Shoot- Wednesday 20th January

Shoot for Wednesday 20th January 2015

On the day of the shoot I went through the shots I had planned beforehand. Overall I was very pleased with the results, because of the framing and the textures seen in the shots helped sell the world Stephanie inhabits. During shooting I decided to juxtapose the blue sky and the green in order for their to be a strong divide from the ground. I also kept the white balance to Interior which gave the shot a burst of cold blue, matching the previous training shots together and selling the tone of the film.

With this shot I decided to focus on the ball's texture and grime. This is a visual representation of Stephanie's progress and the struggle she has to go through in order to achieve her goal. With this shot in particular, I made sure that I focused on the texture of the ball on top, to give the audience a texture to the universe Stephanie inhabits, juxtaposing the flat barren shots that surround her. This conveys the hope she has through football, not just as a relief to life but also as a vocation to focus on.

On my camera I set up the framing grid to ensure the horizon line and goal posts matched the rule of thirds. I planned this shot in Pre-Production, but this shot came out better than I anticipated. I wanted a shot in which Stephanie looked minute and outweighed by the situation. This makes her movement more powerful as she goes to shoot anyway, depicting her integrity as a character. 

What I also like is the ball exiting on the left hand side of the frame, which mirrors the football and cones shoot seen in a previous attempt.

I decided to shoot Stephanie putting the ball down in order to capture the intensity of the moment. The grass and the football once again gives the shot texture, alluding to the freedom Stephanie finds in aiming for her goal. The horizontal line gives the shot the sense of depth and allows the eye to be drawn to the actor's legs. This allows the shot to be balanced and allows the spectator to focus on the ball being placed down. I plan to couple this with the 'Get Back Up' music to enforce the emotion of the sequence.

By far, this has to be my favorite shot of the shoots, mainly due to the framing of the subject compared to the goal, and the use of texture from the natural surroundings. The trees in the background give life to the environment, while closing Stephanie in the shot, allowing for enigma to be present.

The harsh cold tones work well here, with the blue, brown and greens mixing to create a harsh wilderness. I enjoy the mixture of colour in the shot, coupling it with Stephanie's ecstatic reaction to hitting the crossbar.

I shoot several shots of Stephanie shooting at goal; only for her to hit the post. The mud marks on the white goalposts added to the impression of the character's hard work and numerous attempts on goal, an effect I wasn't expecting. This feeling of repetition will be enhanced during editing by repeating similar shots to enforce this momentum. The level of the horizon line cuts through the middle of the frame, allowing the shot to be leveled and draws the eye to the goalpost.

This shot allowed Stephanie to be seen as a powerful figure, which will juxtapose her lower levels at the beginning of the film. Even though she is surrounded by the hazy blue it does impact on her focus. The framing of this shot once again helps plant the idea of growth into the spectator's head, giving Stephanie a strong narrative as a character. The tips of the trees allow the spectator to understand where Stephanie is aligned in the scene as well as give scale to hr position in the frame. This gives her a strong stance overall and allows the spectator to acknowledge her growth as a character.

A powerful stance helps exudes the confidence Stephanie is gaining, whilst still allowing the audience to be unsure if her attempt of goal will lead to her scoring. I took inspiration from the 'Pressure Makes Us' shorts from the US Soccer Team, in the way that the horizon line is level with one of the thirds of the frame. This helped me create a barrenness with the blue sky, which draws the spectators attention to the football on the ground.

The goalpost has a natural horizon line shot in which the eye can follow, giving depth without having to use a large space of land. The griminess of the goal helped add more texture to my film, coupling in with the blue hues and browns seen throughout the film. The trees once again give the background an interesting texture that does not distract from the narrative and enforces the entrapment Stephanie is fighting to get out of. The sound of the football hitting the crossbar was recorded on a Rhode-mic Pro, which enhanced the sound of it clattering through the air.

My final shot of the day involved the goal being shot at goal, but from the angle of approaching the goal. I wanted the spectator to see Stephanie beginning to shoot at goal and succeeding, but not with the power and precision needed to be assured she will need to score during training. I did this to tease the audience into believing Stephanie will be okay, however her attempts to shoot the crossbar are far from over. 

SHOOT POSTPONED FRIDAY

The shoot that was due to take part on Friday has been moved to the week due to clashes. However, filming will continue on Wednesday as planned, which will complete the montage sequence that leads to the final match.

