practice and is definitely something I will bring when working in different areas. 

Despite not having finished, The Kodak module so far has been equally as informative and helpful to my practice. Working on sound is something I have never done and it is an area of film I have very little knowledge about. Being put on sound was therefore exciting to me and, working with Sam, we have done thoughrough and extensive research into the process. I have learnt a lot and have enjoyed the process. Our advert in particular requires a song to be created and, similarly to being placed in the screencraft deep end, having to complete this difficult task has actually allowed me to learn many things about the recording and creation of sound, in particular musical instruments and on set recording. 

My 3 Goals moving forward:

1. I want to have a short film created by the end of the year. 

2. I want to become proficient in Adobe After Effects and Audition. These are two applications I have yet to experiment in fully.