White Balance and Colour Temperature

White Balance

White Balance is the process of removing colour casts from a shot so that which appear white when looked at with our eyes, which are far better at judging colours, are also rendered white in the actual shot. The colour temperature (see below) of a light source should be taken into account. Unlike our eyes, digital cameras can often struggle to apply auto white balance. Instead, they can create unsightly blue, orange or green colour casts. Possessing a proper understanding of using digital white balance can help filmmakers to avoid these colour casts, therefore improving their shots and allowing them to use a wider range of lighting conditions.

White Balance has been applied to create better lighting conditions.

Colour Temperature

Understanding colour temperature is the key to perfecting the lighting in a shot. Each light source has its own individual colour, or colour temperature, which can vary from red to blue. For example, candles and sunsets give off light that's closer to red, giving the shot a warm look. Whereas things like clear blue skies give a shot a cool look. Cooler colours like blue and white generally have colour temperatures over 7000K, whereas warmer colours like red and orange have a colour temperature around the 2000K mark. When setting your camera's white balance manauly, you are given a number of pre-set colour temperature options, or you can customise your own settings.

A scale measuring the temperatures of different light sources.

Colour Gel

Colour gels are transparent, coloured filters used in film to colour light or to apply colour correction. Modern gels are thin sheets of polyester or polycarbonate. These are placed in front of a lighting fixture and in the path of the beam, applying a filter of the selected colour over the scene being filmed. Eventually, however, the gel's colours can fade or even melt.

Lighting Fixtures

Lighting Fixtures, such as Arri Lights, are electrical devices used to create artificial light. This is done by use of the electric lamp within the fixture. All fixtures like this have a light socket that holds the lamp in place, but also allows for its replacement. They should also have a switch to control the intensity of the light. Reflectors can also be used to direct the light.

An example of an Arri light in action.

Camera Angles - Instructional Video

Instructional Video

As a group, we put together this instructional video to practically demonstrate the different camera angles. These include High Angle, Low Angle, Eye Level, Bird's Eye view, Worm's Eye view and Canted Angle shots. We also attempted to demonstrate a Crane Shot and a Trombone Effect. We showed all of these in this instructional video. Each of us had our turn at both starring in the video and using the camera to film so that we were able to get some practice at filming these various shots. The video was meant to show, not just how each of these angles/shots were filmed, but the effect they had. The High Angle, for example, creates the illusion that the actor being filmed looks much taller from this  angle. Similarly, the Low Angle creates the illusion of an actor looking much smaller from this angle.

Camera Angles - Analysis

Camera Angles

Low Angles

A Low Angle shot in Nicholas Winding Refn's Drive (2011)

In this scene from Nicholas Winding Refn's Drive, a fight has broken out between Ryan Gosling and another character. The scene follows the struggle between the two characters, until Ryan Gosling is eventually able to overpower his attacker, knocking him to the ground and crushing his school with his boot. The purpose of the low angle shot used here is to show how Ryan Gosling's character has overpowered his enemy, giving him a very strong and intimidating image.

A Low Angle shot from Terrence Malick's Tree of Life (2011).

Another low angled shot is used in in this scene from Terrence Malick's The Tree of Life, as we see a character reaching out to the figure above them. As the viewer, we are put in this character's perspective (as though we are reaching out with them), and the mysterious figure above is made to look taller than they may actually be, turning them into a sort of angelic figure that is there to save our character.

High Angle

A High Angled shot from Alfred Hitchcock's Psycho (1960).

In Psycho, Alfred Hitchcock uses a high angled shot during the scene in which Arbogast searches Norman Bates' home, and eventually comes across Mother. The camera tracks Arbogast as he climbs the stairs from a high angle, suggesting that something is lurking around the corner. This allows the audience to be placed in the character's shoes. Like Arbogast himself, we can't know for sure what kind of evil presence could be looming around the corner, building up tension until the shocking appearance of the killer.

Eye Level

An Eye Level shot from George Lucas' The Phantom Menace (1999).

This is a common angle to use in filming. The standard eye-level shot allows for audiences to be comfortably seated within a scene, as opposed to creating the purposefully disturbing and unsettling effect that shots like the Worm's Eye Angle and Oblique Angle can create. In this scene from George Lucas' Star Wars prequel The Phantom Menace, a light saber duel commences between three characters. Use of the eye level shot allows for audiences to become familiar with where characters are positioned within the duel. The use of other, more complicated shots could easily disorient audiences.

Bird's Eye View

A Bird's Eye View shot from Stanley Kubrick's The Shining (1986).

