Tuesday, April 11, 2017

Creative Critical Reflection

        I've just completed my CCR and although I'm extremely relieved, I'm sad to see this process come to an end. You can watch my reflection here. I also attached the transcript below if its needed.


Hi! Michaela Hogan here. I’m the director , writer, and editor of Dread in Turpitude and I’m going to be going over the production process of it. I'm gonna first start off with why i chose such a controversial topic and that's because in our society there's a very distinct “rape culture” which means that our culture is one that normalizes sexual abuse or harassment. Yet, there is also a unspoken but very pronounced pedophilia culture that exists, meaning that we as a whole normalize pedophilic tendencies. This pedophilia culture that we harbor is driven by the way we treat women and the way we expect them to be. If we expect women to shave their legs, be shorter than men, and act inferior then we are basically expecting them to resemble children. Women are supposed to always show youth and lack wrinkles or any sign of aging. This eroticization of the prepubescent attributes of women is so instilled in our society that it is never questioned or seemingly abnormal, yet we completely shame pedophiles for essentially being attracted to the same thing. No one wants to admit that this culture exists because it shows a weakness, a sort of hypocrisy in their beliefs. Which brings me to my next point of how I represented this shamed minority. I refrained from depicted pedophiles in the way that they always are, usually in horror movies, because i wanted to stay as far away from the stereotyping as possible, it's not helping anyone. If there's anything media can do it's that it can form beliefs in its audience, and if an audience sees a certain group only depicted in horror movies then more likely than not they're going to affiliate that group with horror. This is mainly why I used myself, a teenage girl, to be the protagonist. Women in film are also barely shown not being feminine, so me having short hair and dressing androgynously also adds to the representation aspect that I wish to achieve. I believe that my opening as a whole includes some concepts that will be hard for an audience to wrap their heads around, but it will overall be very engaging because it involves a social group that is largely overlooked in the film industry. The target audience would be most likely 20-40 year olds because it contains too much social commentary for high schoolers or younger people to be actively engaged in its storyline. Also, it is mainly targeted at women because the stereotypical man enjoys action over drama. I have also taken into account having Magnolia Pictures as a producer because they would be my main source of distribution to an audience. They primarily distribute arthouse and foreign movies that would otherwise be risky for traditional producers and they have their own DVD distribution and theater chain for independent films, Landmark theatres, which could increase the size of the target audience because it would essentially be reaching a wider pool of people. I would also make use of social media, advertising for this movie on Twitter, Facebook, Snapchat, Instagram, and on its own website so that it could also attract younger people. The platforms I would release the film on would first be cinema, probably playing in independent and local theaters, and after it would be released on different online streaming services such as Amazon Video, Netflix, and Hulu. Spotify could even have the film’s soundtrack on it. The reason it wouldn’t be distributed on a DVD is because it wouldn’t be that popular to sell, seeing as though the target audience is very specific and has to be people with a complete open mind, willing to have sympathy for pedophiles. In the production of my opening, my skills with editing deeply matured. I was able to complete the editing, color correction, and audio in less than a week, which was a great milestone for me. I integrated a wide range of technology throughout the whole process as well. I used a Canon DSLR camera to record, Premiere Pro software to edit, IMac computer to edit on, and my iphone to record the narration. Bringing all these products together to create one 2 minute film segment truly highlights the idea of convergence and the efficiency that it creates. This project was probably one of the most intense and thorough assignments i've ever done and I'm happy that i did it because i learned so much about what the film industry expects from a person, and how it's really a lot to keep up with. I'm happy with the final product that i created and i'm happy that i can finally conclude this blog. Thank you!

Sunday, April 9, 2017

Dread in Turpitude

       Finally! The whole video is finished and you can access it here! While I was making my last few tweaks, it occurred to me that my film opening lacked a title. I thought about the overall tone of the film and what I was trying to convey, and ended up piecing together "Dread in Turpitude", since the main character's acts or desires are considered vile, and the character has to live with the dread and shame of it all.

