14/12/12 Brainstorming Ideas/Portals

   After pitching my idea to Ms Wong, she approved the "sci-fi" element and the time travelling plot device but commented that the ending was very "angsty". I responded to this feedback by looking at several films related to time travelling, especially Korean films produced in the late 1990s (such as Il Mare). This gave me inspiration and several ideas to end my film instead of the cliché murder/death anti-climax. However, I still had difficulty in creating an ending which smartly unravels the time-travel paradox while making logical sense at the same time. Therefore, I decided to think of other ideas to explore the vast potential of Twilight Zone inspired chase scenes.

•    A man is at work and suddenly discovers a secret camera behind the fan. A repairman rushes in and replaces the fan with a new identical one, claiming it had been misplaced. However, the man remains unconvinced and decides to chase after the repairman after he finds more secret camera scattered all over the room. After a long chase with many obstacles (seemingly aiding the repairman in escaping), the man interrogates the repairman and accuses of him of intruding upon his privacy. The repairman refuses to reply at first, but ultimately concedes that the man is the main character of a popular TV show that is broadcast 24/7.

•   The protagonist lives an ordinary life until he hears a voice inside his head narrating events in his life as they happen. He gets extremely paranoid and scared. That night he hears the same voice on television, during an interview with a famous author. He discovers that he is a character in his new book, but is shocked to hear the author say that he will die a tragic death. The protagonist chases the author in an attempt to alter the story's ending- and his own destiny.

 

Reflection 12/12/12 Chase Scene Ideas

    We spent today's class watching Twilight Zone-inspired portal chase sequences, and thinking of potential ideas for our own films. After watching several of the previous years' work, I realized the importance of innovative transitions (key in introducing the different locations/portals in a visually appealing fashion), smooth continuity and flow (enhances the narrative while dictating the pace of the film , and diverse locations (fresh surroundings would make the overall film more interesting to watch while establishing a certain mood/atmosphere).

   After pondering on various possibilities, I decided to choose the synopsis below as my final idea. Inspired by Twilight Zone and the film Looper, it has a certain "inexplicable" sci-fi feeling to it while comprising of a chase scene with portals.

   Time Traveler

   One day on the streets the protagonist cross paths with someone who looks vaguely familiar but distant at the same time. He decides to follow the person closely and in a room of mirrors he realizes the person is himself, but many years older. The protagonist tries to talk to his future self, but after a long chase throughout Hong Kong, his future self stops in front of his girlfriend's house with a gun in hand.

   Filled with horror, the protagonist accidentally trips over a step and hits his head on the pavement. However, seeing that the future self now bears a scar on the forehead, the protagonist chases him down upon reaching his girlfriend's room. They fight in a duel and although the protagonist retrieves the gun, his older self takes the girlfriend as hostage. Heaving a final despondent sigh, the protagonist points the gun at himself and shoots.

Twilight Zone Review: The Monsters are Due on Maple Street

   
   "The Monsters are due on Maple Street" revolves around the paranoia that arises from the neighbourhood of Maple Street when an innocent boy associates the power shortage with the arrival of human-looking monsters. Loving neighbours turn onto each other, accusing their eccentricities (such as insomnia) as proof of them being aliens. Chaos ensues when Steve, the most sensible and liberal character, is unable to stop the aggressive Charlie from mistakenly shooting a neighbour. In the end, two aliens who are looking at the pandemonium reflect on the weaknesses of human nature; and how suspicion and paranoia can easily be manipulated into self-destruction.
   Themes of mob mentality and human nature are explored in this episode, but more importantly Serling satirizes a specific historic and social event in the 1950s: McCarthyism. It was a period in America when there was "heightened fears of communist influence on American society" and thus thousands of Americans were accused as being Communists without formal evidence. This is reflected in the plot and the dialogue between the aliens, and I think that Serling has addressed this issue very effectively through a seemingly innocuous sci-fi story, exemplifying and criticizing the absurdity of McCarthyism.

Reflection 10/12/12 Learning about Twilight Zone

   In today's class Ms Wong gave a comprehensive presentation which introduced us to the popular American TV Series "The Twilight Zone", created by Rod Serling. Each episode is a mixture of self contained fantasy, science fiction, suspense or horror; typically concludes with a macabre/unexpected twist. The show's impact was introducing many Americans to serious science fiction and abstract ideas through television.