In this first shot from Stanley Kubrick's The Shining, an angle from a bird's eye view is used when Jack Torrance watches Wendy and Danny walking through the hedge maze. Not only does this angle show the audience that these characters are being watched, and give us an idea of the enormity of the hedge maze (setting up the film's climax), but the way in which the shot is zooming in creates the feeling that dome sinister force is closing in on Wendy and Danny (the film's chilling soundtrack adds to this frightening feeling).

Worm's Eye Angle

A Worm's Eye View shot from Stanley Kubrick's The Shining (1986).

In this second shot from Stanley Kubrick's The Shining, an angle from a Worm's Eye view is used (the complete opposite of the angle used above) as Jack, having completely lost his mind, taunts Wendy from the other side of the pantry door. Because Jack's behavior is supposed to disturb and frighten us as an audience, this type of shot is used. This angle is fairly uncommon, and can potentially confuse and even discomfort viewers. Like many of the shots used in this film, it's something we've never seen before, and adds to the idea that we don't fully understand what's happening in the Overlook Hotel. This is an appropriate effect as it goes along with the feeling of terror now felt by Wendy as she watches her husband lose his mind.


Oblique Angle

An Oblique Angle from Danny Boyle's Trance (2013).

A shot that is slightly tilted can be known as a canted or oblique angled shot (also a Dutch Angle). This angle is popular amongst director Danny Boyle, and can be seen many times in his movie Trance. In this scene, the camera suddenly shifts an oblique angle is used, as James McAvoy's character makes a discovery that will have a huge effect on the rest of the film. The shifting of the camera angle is used to signify the shift in the film's plot after this discovery. The canted angle, which will appear quite abnormal to viewers, also suggests that something isn't quite right. This is appropriate, as it is later revealed that the entire scene is actually not real, and is all in the character's head. The use of this angle is a clue to none of this being normal. The Dutch Angle is also very popular among Film Noir.

Music Video - Production Journal

Production Journal

Attached below is the final version of our music video,  which uses the track 'I Miss You' by Blink 182.

Pre-Production

Dates: 30th September and 1st October

After studying many different music videos, we were each given the task of generating at least three of our own ideas for a music video of our own. We chose our own track and thought about what visuals could accompany the song, keeping in mind what makes a good music video.

To create a idea that was appropriate for the accompanying track, we had to listen carefully and analyse  the song's lyrics. Analysing the song's lyrics gave us a better understanding of the song's meaning, and helped us to decide on the visuals we could film and the actual plot of our music video.

Dates: 7th and 8th October

When we finalised our idea for a music video, we pitched our idea to the rest of the class in a powerpoint presentation that summarise our music video (plot, shots etc.).

Finally, in our production groups, we decided which of the pitched music videos we would work as a group to produce. Once we had all agreed on an idea for a music video, we began pre-production.

Dates: 14th and 15th, 21st and 22nd October

Our tasks in pre-production included creating storyboards and a shot list for our music video. We would also need to create risk assessments, a contingency plan, call sheets and a summary of our plan for filming (where we were filming, when and why). We needed storyboards and a shot list so that, when we finally went out filming, we knew what shots we needed and how they fit into the video, instead of using our filming time to decide this, meaning our time off-site was much more productive.

A risk assessment was required to ensure that we would be filming in an area that was safe for both us and the equipment. We needed a contingency plan so that, if anything were to happen that would interrupt our filming (bad weather, absences etc.), we would have a backup plan ready that will allow us to still be productive during these sessions (e.g. using the times to edit instead of film).

Finally, we needed a call sheet so that we were able to get in contact with each other at any point whilst filming, and so that we had a schedule for us to aim to follow.
Once we had all of these things, we were able to book out the equipment we needed: a DSLR, a Tripod and an SD Card for our recorded footage. Then, we were ready to go off-site and film.

Production

Dates: 4th and 5th November (Full Days)

In the first week of November, we had completed all of our planning and were ready to film. This was when we encountered our first problem, as two members of our group were absent, meaning we would not be able to go off-site and film, as we were shorthanded. This, however, did give us some extra time to plan our music video. Luckily, one member of our group showed up that afternoon. We were also able to find someone who was prepared to volunteer as an actor for our music video. We then had enough crew members, the panning and the equipment to allow us to film.