Thursday, April 6, 2017

Audio

        Its time to input the audio! As I have previously stated, I will be using "Old Friends" by Simon & Garfunkel. I chose this song because the lyrics convey themes of nostalgia and reminiscence, reflecting upon youth as one grows older. Being affiliated with one of the most hated groups in the world and being unable to have any sort of support can draw up feelings of reminiscence of such an innocent time, when one was a child. The themes of this song correlate with the feel of the whole film opening and add to the dreariness of the character. This part of the production process is relatively difficult seeing as thought I have to make sure not to drown out different layers of recorded audio. I have the sounds of the train, both the tracks and the horn, background highway traffic sounds, an ambulance siren, the narration, and "Old Friends" playing simultaneously. Obviously, the main focus is the narration because I don't want the audience to be completely confused, so I dialed its volume up 3 decibels. The rest of the audio layers will continuously increase in volume and intensity until the ultimate climax, when the protagonist is walking towards the platform's edge. This adds to the suspense the audience feels because the film opening peaks in one scene and then resolves in the next.

Wednesday, April 5, 2017

Color Correction

         I have completely assembled my film opening and I have moved on to color correction. I cropped every clip to give the impression of a letterbox, simulating a cinema aspect ratio. Also, I overlaid Lumetri Color presets such as SL Gold Orange and SL Blue Ice to desaturate the footage and create a cold tone. I inputed a Premiere Pro effect called "Noise HLS Auto" to add grain because I wanted my opening to seem distressed and warn out. Before I made these changes final, I researched how to make a scene more dramatic using editing. I found that by using these certain presets with an added letterbox turns what seems like a home movie into a cinema. Below you can see the changes I made from the original footage next to the edited one.

                                  Before                                                                                       After





















Resources:
"Color Palettes from Famous Movies Show How Colors Set the Mood of a Film." Digital Synopsis,
          digitalsynopsis.com/design/cinema-palettes-famous-movie-colors/. Accessed 6 Apr. 2017.
Nedomansky, Vashi. "7 TIPS FOR HD COLOR CORRECTION AND DSLR COLOR
          CORRECTION." Hurlblog,www.thehurlblog.com/cinematography-online-7-tips-for-hd-color
          correction-and-dslr-color-correction/. Accessed 6 Apr. 2017. 

Monday, April 3, 2017

Editing

       Right now I'm in the process of editing, and honestly, this is my favorite part. Seeing my vision piece together and form a coherent sequence is completely satisfying. I have mainly straight cuts, with the occasional cross-dissolve to show the passing of time. I am editing my opening using Adobe Premiere Pro CC 2017 because I find its best to get comfortable with software that professional editors use. In my opinion, the hardest part about this stage of the production process is making use of editing in a way that conveys a message. Even with my script giving the narrative straightforward, I still have to time every cut, every transition, every scene perfectly. Below is how my workspace is set up, I even researched in advance how the way Premiere is set up affects efficiency.



Resources:
Renee, V. "Watch: 5 Ways to Customize Premiere Pro to Get a More Efficient Workflow." No Film
          School, 23 Feb. 2017, nofilmschool.com/2017/02/watch-5-ways-customize-premiere-pro-get
          more-efficient-workflow. Accessed 12 Apr. 2017.

Friday, March 31, 2017

Foley

        Foley is the art of creating or adding realistic audio to a movie or television program, usually performed by Foley artists on a  stage in a Post Production studio. For my opening, I need to create all of the media necessary to convey its themes adequately. I have stated previously in the storyboard that the last scenes of the protagonist with the train will match cut to a similarly composed shot in a different setting. The key component to transitioning this smoothly will be from the ringing of the tracks with a similar ringing in the next shot. Fortunately for me, an ambulance happened to be passing by when I was at the train station so I was able to get the sirens and the train horns to use as background sounds. Also, at the lake I recorded the audio of the rock skipping through the water.


Resources:
Singer, Philip. "What Is Foley?" Art of Foley, www.marblehead.net/foley/. Accessed 6 Apr. 2017.
MavArt, Productions. "What Is Foley?" Sound Ideas, www.sound-ideas.com/Page/what-is-foley.aspx.
          Accessed 6 Apr. 2017. 
Carlsson, Sven. "Foley." Film Art, filmsound.org/terminology/foley.htm. Accessed 6 Apr. 2017.

