Final Production Submission

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production diary: after effects

I used after effects in a variety of the shots in my film. One recurring technique i used was on the footage of my eye. To create the end result I layered the desired footage (Ink, shop, sea, tree branches, and tadpoles) on top of the footage of the eye. I then made a circular mask and changed the mask to ‘subtract’ hiding the rest of the footage around the circle. To blend the mask I used feathering and opacity. I then tracked the mask to the original  footage to make sure it moved with any small movements of the base footage. After a lot of confusion, I ended up tracking the mask manually, adding a keyframe to each small movement of the eye.

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I also used After Effects on the shot of the seafront, with the neon sign sky. I used a similar method for this shot, of creating a rectangular mask for the neon shot and feathering it into the base shot. I also created new masks on top of the neon mask with the original footage – bringing the opacity down so the blending was more realistic.

seafront

Revised Proposal

I will be making a surrealist, non linear narrative based  film exploring  the unconcious mind and dreams , using a vast range of visual, editing, and sound techniques to recreate the sense of being in a dream whilst avoiding mainstream Hollywood representations of dreaming.

Creating abstract visuals

A lot of the more surreal shots in my film required different types of editing to create an abstract overall image. One technique i used throughout the film was layering multiple shots over one another to take away the sense of being in a space- for example in the shots of the neon shop, the layering of two bits of footage took away the feeling of walking through a shop. This was just case of putting one piece of footage over another in premiere and lowering the opacity to let the underneath footage come through.

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With my shots of ink in water, I used the mirror tool in premiere as well as colour change to create symmetrical patterns and more vibrant colours.

 

mirrorink

I also used the warp stabiliser tool on most of the ‘walking shots’ where i was moving through a space, this was 1) to steady the shots from camera shake, and 2) because it creates quite a dreamlike movement of the camera.

 

Sound Editing

My film opens with just a buzzing sound, which I intended to sound like the buzz off fluorescent lighting- I downloaded this sound from online.

I then introduce the song ‘Dream a Little Dream of me’ because it is such an old classic song and I wanted to warp it slightly to create a feeling of unease and discomfort. I used the convolution reverb effect on the song to create the echoey sound and set it to the ‘memory space’ preset. I also pitch shifted the song down two tones.

For the beach section, I only used the sound off my footage- the sea and a heartbeat recording that I downloaded. I felt this matched with the minimalist colour palette and slow movement of the shots.

I then introduced the second song of the film by four tet. I chose this song because of the way it builds up to quite a chaotic mix of sounds- ajoining to the most abstract part of the film and suggesting a loss of control over the dream visuals. I then set the song to rewind in the ending section of the film to match the rewinding visuals.

 

Stan Brakhage

I have been look at Stan Brakhage’s work for inspiration on my more abstract shots. Brakhage used an unusual technique of pasting and painting images and materials directly onto a roll of film. Brakhage is said to have had a fascination with the physicality of film, hence his literal editing and mutation of film material.

Here is Brakhages film: Mothlight

I like the way that although you can see that the images are of moths wings, it is also more of an exploration of light and shape, which I what I want to try and achieve with my shots of ink in water and the tadpoles.