Friday, November 20, 2015

Alternate approaches to storytelling in film





·      What are some ways to make narrative in film nonlinear?




·      What are some means that allow the director to make that seem reasonable within the structure of the film (i.e. there is a reason to do what they do)?




·      List ten films that use non linear narratives


One major change to make is to change the dynamics of relativity. Another way to say this is to alternate the point of view that the story is told from or to make the narrator subjective instead of objective; the narrator maybe unreliable or unclear on order of events or even what the events are. This style of story telling creates additional drama and expectations for the audience.



Here are some examples of these devices:
A.Kurosawa; Rashomon.
·      One story told by four POV. The Samurai, The Thief, The Samurai’s wife and the woodcutter (neutral observer)
·      As each story gets told the narrative changes AND the editing style and camera style changes. As if each narrator is telling it from their POV which is unique to the way they remember (or choose to remember) the events in their head.
·      This led to the following: http://en.wikipedia.org/wiki/Rashomon_effect

Non linear Narrative
·      Betrayal Harold Pinter: A play that tells the story backwards, later adapted as a movie (way before Memento)
·      Memento: A film that tells the story in reverse order AND features an unreliable narrator
·      Pulp Fiction: Starts and ends in the same place (though events in the plot) occur after the final sequence of the movie). Then three scenes take place out of order and focus on different characters (with a lot of overlap). The timeline of the narrative is circular.
·      Reservoir Dogs: told mostly in order but uses extensive flashbacks from multiple characters POV
·      Eternal Sunshine of the Spotless Mind: Events seem to take place chronologically in the real world, but inside Joel’s mind memories shift to dreams to lucid dreams where he controls and changes events, even as those memories are being erased.
·      Elephant – Tracking shots, circular timeline, events repeated from different points of view and then extends the timeline towards that characters POV.
·      Fargo & Psycho: Shifting protagonists.
·      (500) Days of Summer (Annie Hall) Each scene is introduced by the day # on which the events take place. You put the story together

·      Loosely connected characters inhabiting the same set of events: Robert Altman – Nashville, Short Cuts

Note that many online posters have edited Pulp Fiction and Memento “in order” as in chronological order to tell the story linearly. What is the value of this?

Some films give everything away at the start, all the exposition is laid out chronologically and then the action plays out. Alternate forms include keeping key ideas from the audience until a dramatic moment in the action whether this is done by unreliable narrators (liars or amnesiacs) the dramatic meaning of the film can change when the motivation or reason for actions is either revealed late in the film.
Exercise: Writing Journal Entry

Write a short story (or screenplay)

(one major event, about one page long).

Rewrite it with the events in a different order.

Consider making part of a future screenplay non-linear
.

Wednesday, November 11, 2015

writing journal 2: tasks 5&6

write two deep thoughts in the style of jack handy
see link here: http://www.boche.net/deep_thoughts.htm

write one story in three genres (the same plot but told as a COMEDY, COMING OF AGE and FILM NOIR)

each story is about a page, as a short story (fiction) or a screenplay (film)



Tuesday, October 20, 2015

Sound recording workshop




Five don’ts
1.       Don’t’ say “We’ll fix it in post!”
Yeah right! How many times I’ve heard this one. Get it right on set. Don’t move on until you do.
2.       Don’t underestimate the sound guy
If you listen to only one guy on a set, it would be the sound guy. When he said “um, there was a plane in this take” he is right.
3.       Using the microphone of the camera will not do!
The right type of microphone must be used:
·         ultra-directional for external locations,
·         directional  for interiors
·         non-directional for cramped interiors.

4.       Don’t underestimate the location!
Before you shoot a frame listen for the background noise and then eliminate it or DON’T shoot there once there is a reverb or echo or WIND on a recording YOU CANNOT TAKE IT OFF!
5.       Don’t ignore the room tone.
Avoid this by always record a “wild track” – or ambient sound = one minute of total silence on a set, before or after the main shooting – to have a neutral background sound.
7 Do’s
·         Plug-in mics are better than built-in mics
·         Omni-directional mics favor the loudest sounds
·         Point uni-directional mics directly at sound source
·         Protect mics against wind noise
·         Shoot several takes of every setup – hopefully one will have pristine sound
·         Listen back through high quality headphones (or laptop) don’t wrap your shoot until you know the sound is good


A MUST
The Clap: when recording sound and video on different sources, CLAP at the start of each take so that you can line up the visual of the clap with the sound of the clap in post and the audio is all in-sync.


Two tools
http://mineroff-nature.com/nature/images/Zoom-H1b.jpgZoom:
Get this as close to the actors mouth as possible
(but not in the frame)
Two actors? Get two mics?
Try different levels and listen through headphones to
a rehearsal before recording a real take.






http://www.musiciansbuy.com/mmMBCOM/Images/rode_videomic.jpg
 
Rode:
Attach to your camera and record to same SD Card
This mic is good no more than 6 feet away. After that you
will lose sound quality.
Make sure the Rebel knows it is using the external mic



No Zoom? Use your iPhone – quality is comparable and better than built in mic.
Learn more





TASK
·         Take one of each microphone (zoom, rode) in your group
·         Take one of each SD card (standard and micro)
·         First set up the zoom with headphones and test levels before the actor begins
·         Listen for background noise/wind. Eliminate it by moving somewhere quieter.
Record an actor outside with the following dialogue:
                This is me. I am recording sound.
(Loudly) IT IS IMPORTANT TO HAVE GOOD SOUND
(quietly) it is important to record it well
(normal) I promise to use mics correctly all year so people can hear my movies
REPEAT with the RODE

Do it again such that everyone in the group uses both tools.

Comedic Film – Project & Competition




Students (in random groups of three) are to write, shoot, edit and film a short comedy film that utilizes the conventions and tropes covered in class. The film is to be completed by OCTOBER 24

Students will draw their job from a hat. They will form groups, each will have three members. See the attached handout for a breakdown of your job
  • Director
  • Sound Operator
  • DoP
[Screenwriter/Editor: you will all work together to write and edit the film]

You will each create a unique screenplay based on the elements of comedy we studied. Your screenplay and shot list should follow the visual and editing language and principles of some of the styles of comedy examined in class.

Timeline
  • Oct 16 Today, you will receive your job, meet with your group and plan your film
  • Oct 19 You will start planning your screenplay
  • OCT 22: Screenplay review
  • Oct 26: Rough cuts screened in class
  • Oct 30 Whatever you have done by the morning of the 24th will be presented to the class. After the screenings a prize will be awarded. You may choose to recut and submit these films for the BSSFF this March.

This assignment is marked out of 5 and worth 5% in the film production and post-production course: AWR 2O1



TWO MORE CRITERIA

SOUND: After our sound recording workshop, it is expected that on this project (and future projects) that the sound will be pristine – clear dialogue, interesting sound cues, well mixed music etc.

SETTING: This film must have Unity of time and place, that is to say all of the events occur in the same location (choose a good one) at the same time.

The following rubric will be used to holistically evaluate the product.


Level R
Level 1
Level 2
Level 3
Level 4
Script
Preparation






Funny factor












Rough Cut
Preparedness












Final Cut
Sophistication






Entertainment value






Improvement from
Rough cut












Conventions
Inclusion of a clear comedic conventions












Production
Composition






Camera Movement






Mise En Scene












Post Production
Editing pace






Editing look






Clarity of dialogue












Sound
Audio Mix





TOTAL