Thursday, March 30, 2017

Change of Plans

        In my storyboard, I planned that I was going to shoot the last scene at a pier or dock at the beach, but I ended up going to a lake that was closer to me. I realized that the color scheme of the beach wouldn't adequately match the scenery of the train station. Also, I had previously stated that the match shot would transition with the sound of a cell phone ringing through the next scene; Instead, I used the motion of the protagonist almost falling off the platform as a smooth transition, so I ended up with these shots instead.

Tuesday, March 28, 2017

Music Licensing

        Fortunately, there have been little, if any, road blocks in the production process of my opening. With that said, it is with immense excitement that I announce that Sony Music Entertainment has approved my account for licensing their copyrighted music. I applied to be able to license music earlier this week and they just sent me this attachment in an email, approving my request. The song I want to use in my opening is "Old Friends" by Simon & Garfunkel. Before I contacted Sony Music Entertainment, I tried getting in touch with Art Garfunkel's management, but they were unresponsive, so this is great news!


Monday, March 27, 2017

Script

        While I am editing, I have decided to post a draft of what the narration is going to entail. The goal of the narration is to convey major themes of the movie and hint at possible conflicts.

Narrator
(hoarse and tired)
                   Have you ever wanted to change
                   but were too afraid to do so.

(pause)
                   Have you ever been so disgusted
                   with yourself.

(pause)
                   I try but, there's no cure, 
                   no help.

(pause)
                   You look down upon me,
                   imprisoned in this perpetual
                   cycle of self hate, and chastise
                   me for desires you caused.

(pause)
                   You eroticize child-like
                   features in women, forcing them
                   to maintain near impossible
                   youth,
(pause)
                   Yet are repulsed by me for
                   being attracted to the same thing.

Sunday, March 26, 2017

Rule of Thirds

       When filming my opening, I tried to focus mainly on the composition and lighting of the shot. There was even a point in the day where I went back to shoot the whole opening scenes again because the lighting wasn't coinciding with that of the later scenes. In terms of the composition, I kept in mind the "rule of thirds", where two lines are drawn horizontally and vertically, separating the frame into nine sections. The reason I stressed this in my opening is because it creates a balanced point of interest where the lines intersect, according to Digital Photography School. I of course broke this rule with some of my other shots because I didn't want to bore the audience with a repetitive framing sequence. As you can see in the below stills of my opening, using Adobe Lightroom, I drew the grid following the rule of thirds.







Resources
Rowse, Darren. "Rule of Thirds." Digital Photography School, digital-photography-school.com/ 
          rule-of-thirds/. Accessed 28 Mar. 2017.
"Rule of Thirds." Photography Mad, www.photographymad.com/pages/view/rule-of-thirds. Accessed
          28 Mar. 2017.
Renee, V. "How to Break Common Compositional Rules to Make Your Images Better." No Film
          School, 17 Mar. 2017, nofilmschool.com/2017/03/ how-break-common-compositional-rules
          make-your-images-better. Accessed 28 Mar. 2017.

Saturday, March 25, 2017

Progress

          Today is the day I started filming! I haven't dived into the extremely detailed editing yet, but I screenshotted the scenes that match my storyboard for reference.









         Using a Canon EOS 70D 20.2 MP Digital SLR Camera with a Canon EF-S 18-55mm f/3.5-5.6 IS II SLR Lens, I arrived at the train station to shoot my film opening. I uploaded the clips into Adobe Premiere Pro CC 2017 to start editing, but I still don't have all the footage I need to complete the full opening. Later in the week I am going to go to a beach to find a dock where I can shoot the last scene on.

Thursday, March 23, 2017

Permit To Film

          Before I get ahead of myself with the actually filming, I need to make sure if I need a permit on Amtrak property. I decided to submit a request form to Amtrak's customer service, asking if I was permitted to shoot two minutes of footage at the Fort Lauderdale train station, and they responded quicker than I thought! They even referred me to sections in their policy stating that "the taking of photographs and/or videos is permitted within public access areas on Amtrak property". The email they sent is as follows:

         Now I know that if I want to follow through with what is written in my storyboard, I have to purchase a ticket to be able to stand on the train platforms.

