FONTS

In order to give a more "academic" feel to the whole piece, the font I plan on using for the titles is inspired by the one commonly used for old science textbooks, Bookman. The font is also seen in papers about alchemy, a topic that is present in my opening.

Bookman typeface

Sadly, iMovie only has a couple of fonts available, and the closest I could get to the old Bookman typeface, which appears to be the font used in such writings, was Baskerville Italic. At least it also gives off the academic tone, and seems professional. 

Baskerville Italic

the "science feel" I was talking about

FOLEY AND FINALIZING

There are few edits left to do! I still need to put text and adjust some stuff, but, overall, it is manageable. I've been using daytime to edit and record sounds, and nighttime to film (since I can only manipulate light in the darkness). The bright side is that much of the sounds I intend to use don't need to be "invented" - the actions shown in the recordings actually do produce the intended sounds. Still, I intend to use some asynchronous sounds to imply actions and act as a sound bridge (maybe). One example of this would be the sound of crumpling the paper before the paper ball is seen rolling on screen, then some of it while the image appears. The only other sounds I intend to use are grunts and sighs, which will have to be included as voiceovers.

I have been recording in my room (or my sisters', depending on the time and which is the quietest). I've also been using my sister's iPhone to capture the sounds as videos, then turning them into audios on iMovie.

The schedule is tight, and I have had complications with reshooting since we needed to use the dinner table (the "desk" in my opening) for Passover. But as long as I don't fall behind even more than I already am, I can still produce something worth watching.

A MUCH NEEDED BREAK

Ah, spring break. No other time in the year would have been most proper for this much-needed break. With one week of "no school" (the assigned homework and readings make the quotation marks a necessity), I was able to catch up on filming, and finally was able to get someone to collaborate and hold the camera while I dictate which shot is next. That said, a lot more was done than simply shooting - if that could even be the adverb, knowing the amount of work that went into planning each shot. I also revised the storyboard, adding bits here and there as was judged appropriate. Additionally, some planned images did not work so well, and had to be scrapped. What aided me in the production process the most, however, was overlapping with the post-production: nearing the end of filming, I started to edit bits together to see what worked best. Upon noticing some segment that did not fit - either in tone or sequence-wise - the narrative, I made a note to reshoot each one. In the place of each soon-to-be re-recorded fragments, black squares were left, resulting in images such as the one below.

Overall, the production process was quite fun, although it required a lot more thinking than I'd previously judged. For instance, to get the right lighting and angle for a shot, I had to figure out a way to position each component such that the end result was satisfying enough. Eventually, solutions came as a response to my many failed attempts (the image on the right is a result of trial and error - many experiments were made until the idea of perching the lamp on my shoulder finally came to me).

There is still a lot to do, but I am content that at least editing is underway. Of course, that also means that Foley, text, and many more necessary edits are approaching too. But that will be a subject for my next posts.

FILMING CONTINUES

As it is evident by the title, I am still filming. Every now and then I use some more fabricated props, not unlike most of the objects used in shooting the opening. At least, now that I have the lab coat, the production process is going faster. As for the "warmer" light I had mentioned wanting, the group meetings we did recently were particularly helpful: one of the group members told us she had been using light emitted from her computer screen to get the intended hues. While the technique may fit her genre, cyberpunk, a bit better - with the neon colors and bright aesthetics - it can also be very useful in my own creation.

But, ultimately, I have found a better way to get the proper "feel" of an academia aesthetic, and that is done by applying filters over the footage. Take, for instance, one of the shots I had taken, featuring the newspaper articles. Using WeVideo, I changed the temperature to allow me to convey the proper tone, and, apparently, it worked! Still, one problem has surfaced from using the online tool as the editor: the product comes with the website's watermark, which is... not great. I will try to find a way around it. This is it for today! I will come back with more updates soon.

COPYRIGHT AND OTHER ISSUES

While filming the shots for the opening, I often listen to the soundtrack I intend to use as background music for the scene. That is, at every minute spent shooting, I envision the image set to Chopin's "Nocturne in E flat major, Op. 9, No. 2." At this point in producing the flick, I imagined it was time to actively look for downloadable versions of the song, when I noticed that simply stating that the composer's work is on the public domain is not enough to be allowed unrestrained use of the tune. What I mean is that, although the famed piece is available for widespread use, each player holds rights on their interpretation of Chopin's song, and those audios are not free for use.