Our first stop was at Castle Gardens, were we filmed the majority of the Music Video. It was a great place to film as it was fairly quite, so weren't often interrupted by passers by. Trees also provided us with some shade and, had it rained at all, we were near shelter at all times. Luckily, the weather was dry for most of our filming, and the sun was also bright, providing perfect lighting for our music video.
Most of the shots we filmed were of our actor, but we also wanted to get some attractive shots of the location, which was helped by the nice weather. We also wanted to capture some of the city life (passers by, cars, buildings etc.). We filmed some extra shots across York as part of our contingency plan. In case we lost any of our shots due to technical difficulties, or lost the SD card itself, we filmed some extra shots as backup. These would also be useful if we entered post-production and discovered that we hadn't actually filmed enough shots for the length of our music video.

One of the only problems that we enountered when filming was an issue with continuity. On our second day, we continued our filming at Castle Gardens. However, the weather was drastically different that day. That day was dark and cloudy, whilst the day before was sunny and bright. So, if we were to film, the weather would be drastically different throughout all of our footage, creating a problem with our music video's continuity. With no other time to film, we had no choice but to continue, and use this footage. Luckily, this was the only major problem we faced during production.

Post-Production

Dates: 11th and 12th, 18th and 19th November

Once we had wrapped up filming, we would need to edit our footage using FinalCutPro, and turn it into the Music Video we wanted it to be. We would do this in Post-Production. We would start by logging and transferring all of our captured footage. This included the footage a member of our group had filmed at home with our actor, as this was a scene that required a location with a garage, meaning one of us would have to take a camera home to film this scene in their own time.

We had filmed more than enough footage for the length of our music video, meaning there were even some shots that we didn't need to use. We had to trim each shot down to an appropriate size to allow it to fit in the music video. Some of the shots were too long, but some also had mistakes in them that we only spotted during post-production (e.g. a crew member in the background).

Once our shots were fit to the music, we added our credits (Director: George Bartlett etc.), exported the video and then uploaded the completed Music Video to YouTube.

Unit 21: Post-Production

Post-Production

This is a step-by-step guide to the workflow behind the post-production process.

Folder

The first step in post-production is to decide where the media will be stored. This means you will be required to create a folder on the drive you are working on (either internal or external).

You can create a new folder in your area using Finder by clicking New Folder under settings.

You should also make sure that any additional files that have not been captured through log and transfer have been included in this new folder. Otherwise, these files could be lost. These files could be taken from a DSLR, external audio recorder or downloaded from the internet.

Scratch Disks

You must remember to set scratch disks on Final Cut Pro, as this is an important part of the editing process. This dictates where any captured footage (e.g. through log and transfer) will be stored, including rendered files, waveform, cache and autosaves.

Scratch disks can be set under System Settings on Final Cut Pro.

Project and Sequence

The sequence is found on the timeline. It is the sequence of video/audio clips that you are currently working on. You can have multiple sequences within an individual project. Working with multiple sequences can be useful when crating rushes to preview footage and receive footage.

A second second sequence can be added by selecting File, New and Sequence.

Exporting Footage

In some cases, you may require your files to be in a particular format when exporting footage. This may be because the client (the viewer) wants the video for mobile content, DVD, web use or even uncompressed which allows for higher quality viewing.

Sequences can be exported by selecting File, Export and then QuickTime Movie.

When exporting footage, Final Cut Pro offers two options:

1. QuickTime Movie - A high quality compressed version of your current sequence in a .MOV file.
2. Quicktime Conversion - This allows you to choose from multiple formats, the resolution of the final version it exports, and the quality of the finished product.

Soundtrack Production in Film - Analysis

Sound Mixing, Panning and Technicality

Mixing

Audio mixing is the process in which sounds are combined into one or more channels. During the process, the sounds' frequencies, signal levels and dynamics can all be manipulated. Effects can also be added (e.g. Reverb). The purpose of Audio mixing is to create a sound that is more appealing to viewers/listeners.

Some good examples of Audio mixing can be seen throughout Tom Hooper's adaptation of the stage musical Les Miserables (2012). Because this is a musical, Sound mixing is used to blend the movie's score, the actor's singing, dialogue and other ambient sounds.

In one example, a characters is singing in the rain. This is a pivotal scene in the movie, and it's very important that the song's lyrics are heard, as the character's emotions are being displayed through the song. Audio mixing is used here to ensure that the character's voice (and therefore the song's lyrics) can be heard over the ambient sound of rainfall. This is done by altering the dynamics of the different sounds appropriately.

In another example from Tom Hooper's Les Miserables, Audio mixing is used to amplify voices, so that the stars of the movie can be heard when they should be. Inn this example, Anne Hathaway is singing with a whole choir, but her voice can be distinctly heard over the others, even though they still sing together and at an appropriate volume (they don't sound too loud or too quite).

In both examples, Sound mixing is used to create a sound that is much more appealing to audiences and is more appealing to the scene's context.