Monday, March 20, 2017

Schedule

March 2017

April 2017

          Since I often forget what I am supposed to be completing on a certain day, I took the liberty in creating agendas for me to follow. The weeks I want to have at least 3 blog posts posted are highlighted in blue and the due date is highlighted in yellow. Using Microsoft Word (©2016 Microsoft Corporation) I have compiled everything I have to do onto two calendars. This should help me stay organized for the rest of the production process. 


Resources:
Microsoft Corporation. Microsoft Word. Version 1.31, 2016.

Sunday, March 19, 2017

Storyboard: Explained

       A dissolve from black reveals an establishing shot of the Fort Lauderdale Amtrak Station. Distant chatter and train sirens fade in to establish the setting of where the opening is going to take place. Despite the color scheme of the above storyboard panel, the shot will be in color but highly desaturated and with cold blues and greens to emphasize the somber emotional tone. Faint music starts playing, constantly gaining volume but still relatively obsolete compared to the railway noise.
          A straight cut to the bridge overlooking the tracks shows what seems to be the protagonist, or a character that will later be of importance. A long shot is used to stress the environment and show their anxious stance, but refrains from highlighting any minuscule details. Another straight cut brings us to a medium shot, showing half of the characters face as they nervously watch the tracks. The music's volume has now increased, and the outside noise has been shut off. The character backs away from the railing and starts heading towards the other end of the bridge.

        The audience watches the protagonist make her way across the bridge, in a hurry to get wherever she's going. The long shot stays constant until she gets to the staircase.

        Right as the camera cuts from the long shot to the protagonist at the staircase, a voiceover begins, much louder than the song playing in the background. The audience can assume this narration is coming from the protagonist herself, as she asks hypothetical questions directly to them. The camera never follows the main character; It steadily remains in one location, contrasting with the character's frantic movement.
          The main character comes into a long shot frame of the above awning and the barren bench. She hesitantly makes her way over to it, takes a seat, and watches the trains and people pass her. Her knee is shaking while both the music and voiceover continue. The voiceover reveals that the main character is heavily disgusted with herself; Her questions mainly entail how she can be such an animal. The goal of the depressing music and narration is to give hints as to what the movie will be about, while still not revealing any major plot details. A straight cut to a medium shot shows the protagonist from her left side, tapping her knee vigorously.

         She seemed to be uncomfortable and restless on the bench, so a long shot shows the protagonist standing up and walking towards the railway. 
      A cut to a full shot shows her body inching closer to the edge of the railway platform, highlighting the distressing expression in her face. The music has stayed at a constant volume, but the distant noise has all of the sudden not become distant at all. The noise clogs up the protagonist's mind and increases in volume. Meaningless conversation, sirens, and the whistling of the train layer onto one another.
          A close up shot shows her legs, halfway off the edge, revealing that the depressing thoughts in her mind might be the reason for why she is assumably committing suicide. The music is no longer audible, only the white noise fills the mind of the main character. The narration is still continuing while the whistle of the train is getting closer and closer. A close up shot shows the protagonist's face tilted down into her chest. As the last line of the narration is spoken, and the train makes its way nearer, the close up shot shows the character look up blankly into the space ahead of her, and she motions forward.

          A match shot shows the same character, presumably younger, in the same position as the shot before, except this time she's nearing towards the edge of a dock and her friend pulls her back, warning her that she might all. The ringing from the train scene before is reflected  in this scene as her companion's ringtone. The audience now realizes that the opening scene was the end of the movie because it cuts to a time where the protagonist is younger, and where her story starts.


Resources:
4 Axis Solutions Private Limited. Drawing Desk. IPhone app.

Thursday, March 16, 2017

The Vision



          Here I laid out my storyboard for what I wish to film in my opening. Using the Drawing Desk (© 2017 4 Axis Solutions) app on my phone, I was able to create an accurate representation of what my opening is going to entail. This is obviously an oversimplified version and probably very confusing, which is why I am going to explain shot by shot what I want to do.


Resources:
4 Axis Solutions Private Limited. Drawing Desk. iPhone app.