This factor had not been taken into my account when I first decided on the song to which the scene is set. In fact, I had even rejoiced, celebrating that my desired soundtrack was available for use. Once I found out otherwise, the realization at first frightened me, but I soon got to work, wondering if there was any version that was, in reality, in the public domain. Luckily, after researching for a while, my hypothesis was not rejected: I found an non-copyrighted file! The track, performed by Martha Goldstein, appears to be free for sharing.

Now armed with the fitting audio, I should be able to proceed with no complications, right? Well, not quite. Although I had the track, I was still faced with another problem: the Goldstein audio is about 4 minutes long, and the opening is 2 minutes at most. This issue, however, I had already envisioned, as you can see from one of my earlier posts. 

There were two ways of approaching the length problem: making the track faster or cutting it. I have attempted the first one, and, despite the quicker tempo being somewhat appropriate, I still have not found a way to accelerate the tune without it distorting. One could argue that such distortion would also be suitable for the story I am trying to tell in the opening, since it follows the corruption of the scientist's mind. Still, I am afraid it may look amateurish or be seen as an excuse for my lack of digital skills. Thus, I opted for chopping the file. This option turned out to be far easier than expected, given the song's own nature: it repeats again and again, only increasing in the number of flourishes overtime. Although chopping bits may cut the "development" of the song, it still includes the rise and fall that has inspired much of the story. 

Now is perhaps the time I should mention that I did manage to get my computer working again! So, using my loyal companion, iMovie, I shortened the once 4:13 minute song into a 2:05 piece, sewing segments together in such a way as to disguise the abrupt cuts. However, as I've mentioned before, the repeating themes within the track help in hiding the edits made. Below you can see some of the "matches" made when trying to piece together the fragments of Chopin's "Nocturne." 

rearranging a masterpiece

Although I have used the trustworthy app for this part of the project, it is worth noting that it does not necessarily mean that it will be the one I will go to when editing the video: the options mentioned in my previous post were rather appealing, and could be useful in making a satisfactory product. But, for now, good old iMovie is my preferred editor.

SOURCES:

Culture. (n.d.). Set Chopin Free. Culture.Pl. Retrieved March 20, 2021, from https://culture.pl/en/article/set-chopin-free

Rosen, R. J. (2013, September 9). The Complete Works of Chopin, for Everybody, for Free. The Atlantic. https://www.theatlantic.com/technology/archive/2013/09/the-complete-works-of-chopin-for-everybody-for-free/279471/

TECHNICAL DIFFICULTIES

This posting may come as a stark contrast from one of my prior posts, in which I praised the wonders of technology: this time the "wonder" has become an inconvenience. Luck certainly has not been on my side: just this week, my computer broke down. This issue with the hardware is only made worse by the consequences on my use of software - not only did the laptop contain all of my downloaded footage, it was also the only computer in the house that had iMovie, the editing program I intended to use (and the only one I know how to). 

As of this moment, I write from a school computer; I am not sure if I will be able to download an editing software on this device (though, if it comes to it, I can certainly learn how to operate a new program). That said, I have been looking into both online and downloadable options I could use for the post-production process - WeVideo, a web-based tool, is a viable alternative if I am unable to recover iMovie, and it has a few tutorials to aid users in making their own videos. On the bright side, WeVideo has many more editing options when compared to my preferred application, so perhaps changing to this editor will not be too bad. Another option, and this is possible only if I can download an app to the school computer - it's worth a try, at least - is DaVinci Resolve, an editing tool that has been used and recommended by quite a few classmates. As opposed to the Apple alternative, DaVinci is a much more advanced editor, with specific pages to assist in every step of post-production. 

Just in case, though, I am trying to get my computer fixed. Still, after exploring different programs, I will let quality determine which software is best - even if I do manage to get iMovie back. Until then, I will use the spare time provided by the upcoming week to explore the editing apps and finish shooting.

please standby

SOURCES:

Damen, A. M. (2021, January 1). Edit Videos Like a Pro: The 12 Best Free Video Editing Software Programs for 2021. Shopify. https://www.shopify.com/blog/best-free-video-editing-software

Wells, T. (2021, March 16). 24 Best Free Video Editing Software Programs in 2021 | Oberlo. Oberlo. https://www.oberlo.com/blog/best-free-video-editing-software

DETAILS

Since I have not been able to record any shots with the actual character in them (the coat, an essential prop to give Dr. Narcissa more credibility, was left at school), I have focused mainly on the more static shots. The latter can forward the story and shed light on the protagonist's motives and overall situation. These shots are comprised primarily of close-ups, relying heavily on the mise-en-scene and angles to convey meaning.

