P6
A) Setting up Equipment
Will and Josh set up the camera equipment - tripod, camera, external monitor - as they were the camera operator and cinematographer.
Josh set up the sound equipment - microphone, boom pole, headphones, audio recorder - because he was in charge of sound. Isaac helped him by holding the boom pole as he was SFX supervisor and so was there as extra help.
Ollie was the gaffer and so he set up the lights and adjusted them according to the director's preference.
When setting up, everyone made sure to safely and correctly handle the equipment as to not damage it and also cleared space so that it could be moved around easily.
I wasn't in charge of setting up any equipment, however, I was the person who planned which shots needed to be taken on the set and made sure everyone had set up and equipment was working before we began filming.
I wasn't in charge of setting up any equipment, however, I was the person who planned which shots needed to be taken on the set and made sure everyone had set up and equipment was working before we began filming.
B) Following the Storyboard
1.
The shot of the workbench is different because we had to combine the beginning shots together due to a lack of time to film. In the final edit, The workbench is revealed by Sam entering, turning the lights on then walking over to the bench and placing a box down.
2.
We changed the knife to the phone as, during filming, we decided to have Sam drop her phone because dropping the knife would have been a safety hazard.
3.
The shots of the radio are more close up because we had to film them in a different location and so framed the shot so that you couldn't see the surroundings for continuity purposes.
C) Following Safe Working Practices
When working in the editing suite, I adjusted the chair to properly support my back so that my posture was correct. I made sure that the chair height was high enough that I did not strain my wrists or arms when working as well as to make my eye height level with the screen. Also, I took regular breaks and did not work for more than two hours at a time to avoid over-working and causing myself stress.
D) Following Production Processes
File Structure:
There aren't any sound files for the SFX Recordings because the audio did not record.
We used a clapperboard to help with the labelling of files as we could just look at the thumbnail to see which shot and take it was.
Editing the rough cut:
1.
Firstly, I imported all of the clips we had shot into a new project in Premiere Pro. I then began adding them to the timeline.
2.
After adding a clip to the timeline, I found the sound clip recorded for that particular scene and then synchronised it with the clip by aligning the sound of the clapperboard.
3.
When playing back the sound clips, I discovered that they had only been recorded through the right channel. So, I opened the audio channel for the clip and changed it so that the sound played in both ears was sourced from the right channel.
4.
We recorded some foley sound to add in post-production to the edit. We did not manage to record all of the needed foley, so I downloaded copyright free sound effects off of websites such as YouTube and Freesound. I then imported the foley and synchronised it with the clip in the timeline.
5.
I added a few effects for transitions between some of the clips. One of these effects was Dip to Black which faded the clip to black.
6.
On the shot of the SFX, I added a blur effect and used keying to change the amount of blur throughout the clip. I added this to try and create the effect that Sam was losing consciousness due to shock and fear of blood, further building the tension.
Rough Cut:
Feedback:
The clips of the clock do not fit well as they interrupt the pace of the sequence, making it feel too slow. Also, the shot of the cut finger goes on too long.
To improve, we need to shoot a shot of the radio so that there is something to cut away to as well as to build tension as we planned in the storyboard. We also need a shot of the phone falling to the ground and a close up of it on the ground to further help build the tension up before seeing the shot of the SFX.
We shot close-ups of the radio so that there was something to cut away to when needed. I added these shots where the clips of the clock were and also when Sam is cutting the boxes to help build tension
2.
We also took shots of the phone falling and on the ground to help build tension within the sequence. The phone falling follows the reaction shot of Sam cutting her finger and the phone on the ground is the last shot of the sequence.
3.
After adding the new shots in, I began to colour correct the scenes that weren't shot in the garage so that they looked as though they were to help with continuity.
4.
To improve, we need to shoot a shot of the radio so that there is something to cut away to as well as to build tension as we planned in the storyboard. We also need a shot of the phone falling to the ground and a close up of it on the ground to further help build the tension up before seeing the shot of the SFX.
Improvements:
1.
We shot close-ups of the radio so that there was something to cut away to when needed. I added these shots where the clips of the clock were and also when Sam is cutting the boxes to help build tension
2.
We also took shots of the phone falling and on the ground to help build tension within the sequence. The phone falling follows the reaction shot of Sam cutting her finger and the phone on the ground is the last shot of the sequence.
3.
After adding the new shots in, I began to colour correct the scenes that weren't shot in the garage so that they looked as though they were to help with continuity.
4.
Lastly, I added a fade to the last clip to bring the sequence to an end.
Finished Timeline:
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