Better Days - Bensound (Royalty Free Music)

When I continued my search for royalty free music, I came across Better Days, created by Ben sound.  What caught my attention was the ambient hum at the beginning, which amplified with the electric guitar to create a sad emotion. The overall effect is quite haunting, which I thought would help to enforce Stephanie's feeling of helplessness and isolation in her bedroom.

After editing the opening sequence with both pieces of music, I came to realize that Better Days had a clearer tone and was more useful for the scene . The fact that the song was shorter allowed me to manipulate the order or the electric guitar riffs, as one of the main issues with Ether was the drums that kicked in halfway through the song. This drum ruined the emotion of the scene and distracted from the emotion of the performances.

By using Royalty Free Music I am able to give musicians credit for the work they have done, as well as have a creative influence on the way the spectator reads and understands the narrative that is happening.

Copyright Free Sound for The Impossible Goal

Copyright Free Music

After sitting down at the beginning of year and asking myself what emotion I wanted to create for the audience, I decided the feel of what my music should be.

 I wanted the audience to feel uplifted when the goal goes in the back of the net, as Stephanie is not only conquering her fears, but she is doing it in front of the pessimists who told her she couldn't do it.

Because the audience have been positioned to root for Stephanie, this climax conveys how the emotional elements of my film can affect the audience. I intend to create more impact by using music that linked into this idea.

I decided to look onto Audio Library after it was recommended by friends. After my search I was pleased with the results I found, and will be using Audio Library - No Copyright Music.

Audio Library- No Copyright Music

Para sail- Silent Partner

Para sail was the first video I came across when vising the channel. At first I thought the song had promise, but after a I continued listening I decided this wasn't the sound I was looking for. It was too happy and poppy for the emotion I was trying to create.

I decided that this would create the wrong emotion for my character because of its use of bass as a rhythmic tone. I was searching for a song which could carry the spectator in and release a sudden burst of energy; unfortunately it was not this song.

Bright Future- Silent Partner

I really liked the opening to this video as I felt the scratching of the guitar would give the visuals a gritty feel and build a sense of gravitas to the performance. However, after the song reached the chorus, I felt the electric guitar turned into more of a pop sounding melody.

I decided to not add this into my film because of this reason, but I looked at the the bridge and noted the build up using drums, but feel the music would feel odd if I cut the chorus out.

Ether- Silent Partner

I love the loneliness and isolating feeling at the beginning of this track, using synths to slowly build up the tension of the song. One of the main reason I enjoyed this song was because of it's slow build up, unlike 'Bright Future' this song had a piano for the main hook, which gave the song a more emotional edge.

The creators added electric guitar on the second chorus, which I intend to use at the end of the film when Stephanie scores. This will create a fulfilling feeling once Stephanie has scored, looping the hopelessness feeling the spectator has created with the audience to one of joy and bravery.

Get Back Up- Silent Partner

When I listened to Get Back Up I liked the rhythm ticking of the guitar. When the atmospheric music entered I knew this was the song for me because I could link it to the overwhelming goal post shots I will shoot in the later duration of the montage.

I again enjoyed the way the music slowly built up to a climax, as this will allow me in post production to manipulate what my audience may be feeling. For example, I could overwhelm the spectator with a burst of electric guitar, or I could play the motif of the singular plucking over the same shots (Such as Stephanie sitting disappointed on the bench)

MGS TARGET

• Write a brief two or three lines about how my shooting has improved since last year (New Technology, New framing and Research) Such as a Dolly, planning and Pull focusing.

How to Make Your Own Dolly

Making our Own Dolly

In my plan to discuss with the media department on building a dolly, I decided to look at tutorials that could aid them. This was used to make a stable floor that could hold the tripod on top. This will help achieve the shots I want to use in the film and further connect us with Stephanie's progress as a character.

Note: Filming has been postponed until Monday. My plans for the shoot remain as scheduled.

Thinking About Texture

       Thinking About Texture 

         

Source: Creating Powerful Images in Film

 After searching the internet for inspiration about the look of my film, I came across this video on DLSR guide. The short video discusses giving tone to the film through location rather than characters, using natural lighting to softly bounce off a window.