   Frequently employing science fiction as a vehicle for social comment, Twilight Zone dealt with important issues through seemingly innocuous methods. For example, "The Shelter" or "Monsters are Due on Maple Street" offered specific commentary on current events, while "The Masks" or "The Howling man" operated around a central allegory or parable that reflected the characters' moral or philosophical choices. As a result, the show was infamously censored by networks and sponsors for what was considered to be "potentially inflammatory" material.

   I also learned about the archetypal characteristics and themes of science fiction.

Characteristics: special effects, advanced technological gadgets

Themes: dangerous and sinister side of knowledge (e.g nuclear energy); vital issues about humankind; loss of individuality/identity; prophetic nature 

Reflection 27/11/12

   In today's class we read a chapter in the book From Word to Image by Begleiter, which explored the "interworkings of Text, Diagram and Image in the process of preproduction visualisation". After reading through the shot list terminology for scale, angles, camera movement and character blocking, we did an activity where we had to create a storyboard, shot list and an overhead diagram for a 10-shot scene.
   I chose Orson Welles' ferris wheel in The Third Man (1949), and through this activity, not only did I improve my pre-production skills and knowledge, I also revised and learned many useful terminologies such as High Hat shot ( a very low angle shot) and a zolly ( when the camera dollies in but zooms out at the same time). The video below is a famous zolly shot which evinces fear and suspense.

   Although I was unclear of how to draw a overhead diagram, I tried my best efforts and employed the shotlist and storyboard to help the reader understand how the actual film would look like.

The actual scene (first 52 seconds):

Feedback of our Film Noir 22/11/12

Feedback

• The story arc is coherent and flowing but ended a bit abruptly( with the black scene and dialogue).
• Script was well written, excellent voice-overs which supported the storyline.
• Comprehensive sound design (ambience sound in the restaurant scene)
• Sound levels are much more consistent (e.g heartbeat sound effect is no longer overwhelming)
• Still lacking in transitions; establishing shots could be employed to smoothen the continuity

As an IB learner, I took on the role of a communicator and consulted my peers for feedback on our film noir, particularly on the sound aspect since I am the sound designer. See below.

Reflection 22/11/12 Re-evaluating Film Noirs

   After fixing and editing our film noir shorts, we screened our shorts in today's class. As a reflector and thinker, I wrote down the aspects worthy of notice while watching our works:

Erik, Max, Charlotte, Annie:

• Inserted scenes (the voice over in the beginning) enhance the narrative and allows the audience to understand the plot fully.
• Dialogue is now audible but sound levels (stereo and mono) are still inconsistent. Wild sound was quite distracting at times

Angela, Allissa, Robert, Henry:

• Wonderful in every aspect (cast, plot, script, framing, etc) except for some scenes where the sound was muffled.
• Exhibited typical film noir characteristics and setting.

Wilson, Lawrence, Marisa, Star:

• Wild sound in opening scene overwhelmed the dialogue
• Phone ring sound effect was unnatural and disrupted the flow of the scene.
• Replacing vacuum sound effects with suspenseful music built up to the climax.
• Relationship between characters could've been established earlier to help the audience grasp the storyline.

George, Adrian, Travis, Jacob:

• Brilliant script and acting (hard-boiled protagonist of film noir)
• Uneven sound levels

Reflection 20/11/12

   We worked on our "Text to Film" task today, making a short film based on the poem "Poison Tree" by William Blake. Our director decided to take the more literal approach in adapting and interpreting the poem, while portraying the theme of betrayal and vengeance through the different shots and angles (e.g low angle was used to suggest the menace of the antagonist).



  As the editor, I assembled the footage onto the timeline in chronological order and cropped out certain clips to achieve continuity editing. Due to the limitations in time and resources, our footage was odd dimensional-wise and shaky (it was very narrow due to the camera settings of an iPhone and we could not borrow a tripod in the given time). However, I tried my best under the given circumstances, and used a variety of effects and transitions to enhance the footage. For example, a ripple dissolve was employed to foreshadow the flashback, while "vignette" and "defocus" was applied to the reminiscing sequences.

