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.