As outlined on my storyboard, I have plenty of shots with this very purpose. However, upon watching HBO's award-winning miniseries, Chernobyl (dir. Johan Renck), I noticed that, as opposed to my previous belief that there must always be some movement in the shot, there is no necessity for nonstop action. In fact, any gesticulation included in the opening scene for the series' pilot episode, "1:23:45," is minute; mostly static shots are featured throughout the first few minutes of the screenplay. The stabler shots do not appear to be photographs, as was my fear in attempting to emulate such stillness. Besides the subtle movements - smoke blowing, a clock moving - the opening compensates for the lack of motion by creating a vivid atmosphere with sounds and lighting. 

This was a factor I had not considered, given that my initial plan was to "overwhelm" the viewers with motion, avoiding becoming too much of a documentary rather than a motion picture. Now, knowing which factors I can use to make my scenes less monotonous, I can focus on creating foley sounds and using the music and angles to compensate for the static images (though I still like the idea of having some action, akin to the movement of a clock in the opening of the aforementioned series).

AH, TECHNOLOGY!

Welcome back, my dear readers! Today's post is brought to you by the wonders of technology. That is, besides the obvious technological aspects, the contents I am about to discuss relate directly to the features I only just discovered in my sister's iPhone, which I am using to film. Before I get to that, however, allow me to show you my final setup:

the dining room-turned office/lab - the first version

 

The picture above was a tentative approach to lighting for the final scenes, using two different lamps in an attempt to "blind" the camera. However, using distinct sources, unsurprisingly, did not create darkness, but made the scene better lit - such an unexpected outcome, isn't it? My struggle with the lamps, documented in detail on my previous posting, was finally solved when, by accident, I found out I could control exposure on the camera app! 

 

 

This discovery not only allows me to set the mood for the piece, but also helps conceal the background, which, as I have mentioned before, was another complication I have had to deal with. To better illustrate the effect this unearthing has on the shots, I have included a picture of the set on the left. It must be noted, though, that shots under this lighting will only be used towards the end, lest the opening look poorly lit - nobody studies in the dark. For the remainder of the scene, I will rely on the lamps seen in the first picture to create a more sophisticated environment, using the angles to build the illusion that it is an office desk and not a dining table.

Another revelation that came to me was the ability to do focus racks, as shown below. This way, I can connect the experiments to the subjects my scientist studies, and have the audience link one fact to the other, rather than have the character actively go through pages explicitly stating what she is reading. 

 

Overall, the recordings made so far have themselves provided me with feedback on what needs to be changed. For instance, filming the entire opening under the dim-lit atmosphere takes away from the ambiance, and the original setup proves to be more effective. I had originally planned on shooting most of the scene this week/weekend, but I unfortunately forgot my lab coat at school, where it is being used as a prop for our troupe's production of 9 to 5: The Musical. As soon as I get it back, I will try to finish the production process and jump into editing. For now, have this behind-the-scenes image for the filming of Panacea.

 

LIGHTS, CAMERA, LIGHTS AGAIN

And so, I began the long-awaited production process for the movie opening. The results were... rather disappointing. I had planned on using a yellow-ish desk lamp (the one featured in my prop-making post) to create the "academia" feel. However, not only was the light irreversibly attached to the computer cord and other cables, it was also too heavy to be manipulated. With that, I had to resort to my own desk lamp, which, as opposed to the intended one, does not cast the warm glow - it is very brightly white. But perhaps this inconvenience was for the best since, from my other experiments with the lights, I discovered that two different sources are necessary. 

The setting of my "studio" allows for two options: facing the door or facing the family portraits. Because I can't move everything around, my solution was to create a "blind spot" by directing the beams towards the camera. This way, I can have the focus on my subject, and a dark, indistinguishable (almost) background. The same effect can also be achieved by placing the lamp right beside the camera.

 

In addition to that, it is taking me a while to figure out the perfect angles so that the lighting behaves the way I want it, and so the production will look uniform and not simply different shots compiled together. Below you can see one of my attempts at getting the illumination right. Using the two sources as the key and fill lights would not work in this situation; although the opening is centered around a realist plot, using a more "natural" lighting takes away from the darker tones I want to convey.

Even better, the darker background, paired with the correct lighting, can give the impression that the warmer light is being used, as seen in the second picture above. Still, that may just have been because the paper used is less "vibrant."

Below are some of my attempts at controlling the lighting and getting the right shots - both were... less than successful, but I will work on improving them.