Reflection 13/11/12 Evaluating Film Noirs

   I spent the majority of today's class evaluating my peers' finished film noir shorts. After noting down the strengths and weaknesses of each film, I compared them with my own group's film noir. As an IB learner, I was a reflector today and pondered on how I could rectify some mistakes and improve the film by demonstrating archetypal film noir characteristics.

Angela, Allissa, Henry, Robert:
http://www.youtube.com/watch?v=xJYo4A2hyuo&feature=share

   This film spanned over ten minutes, but its extensive exploration into Noir characteristics fully justified its lengthy duration. Good Woman, Femme Fatale, moral ambiguity and cynicism were all developed and employed in the film, while a flashback was also used to enhance the narrative. I thought that the editing was excellent, with smooth transitions and natural continuity. However, I felt that if the sound had been more comprehensive (better audio quality, more consistent sound levels) and it would have complemented the excellent visuals.

Adrian, Travis, George, Jacob:
http://www.youtube.com/watch?v=x0cw8BC4Iog&feature=plcp

   Although lacking a femme fatale-or any female characters-this is another great short that fully exhibits film noir traits. The script especially was written impeccably, the camera angles and framing very well executed as well. However, the locations in which it was filmed could be improved, as it was all based in the school. This resulted in undesirable ambient sounds and inconsistent sound levels. Overall, it was a wonderful film noir with an intriguing plot, tight acting and excellent script.

Thoughts on Memento (2000)

   Over the weekend I watched the film Memento, directed by Christopher Nolan (Batman Trilogy, Inception) in 2000. The main character, played by Guy Pearce, is unable to store new memories after his accident but seeks revenge for his murdered wife through hand written notes and tattoos. However, Christopher Nolan presented the film in a unconventional yet meaningful timeline: a sequences of scenes in black-and-white are shown chronologically but interwoven with a sequence of colour scenes shown in reverse order. The two sequences converge at the end of the film.

   Not only did this non linear narrative structure enhance the intricate and complex plot, it also mimicked the protagonist's helpless situation in which he is incapable of generating new memories. Thus, Nolan creates a masterpiece that is thrillingly haunting and at the same time, thought-provoking and ambiguous.




   Many film critics have classified Memento as a neo-noir film, as it manifests many of the typical noir characteristics (setting, femme fatale, moral ambiguity) while displaying modern themes of neo-noir films (identity, memory, revenge). The film is a must-watch for its innovative structure, brilliant acting and stimulating plot.

                              The protagonist's memory flaw is shown masterfully in this scene.
                              Caution: Outburst of profanity

Reflection 6/11/12 Responding to Feedback

   Today our film group screened our film noir "A Deceptive Detective" in front of the whole class. After watching the film a first time, our class and Ms Wong was quite confused due to the non-linear narrative structure. I explained the chronological plot of our film to the class, and they demanded to watch the film once more. This time they understood the complex and intricate plot although Ms Wong reminded us of a hole in the plot, as we had inadvertently reversed two scenes.
   Ms Wong gave us valuable feedback that would help us in improving our rough cut: the ambient sounds were excellent as they subtly contributed to the realism of the scenes. For example, the dinner scene was filmed in the living room, but due to the sounds of plates and knives clattering, the setting of a restaurant is established. However, the sound level throughout the film was quite inconsistent, where some scenes were significantly louder than others. In addition, although the background music was very noir-styled, at moments it was quite overwhelming and made the dialogue difficult to hear. I will make sure I balance out the sound levels and music, then test it by exporting the movie file and watching it. The voice-overs, on the other hand, were very well executed and not only let the audience understand more about the plot, but also fitted the film noir style very well.

