Month: March 2020

The Story of Film: Episode 1

The Story of Film Episode 1 – The Birth of Cinema

Introduction

1895-1918: The World Discovers a New Art Form or Birth of the Cinema

1903-1918: The Thrill Becomes Story or The Hollywood Dream

Session #6

Summary

Role: Editor (apprentice)

Intention (SMART Goal)

Pre-Production  – Inquiry

Leader(s) in the Field/ Exemplary Work(s)

Primary Source:

The primary source that will set as an example for this session is the clip from “Apocalypse Now“. At the beginning of this clip, there are shots of palm trees and a cloud of dust that begins to cover the trees. There is some slight use of color grade to make the dust color pop even more yellow. At 1:46 in this clip, it is showing the actor and the helicopter floating across his face but faded. This is two overlapping clips, used to add more creativity towards the film and add to the storyline of the film. At 2:16, the use of color grade is also apparent. This skill was used to make the fire look more orange and bring more attention to the situation. Throughout the entire film, the use of color grade is noticeable. For example, at 5:20, this clip has more of a greenish hue to it and there is a darker hue to the film scene. These skills are used by the editor to bring a more dramatic feel and fit for the scene in the film.

Secondary Source:

In this discussion, Michael Kahn discusses the techniques used in “Saving Private Ryan”. Michael Kahn states that there were three or four techniques when shooting the opening scene. Khan states that for each clip there was a different frame that the editor had placed this film in. For example, in this opening scene, the use of a 45-degree shutter is used to allow the audience to see all the little pieces of dirt which moved across the characters. At 2:43, Kahn states “…looked at that scene didn’t make any changes just looked at it and went away…” (Michael Kahn). One important technique that I will take away from this video is to edit like the editor did. This editing meant looking at the clips, making rough edits to it and being done for the day. This allows a new view when coming back the next day and deciding what/how to edit.

Training Source(s)

10:08 – Transition at the end of the clip not between the clips. TO FIX – select Center at Cut; this allows a smoother transition.

16:47 – Color grading. Don’t make it look unnatural. TO FIX – lower the intensity. Hint: look at the before and after.

00:09 – Before/After for reference

01:00 – It takes time and there is no right way to do it. Do what fits with the film

1:05 – Take the film to the next level and make it look better.

01:11 – Takes practice to understand color grading

01:35 – Start with LUT but use as a foundation

01:59 – Using a LUT compared to color correcting the clip first, saves time. Recommends using a LUT.

03:03 – Make the color grade subtle by decreasing the intensity. This will result in a better-looking film.

03:09 – The color grade should never be distracting. The audience should not realize that there is a color grade on the film.

04:12 – Increasing shadows will allow more details to be seen.

05:37 – To change specific spots and the color, go into HSL Secondary then click onto the object at hand.

Project Timeline

  1. Create a time estimation to on track throughout Session #6
  2. Research professional editors and techniques (with experience in color grading)
  3. Research Premiere Pro and editing tools overall
  4. Research color grading techniques
  5. Collaborate with the director, cinematographer, and main editor
  6. Understand the shot list
  7. Organize and/or watch main editor, video clips and audio
  8. General editing for the video (rough cut)
  9. Final editing and cuts (wait a day after the general edit)
  10. Color grade the video clips
  11. Sync audio with film and music
  12. Upload

Text Analysis: Up in the Air

Text Analysis: Up in the Air

Trailer

IMDB Page

Cast and Crew

Directed by Jason Reitman

Writing Credits  Walter Kirn (novel) Jason Reitman (screenplay) and Sheldon Turner (screenplay)

Music by  Rolfe Kent

Cinematography by Eric Steelberg director of photography

Film Editing by Dana E. Glauberman

Notes

Why (What did the commentary reveal)

How(What did the commentary reveal)

Scene #1: In order to prepare for the firing scenes and to understand the actual process. The director had gotten people who had recently lost their jobs in real life to see how those people would have behaved

Why? This commentary revealed how

Scene #2: In the first scene at the airport, this scene had to be taken in order to allow the audience to understand that the airport wasn’t stressful for the character.

Why?

Scene #3: Storyboarded the TSA scenes

Scene #4: Backpack speech, the inspiration for this was a real-life experience from the director. “Write from your life”.

Scene #5: To change and differentiate Jason Beers from other movies, they gave him a beard.

Scene #6: The scene where Alex and —- meet. After shooting this scene, the director wanted to reshoot because it did not look right and changed the seating location.

Scene #7: The scene where Alex and —– meet, this scene was made to demonstrate the idea of flirting of that time. Two cameras were rolling at the time, the scene was personal and not scripted.

Scene #8: In the scene, where the characters are sitting face to face in the hotel room. The lighting was lower in this room to add more definition to their faces.

Scene #9: The director has put purchased memorabilia in the boss’ office to reveal how he is artificial. His memories are bought.

Scene #10: In the scene where —- walked into his boss’ office, he is standing while the boss is sitting. Next, the lady walked in and —- sits down. Then all of the characters sit down and because of all of this, the camera has to follow a new eye line (meaning not bouncing everywhere in the screen b/c that does not make sense)

Scene #11: The writers use the music by Ralph who creates music that borders the line of drama and comedic effect.