 

 (this last clip shows another problem I mean to avoid: the light beam can be seen in the shot, and betrays the "darkness" I am trying to build)

 

I tried to record myself filming the scene, but the video was too big, and so I am unable to post it. I'll try to figure that out too, to give a look on the process of finding the perfect angles. But I guess that's a job for the next post.

PROPS: THE SEQUEL

For my final steps before filming, I had to make sure all props worked according to the plan. While I was able to fabricate some models and pages of writing, the experiments still caused some complications: I do not have any chemical indicators to my disposition, and messing around with the cleaning supplies did not seem to be the safest choice. So, to give the extra science-y look to the opening, I had to find an appropriate substitute to the chemicals. Luckily, my sister had the solution.

Since she likes painting, we have accumulated quite a sum of different types and hues of watercolors, all of which could work as a plausible alternative for my experiments. The only problem, however, was the paint's extremely diluted form. Because it is meant to be used in a less concentrated state, it often does not provoke the high-contrast effect when added, drop by drop, to water - and, if it does, it is too light to be captured by camera. It took a few attempts, but we solved it: by choosing a brighter color and not getting the watercolors from the diluted source, we could make a more vibrant liquid pouring into the "beaker." The successful trial can be seen below.

As for the container, the video above clearly shows another issue: the Publix watermark. I have attempted to hide the green logo; it is now only visible if held against a light - which can be fixed when shooting.

Some other props were gathered and transformed into scientific utensils. With a cardboard box, I made a stool for my "test tubes" (I am hoping to avoid the amateur look by painting the structure in silver).  The original plan for the test tube holder was updated as I worked on it: initially, I had done two thin strands holding the horizontal bar. This did not work very well, as the pillars kept bending under the weight of the water. By cutting larger strands and adding vertically-cut bars under the superior base,  it became much more stable. While I am still having some trouble with the rack - it keeps toppling over! - I can probably use it as a prop if balanced correctly.

 

original plans

semi-final product

As of this point, the inventory is ready. Over the course of the next week, I plan on shooting the opening, and maybe even begin editing so that I can see if any segments need to be re-shot. My main concerns, for now, are the lighting and angles, since I am counting on an illusion to make the dinner table look like a desk. But enough waiting - it is time to dive in and let the action begin.

AT LAST, STORYBOARDS

As promised, I have finally gotten to sketching storyboards for the opening. Still, I find myself rushing to include the character, rather than using the props I have acquired/made/am making. Even worse, I constantly fall into the dangers of "telling" instead of "showing" - though I don't plan on including dialogue, the inclusion of newspaper articles and will explicitly show the objective of the experiments. In addition to that issue - which I will try to work out, perhaps in another, revised batch of drawings - I have made some changes to the idea I described last post. But, to make my point clearer, allow me to show you some of the panels I have done so far.

my most recent storyboard

One big decision I've made is that of delaying the reveal of my protagonist. Originally, I had planned on starting similarly to my old, unrelated storyboards, with a focus rack from a fuming test tube to the scientist's eyes. This way, I can focus on the details, and give a bit of exposition before throwing in the action. Moreover, this way I can create a slower pacing, that may or may not get faster as the piece goes by, showing how frantic Dr. Narcissa gets as her experiments fail. 

Yet another change, is done with respect to my previous posting, in which I mentioned the use of jump cuts. While repeating shots of similar composition may help in developing the character's mental state and showing the passage of time, I have decided to include such repetitions in such a way as to create a motif of trying again, and again, and again, and starting over every time. By spreading the similar shots throughout the piece - as seen on the second and the last panels of the storyboard above - I can show that her frustration is gradual, and that careful experimentation is done. Furthermore, I can also give the impression that it is not one, condensed study session, as I had feared before. By changing the scientist's clothes (a minimal touch, really), I am able to imply that the work was done in different days. Of course, if, in editing, I find that this method does not work, or looks a bit too Groundhog Day-ish with all the "restarts," I can change it back to the quick cuts and sequential shots. 

Another factor, though this one has more to do with the production rather than planning, is that, although the character is under pressure, I do not intend on using canted angles or shaky cameras - at least not in the opening. Given the doctor's professional field and position, I want to show the same professionalism by maintaining the shots steady as well - that is, as steady as I can, given my limited supply of materials and cameramen.Still, I plan on including movement in each shot. Particularly, using the scientist's reflection and shadow as she moves along the office. This practice not only makes the shots more interesting and less like stills, but also draws back to inspiration I gathered watching Black Swan. That is, the constant use of mirrors - particularly distorted ones - throughout the movie builds onto Nina's fear of replacement and her belief that someone like her, better than her, is nearby, waiting to steal her place. Similarly, using the shadow or the reflection can show how outsider's expectations for my character have also influenced her into entering the downward spiral. Not to mention, she both figuratively and literally casts a shadow over her past achievements as she aims for the unattainable.