                                                                 Rough Cut

Sound Plan

Scene	Dialogue	Diegetic	Non Diegetic (background music and voice over)	Equipment needed
Jail	Lance: It was a mistake, but the cruel thing was, it felt like the mistake was mine, for trusting you.	Jail doors clunking, guards yelling, long sigh,	Voice over, Transition to flashback	Boom Mic, Boom pole, Headphones
Office	Lance: Detective Lance speaking Bank employee: Help! This is the United Bank and we’ve been robbed! Lance: Calm down madam, we’re on our way. Lance: Sherman, there’s been a robbery at the local bank, let’s get to investigating. Sherman: Yes sir.	Phone ring , Picks up phone, puts phone down, chair croaking, gun reload, door open and close		Boom Mic, Boom pole, Headphones
Bank	Lance: Sherman, make sure you interrogate her well. Sherman: alright mam, so can you tell me what happened? BANK EMPLOYEE: what do you think sir! we've been ROBBED! Sherman: mam, if you want us to catch the robber, you're going to need to calm down and tell us all the details. BANK EMPLOYEE: sorry. We were just having a normal day and suddenly a man, about 5 foot 7 came in with a gun and started threatening us. He said that if we didn't give him the money, he would kill us all. Sherman: Alright mam. Could you describe his face for me? BANK EMPLOYEE: well... He was caucasian, and looked so weak that you would never think of him as the robber. Oh and when he escaped the bank, i think i saw him head to the right. Sherman: Alright thank you mam. We will find this person and put him in jail.	crowd chattering		Boom Mic, Boom pole, Headphones
Streets	FEMME FATALE: Bit early in the day to smoke, don't you think? Lance: It’s never too early, for someone with a miserbale life . FEMME FATALE (laughs)Maybe i can make it better. Lance: Sorry Sherman, i've ran into something complicated (winks at femme) that I’ll have to deal with. Report back to me when I get back to the office. Voice over: This was no ordinary girl, she was beautiful, she was perfect. There was one problem though - she only liked rich men. And I knew a cop’s salary would never suffice.	light up flame high heel footsteps	When first sees femme fatale, background romantic music plays and intensifies. Voice over.	Boom Mic, Boom pole, Headphones
Office	Lance: So, what did you find out? Sherman: Sir, i've found the thief and the money. The money is in the evidence room and the robber has been sent to jail. Lance: Good work son. (ponders awhile) Say, what about I let you off on vacation for a week? You deserve it. Sherman: Yes sir.	doorknob, put down gun		Boom Mic, Boom pole, Headphones
Restaurant		people chatting in restaurant sitting down	Romantic Music playing	Boom Mic, Boom pole, Headphones
Apartment	Voiceover: I didn't know what to do. There was a huge risk if i were to do this. What if I got caught? But if I take the money, I’ll have everything in the world! (Calls femme fatale) Honey, pack your luggage and let’s leave this rotten place. We can go anywhere you’d like. FEMME FATALE: (shocked) umm...i'm not sure..... Sherman: Darling trust me. I’ll have all the money ready when we meet. FEMME FATALE: (hesitates) Okay, I’ll do as you say.	Phone Dial, hang up	Voiceover	Boom Mic, Boom pole, Headphones
Office	Sherman: What are you doing sir.....? Lance: Get out of my way son. I have personal issues that i need to fix..., don't make this harder than it already is. Sherman: why... Lance: tell anyone, and this bullet will be in your skull before you know it. Sherman: ... You're going to regret this.	Gun reload, doorknob, rummaging through bag	Heartbeat	Boom Mic, Boom pole, Headphones
Hotel		Blanket flipped out Door close	dogs barking	Boom Mic, Boom pole, Headphones
Streets		Thunder, footsteps	Suspenseful music	Boom Mic, Boom pole, Headphones

Reflection 2/10/12

   Today was a rather special class, as we took part in an acting workshop with the drama class. At first I was quite reluctant to perform in front of so many people, but after encouragement from the teachers, I realized that acting could a very cathartic and enjoyable experience. However, through noticing other classmates' acting, I realized it is extremely difficult to receive a flawless performance (we expect them to be as good as professional movie stars) from our classmates who have not taken drama.
   Therefore, what I took out of this class was that it is harder than it seems to act in a desired manner, especially for amateurs. Therefore, we must be sympathetic and lenient to those who are acting in the films, but at the same time devise methods to help them get into character and perform at their best to add to the characterization and realism of our films.

Analysis of Orson Welles' Film Noir Works

"What themes are prevalent in Orson Welles work and how are they demonstrated?"