Panning

Audio panning is used to create the illusion that a source (e.g. the image on the screen) is moving from one side to the other. Panning can also be used to create a dual mono signal. This is called "panning up", and means that both the left and right channels are sent equally to the left and right output of the mixer.

An example of Audio panning can be seen in Edgar Wright's Shaun of the Dead (2004). During the scene linked below, in which Shaun walks to his local newsagents, oblivious to the zombie apocalypse happening around him, somebody runs past Shaun.

Audio panning is used to create the illusion of the character getting nearer to Shaun, then passing him, and then disappearing into the distance. The sound of his footsteps get closer to Shaun, and then more distant as he runs away.

A "control knob" is used to distribute the sound at a particular position. For example, a knob pointed at the 8 o'clock position would mean that sound only appears on the left channel, and all the energy goes exclusively to the left (meaning it will be played through the left speaker).

In this case, to create the illusion of the character running past, the control knob would be slowly moved to the right (the 4 o'clock position), making the sound appear in the right. After panning, when the whole sound is hear, it will sound as though it is moving from the left to the right in one smooth stroke.

Unit 38: Foley Sound (Shaun of the Dead)

Soundtrack Production

We have been tasked with producing a soundtrack using Foley Sound for a clip of our choice.

Time Codes

Listed below are all the sounds we will need to produce for this clip from Shaun of the Dead.

00:00 - 00:20 Footsteps on pavement

00:20 - 00:40 Footsteps on floor tiles

00:01 Shaun trips on curb

00:05 - 00:08 Shaun yawns

00:07 - 00:09 Footsteps of runner on pavement

00:35 Shaun slips on bloody tile

00:26 Shaun opens freezer 00:34 Shaun closes freezer

00:28 Shaun picks up can of Coke 00:31 Shaun puts can of Coke back 00:32 Shaun picks up can of Diet Coke

00:40 Shaun opens freezer 00:44 Shaun closes freezer

00:44 Shaun sighs

Now we need to decide how to recreate these sounds through Foley Sound.

Sounds like footsteps, yawns and sighs are sounds we can easily create ourselves, but we will have find some way of creating more complicated sounds like the slip, the cans and the freezers.

We also need to choose some music to accompany the clip. This music should be slow, eerie and spooky. It should create an unsettling atmosphere and give the idea that something isn't right.

We will have to use Audio Panning when creating our Foley Sound. From 00:07 - 00:09, when the runner passes Shaun, we want to make his steps sound closer and closer and then more and more distant as he comes and goes. This will be difficult but, through panning, we can create this effect. This will mean the sounds matches the visuals in the clip and should be more realistic.

Our Finished Product

http://youtu.be/jfNktIcTX74

Evaluation

After being tasked with producing a soundtrack for this clip, I rewatched the full scene from Shaun of the Dead that the clip had been taken from. I took a closer look at the clip, noting down the sounds that could be heard (car alarms, music in the shop etc.) and the visuals on screen and also took a note of at what point during the clip all of these actions occurred and for how long they lasted. This meant that, when it came to producing these sound effects through Foley art, we would know what different sounds we needed to record and how long in seconds they should be. Hearing the sound effects used in the original clip also inspired the ideas we had for our own sound effects that we produced using Foley.

Next, we had to actually create these sound effects. We worked together to produce these sounds ourselves. Most of these were fairly simple as sounds such as running, yawning and doors opening/closing were all sounds we could easily recreate ourselves. Some sounds, however, were more complicated. One sound we struggled with was the sound of Shaun slipping on the bloody tiles. To produce this sound we needed to make sure we were wearing the right shoes on the right material. When we found the perfect combination, we were able to produce a fitting sound effect.

It was after recording our sounds, whilst editing, that we made use of Audio Panning. This effect was required at the point in the clip when a runner quickly passes Shaun from the right of the screen to the left. His footsteps should have been able to have been heard before the runner was actually seen, which we did by adjusting the audio clip's levels, resulting in the runner being able to be heard before actually appearing on the screen. Also, by panning the audio from right to left, we created the effect of the runner coming closer and closer, passing Shaun, and then becoming more and more distant.

Overall, the sounds we produced for our clip were appropriate and were edited (cut to be shorter, made quite etc.) to fit perfectly to the visuals. We found a soundtrack to accompany the clip too. It's a slow, eerie piece of music, which is perfect for the creepy atmosphere of the clip from Shaun of the Dead. This soundtrack, and the sound effects we produced, worked together to create an eerie and unsettling atmosphere that was perfect for the clip and added another layer of creepiness to the clip.