Another relevant part of my storyboards is the one I had planned from the start. In fact, initial sketches of this ending can be seen in one of my old posts, on a pink post-it note. Now, having studied my idea better, I have refined those panels, seen below.

From this, you may have notice that I now have a working title: Panacea. I figured it is most appropriate, though a little cheesy and obvious, since it is the subject of the protagonist's obsession. Still, given the "alchemical" meaning of the mystical concoction as a cure to all problems, the solution would be quite helpful to fix Narcissa Châtelier's situation. 

As I have mentioned before, the storyboards will serve to guide me in filming the scene; however, it is not definite, and I may change or add shots while recording or editing. But, as of now, it's good to have a clearer view of what is ahead.

POSTMORTEM INSPIRATION

Before proceeding with my storyboards (which will be done soon, fret not), I decided to take a closer look at "study scenes" to understand how to fill the two minutes in a meaningful and entertaining manner. At first, my new, more niche research led to nothing - none of the scenes captured the precise emotion I aim to evoke. Suddenly, as if struck by lightning, inspiration came to me; the perfect science-scene opening was in my repertoire all along! Research for previous projects had led me to the world of stop-motion, a realm which, once again, I would dive into for my latest case study: Corpse Bride (2005). 

Directed by Tim Burton and Mike Johnson, the animated musical begins the very moment the score sounds its first melancholy notes. Though the tone of this flick is quite different from the one in my opening, it utilizes many techniques that can be rather useful in establishing the subject of a character's fascination - for Victor, it is butterflies.

In the scene, tight shots at first show not the character but his preparations to begin the study. Additionally, dissolves between the images add to the pacing and fluidity of the clip. Notably, the protagonist's characterization occurs through the mise-en-scene before the "acting" itself - Victor's face is only revealed near the end of the sequence. Another factor I could possibly emulate are the "jump-cuts" (kind of) while the character is drawing - shots of similar composition but different contents, and separated by dissolves, illustrate the process of drawing and studying the butterfly. Inserts also showcase the rest of the room (with posters beside the desk) and develop Victor's personality. And, of course, when analyzing Burton's movies, one could not leave out the manipulation of colors to convey a colder atmosphere.

 

While the opening above was beneficial with respect to each shot's editing and composition, I needed to look for other scenes that more closely emulated the pacing I was going for. Luckily, the answer was not too far from my last example: The Nightmare Before Christmas (1993) includes a few scenes depicting experiments. In particular, one isolated study session proved to be somewhat similar to what I aim to achieve.

 

a POV shot through Jack's microscope

The segment, not unlike my envisioned creation, includes minimal dialogue and instead uses other methods to convey Jack's exasperation. For instance, close-ups on the materials and point-of-view shots, followed by the skeleton's reaction to the failed trial, works to reinforce his examinations' ineffectiveness and create greater tension on the character as he struggles to obtain significant results. The scene is relatively fast-paced, with one experiment following the other and simple cuts - as opposed to the other movie's dissolves - sewing the sequence together. Also included in the montage is a variety of different angles and shot types: some are close-ups, others are medium shots, and more can be observed as well. It is also worth noting that each experiment appears to happen sequentially, as the flick is edited in chronological order - that is, no cutaways of other trials while one is showing; each attempt is captured in its entirety before another is displayed.

With base on these, I plan on having an opening of similar style. The idea of having various experiments failing one after the other is interesting, but, in order to make the opening a bit more entertaining, all the while showing the protagonist's scrambled thoughts, I will try to play around with the order of the experiments with cutaways. Additionally, the jump cuts can be used (as I am trying to do below) to show how she keeps trying to get at it, but keeps failing - in a way it is the same concept behind having Jack's failed experiments back to back.

a sketch of a possible sequence of jump cuts I intend to make, which can show the passage of time, the protagonist's insistence, and her deteriorating mental state.

SOURCES: 

Corpse Bride (2005). (2005, September 23). IMDb. https://www.imdb.com/title/tt0121164/

MovieTitles. (2020, October 9). Corpse Bride (2005) title sequence [Video]. YouTube

Cinema Cut. (2015, January 14). The Nightmare Before Christmas (1993) Science [Video]. YouTube. https://www.youtube.com/watch?v=U821I_GqhEg