   Despite being celebrated as the “ultimate auteur”, Orson Welles is often overlooked for his massive influence on film noir. Displaying innovative thematic and stylistic consistencies in films such as Citizen Kane, Touch of Evil and Lady from Shanghai, Welles has left an indelible impact and legacy on the classic era of film noir. Welles employed extensive use of light and shadows, low angle shots and long takes to demonstrate and convey the prevailing themes: isolation and solitude, the depravity and decadency of a well respected man, his downfall marked by the character being consumed by the darker side of human nature. 
   Welles’ first feature film Citizen Kane, released in 1941 at the tender age of 25, is consistently ranked as one of the best films ever. Although not strictly a film noir, Citizen Kane manifests several film noir elements, such as low-key lighting, deep focus, Dutch angles and the typical film noir characters (a flawed protagonist, the good woman and the femme fatale). Continuity editing was also executed intelligently, especially the dissolves in the opening shots of the film. The first few shots are extreme close-ups of the fence and the gates, which not only establish the suspenseful and mysterious atmosphere, but also suggest the isolation and loneliness of the protagonist. 
   Deep focus is used extensively in the film, where the foreground and background are all in sharp focus. For example, in the scene where Kane’s mother signs a paper to hand Kane over to Mr Thatcher, all the characters are in focus, even Kane (who is playing outside the house in the extreme background). The use of deep focus emphasizes his isolation, as he is helplessly playing in the snow while his mother turns him over to another man at the same time, in the same frame. 

Deep focus where the foreground and background are all in sharp focus.

   Welles exploited light and shadows creatively to add a layer of meaning and emotion to Citizen Kane by experimenting with low-key lighting and chiaroscuro. In the news reel scene, a strong backlight is used to turn the characters into silhouettes and shadows. Edward Murray writes in his book Ten Film Classics that “in this way, the film-maker forces us to listen to what the men have to say – here the words are more important than the faces – but we listen while looking at a visually interesting screen” . By cloaking the reporter’s facial features, Welles was also suggesting their corruptness and superficiality while enhancing the mysterious mood. 

Backlighting used to create silhouettes

   The chiaroscuro represented the good and evil of human nature, as demonstrated by the shadows flitting on Kane’s face when he is reading the Declaration of Principles, which included promises that he would not be able to keep. Once he finishes reading, the shadows disappear and this foreshadows the downfall of Kane’s mighty newspaper empire. 
   In 1958, Orson Welles released his last Hollywood film, Touch of Evil, which is also considered by many to be the last film noir of the classic era. The use of shadows and low angle shots are dominant and contribute to the central theme of the innate corruption of human nature. The antagonist in this film is Hank Quillan, who is often shot in unconventional low angle shots to portray his dominance and menace. However, all the characters are morally ambiguous and have both light and dark personalities; in this film, looming shadows are employed very often to epitomize the darker side of the characters.

Low angle shots to portray Hank Quillan's dominance and menace.

      The opening scene, a famous long take spanning almost four minutes, is filled with suspense as the audience is aware of the ticking time bomb but does not know when it will detonate. The person who plants the bomb scurries out of the frame, but his shadow follows him and can be spotted on the wall. After the explosion, a hired assassin with a bottle of acid follows the protagonist. Once again, the audience loses sight of the assassin but his shadow is seen rushing across the wall. In both of these two cases, Welles is demonstrating the darker side of human nature through the use of shadows, which propels them to commit crime and murder once they lose their selves in the evil half of their personality. The shadows that are constantly looming over or chasing the characters seem to convey the message that the only thing one can’t run away from is oneself. 
   Through the groundbreaking usage of low-key lighting, low angle shots, light and shadows, Orson Welles has created a legendary, one-of-a-kind directorial style. His prevailing themes, depravity and isolation, are resonated in his various work of arts and demonstrated by his innovative style; making a strong case for being voted as the greatest film director of all time among both directors and critics. 

Bibliography

Works Cited

"Alex Ross: The Rest Is Noise." : Orson Welles. N.p., n.d. Web. 26 Sept. 2012. <http://www.therestisnoise.com/2007/04/orson-welles.html>.

"Film, Etc." : Auteurist Analysis of Orson Welles. N.p., n.d. Web. 26 Sept. 2012. <http://film-etc.blogspot.hk/2009/04/auteurist-analysis-of-orson-welles.html>.

"Low-angle Shot." Wikipedia. Wikimedia Foundation, 29 Aug. 2012. Web. 26 Sept. 2012. <http://en.wikipedia.org/wiki/Low-angle_shot>.

"Touch of Evil,1958, Orson Welles, Film Noir, Film, Movie, Review, Criticism, Bobby Wise, Cinematic Arts | Bobby Wise Criticism." Touch of Evil,1958, Orson Welles, Film Noir, Film, Movie, Review, Criticism, Bobby Wise, Cinematic Arts | Bobby Wise Criticism. N.p., n.d. Web. 26 Sept. 2012. <http://www.bobbywisecriticism.com/cinematic-arts/classic-film-noir-touch-of-evil-1958/>.

Reflection 20/9/12

   Ms Wong split the class up into roles today, so I was working with other sound designers to share and discuss our knowledge on this particular area of filmography. I researched online and after synthesizing the information gained, I concluded that sound design is the composition and/or manipulation of audio to create a desired mood or effect. Another sound designer researched on more specific aspects of sound designing, which include creating sound effects, voice overs, foley, ADR etc. Making sure the equipment functions properly is equally important, as the sound designer is responsible for the boom mic, cables and headphones during the shooting process.
   I was a communicator today and shared the acquired knowledge effectively with the other sound designers through allocating work and a group discussion. Ms Wong gave us a piece of information that was extremely important: the overriding priority for a sound designer's work is to represent the director's vision. Sound designers must work with the director's intentions to convey the underlying theme or contribute to the realism; ultimately, the director's decision is final.
   Finally, I also watched some clips of Film Noir Classics such as D.O.A (1950 film) to get a sense of how sound design is employed. I discovered that there is often jazz music being played in nightspots, while the background music evokes suspense, horror and darkness.

Reflection 17/9/12

Shot reverse shot of Al Pacino and Robert de Niro talking in a restaurant, in the 1995 film "Heat". What do these two seemingly simple shots suggest and what film noir characteristics do they portray?

   By framing the two characters almost identically, the audience subconsciously associates the two characters together; since the actors are at eye level, we also infer that their status and power are similar. Although in the film,  one is a cop and the other a robber, perhaps the director is trying to suggest that they aren't as different as expected.
   Also, the restaurant is very busy and crowded, which corresponds with the archetypal claustrophobic atmosphere and the insignificance of the protagonist in the Noir World.

http://www.youtube.com/watch?v=ehTY_FgQjKA

   These are some of the thoughts that I had deliberated on when Ms Wong showed us some clips that demonstrated typical film noir elements. This exercise was very helpful as it prepared my brain for the upcoming film project and essay, which will require critical thinking and detailed, in depth analysis. My role is sound design, so I did some research online. In accordance with the settings of the Noir World, common sounds are sax solos and blue cocktail piano, the "wail of a distant trumpet through dark, wet alleyways [and] hot Latin beat oozing like a neon glow from the half shuttered windows of forbidden nightspots".

Source: www.filmsnoir.net/film_noir/the-sound-of-film.html

Reflection 13/9/12

We spent half of today's class watching our classmates' 1 minute edited clips of Double Indemnity. In order to discern its accuracy, Ms Wong played the clips side by side with the actual part of the film. Through this activity, I could easily tell whether the camera angles, framing, mise-en-scene and blocking were the same as the ones employed in the actual film.

    As a reflector in the IB learner profile, I thought that it was very hard to mimic the scene perfectly because of a myriad of factors, such as the actors' heights which would affect accuracy of camera angles. However, my group still did well considering the limited time and resources; one feedback that we received from Ms Wong was to pay attention of the aesthetics of the screen, and to think about negative and physical space as it can be a powerful conveyor.
   In the second half of the class, Ms Wong gave us an introduction on Film Noir. I have always heard the term before, but have never really understood what it meant and its archetypal characteristics. I acquired information on the internal and external settings of the Noir World, the Femme Fatale vs the Good Woman, cinematography, iconography and the quintessential themes (e.g prevailing cynicism, a contemporary world without moral certainty).

Reflection 11/9/12

   We spent today's lesson learning about key editing techniques, then doing an exercise which involved us identifying and illustrating these techniques employed in either the film Double Indemnity or the clips that we shot last class. This activity was very helpful as it gave me a stronger grasp on the plethora of diverse techniques used in cinematography. Not only did I gain knowledge on what each editing technique was, I also learned the effect of each. For example, I learned that dissolve is a transition between two shots in which the first image gradually disappears while the second gradually appears, effectively replacing the former. In addition, I discovered that the main purpose of dissolve is to link the two scenes together, but it can also suggest hallucination or inebriation.
   As an IB learner, I was an open-minded communicator today. After learning and illustrating the several key techniques used in editing, I actively shared and discussed my work with my peers. We had disagreements (such as arguing over whether a specific cut was a cheat cut) but being open-minded, I accepted their views and debated until we reached a conclusion, which was often helped by Ms Wong.

Source used: http://classes.yale.edu/film-analysis/htmfiles/editing.htm

These three images show dissolve being utilized in Double Indemnity.   

Edited Double Indemnity Clip

                                              Double Indemnity, 00:00-01:00 of Clip 3/9.
http://www.youtube.com/watch?v=LJq1auJq_gc
Desaturated on Final Cut Pro.

(There were some issues with the audio during two shots due to the malfunctioning of the boom mic. Next time, I would make sure I test the equipment before shooting to ensure the highest possible quality of footage).

Reflection 4/9/12

   Today was our first practice shoot. Employing the storyboard and shot list that we had finished for homework last class, we borrowed and set up the film equipment in the primary playground, where there was not much noise/people. Due to the limits of the location, we had to use benches instead of couches, but this soon posed a problem for us: Because of the uneven height of benches, one of the character was looking down on the other when it should have been the other way round.
  I was a thinker today in the IB learner profile, and after concocting and analyzing different solutions, I decided the simplest and most effective one was to let the actor who was too tall sit on a lower block. Although this seems like a minute, frivolous detail, the whole purpose of this exercise was to achieve the highest accuracy possible, in terms of camera angle and movement.
   Another obstacle that met us was speaking the dialogue. Due to our limited time, we did not have time to rehearse and memorize the lines; therefore, we had to hold a piece of paper low enough so it would not be in the frame. Consequently, the actors frequently looked down to say the lines and the flow and continuity of the scene was interrupted. Therefore, we decided to let the boom mic holder hold the sheet of paper up as well, so that the actors could be more free in their movement and utterance of dialogue.

Reflection 30/8/12

   In today's class I gained a lot of information on school cameras and using Final Cut Pro. First and foremost, I learned that the cameras that we use in school are called Panasonic HDC HS 900. When it is turned on, the letters "HG 1920" should show on the screen. If it does not, it means you have pressed 1080/50P. Press again to switch back to ensure that you are filming in the appropriate mode,

   Before filming, the card must be formatted: touch the lower hand menu to bring up menu, go to Set up, and Format Media. Then, select the SD card and press OK. By doing this, you have effectively removed all footage that someone else has filmed before, and also formats the card so it is compatible with Final Cut Pro. Last but not least, make sure camera is on manual mode. 

   In Final Cut Pro, there are four components- the timeline, the canvas, the viewer and the browser. The timeline is where we arrange our clips so that a sequence is formed. The browser's function is simply to give easy access to clips, and are arranged in folders called "bins." The viewer is a window for you to watch your whole unedited clips (hence its name), while the canvas outputs the contents of the Timeline.

   Then we worked on our reverse storyboard (see above). Through this exercise, I learned that accuracy is extremely important in storyboards as it gives information for framing, angles and much more. 

Below is the link for my chosen clip of Double Indemnity.

http://www.youtube.com/watch?v=SojaL9M5Pqs&feature=relmfu

Reflection 28/8/12

      In today's class we first went over the expectations and learning objectives of this year's film class, then analyzed the different frames in scenes of "Double Indemnity", a classic American film noir.

   During the presentation, I learned that unlike last year, where we focused on sound design, this year we will learn editing skills. "Continuity editing" was the first unfamiliar film terminology that I came across today, and Ms Wong taught us that it simply meant maintaining continuity and consistency, to "establish a logical coherence between shots". Unless used deliberately, we should abstain from discontinuous editing, as it reflects a lack of discipline and preparation, while also interrupting the flow of your film. Examples of discontinuous editing include change in lighting, location and constume- in fact, this is a common error in our student-made films!

   Finally, we practiced reverse storyboard, which means creating a storyboard for a scene after the scene has been filmed and edited. We decided on one minute of the film Double Indemnity and examined how many cuts there were in that one minute. Below is a screenshot which shows a shot in the clip that I chose to reverse storyboard.

   I think I was an inquirer in today's film class-when we had finished watching our movie clip, I did some background research on Double Indemnity (the year it was made, the director and the genre) before class ended. However, next class I will strive to be more of a risk taker or a communicator.