 Simon Cade (Presenter of DSLR Guide) also discusses the importance of light over the quality of the camera. Matching colours, such as the vase matching the blue tint of the plaid curtains, connects the shot and makes the blue and brown contrast well, whereas lighting, such as a window on a cloudy morning, allows for soft light to bounce onto the subject or prop in shot. 

 I used this inspiration when filming with my actress. I had an issue with my original location and had to think on the spot as to how to create another interesting shot. I spotted the circular textures on the banister and remembered back to the video. I set up the shot near the stairwell and filmed my actress in a 'natural state'. 

 Looking back, I wish I could have filled the frame with the circular texture more and removed the grey pole, as I feel I could have focused on the pattern and texture more while still having my actress in the frame.

What I love the most about this shot is the mixing of primary colours (blue and yellow) with the darkness of the shirts, because it allows the stairs to stand out within the frame and give depth of field as I pull focus onto the subject.

 I also took the advice from Cade and used the window light to bounce onto the subject, allowing a soft rim of light to outline her from the grey floor. 

 Although the other characters walking through the frame was not intended, I allowed the people to walk through as I felt it would create a natural environment for Stephanie since she is in a school corridor. This shot also show the divides between Stephanie and her fellow classmates, conveying to the audience her isolation off the pitch as well as on.

 I took into consideration the levels of the character, having her sit down to loose her power within the frame. On the contrary, Stephanie is reading a book compared to her fellow counterparts, allowing the spectator to see she is trying to learn how to score even when she is not on the pitch. 

Cutaway shots SHOOT Thursday 7th January 2016

Hallway Shots: 7th January 2016

Today I shot two key pieces for my montage scene. I planned out the shoot in my book and logged in the key details I wanted to capture in each shot. Originally I wanted to have Stephanie reading in the OLC, however it was so busy to create the shot I wanted, so I decided to move onto the re-shoot of the window.

First shot-Pensive Window RESHOOT

 

 I framed the shot of the window to my liking, allowing Stephanie to be confined in the walls and not in the open. This allows insight into the character further as she is held back from what she want to do most, much like when she is sitting on the bench. I changed from a handheld shot to a tripod in order to get a better frame. However this reduced the size of the image. The scale of the shot was something I had been particularly proud of, so I will look into seeing if I can use the black bars to my advantage in post production, or I will have to scrap the wider shot completely.

Before (Right)           and After (Left)

Comparing both images, I do prefer the first shot because of the scale of the window outweighs Stephanie. In editing I have tried slowing down the image and reducing the timing of the shot, which has helped its performance as a shot. On the other hand, the second shot is more stable and allows for Stephanie to look more pensive, however I believe the original image, when edited, will sell the narrative more than the Reshoot I have done. 

                              I slowed down the image in order to get a smoother look to the shot.  

Second Shot-Reading Training Book

After framing the window shot better than the original, I noticed the stairwell behind us had an interesting texture on the banister. I quickly set up my shot and allowed for Stephanie to read her book alone in the silence.
This shot involved me pulling focus onto the protagonist, and I felt that the bobbles in the stairway gave texture to the performance area and gave life to the barren surface. This juxtaposes the earlier shots in the montage as Stephanie is blocked in or restricted in the frame. As she becomes more and more confidant in herself, the images begin to open up and vary in depth.

The final shot, which should have been shot today, was the hallway shot in which Stephanie is listening to a football Podcast. With time fleeting I attempted to shoot the shot I intended, but I was not impressed with the framing and I felt it didn't push the narrative forward.
However, upon further consideration of the content and meaning behind the shot, I have decided to build the tracking dolly first in order to replicate more dynamic shot outside.
My plan is to shoot Stephanie walking by using the Dolly. She will peer over to the Astro Turf before she continuing to walk by it.
I feel this shot will push the narrative forward more as it conveys Stephanie's conscious being on football. The Astro itself is then depicted as a sacred ground to the protagonist, becoming an important part in how she proves herself to be worthy of a place on the team.

Targets for next time:

• Speak to the Football Team Again and get a day planned for the shoot (possibly Monday 19th January) (Opening and Closing Shots)
• Shoot on Friday and allow the dialogue to flow between Stephanie and her Sister, Jane. 
• Get wide establishing shots for the room as it does not feel we have traveled far
• See if I can get a wide shot of Stephanie walking home.

Shooting for January

The scenes I filmed where part of the montage scene and the bedroom scene.

• The lighting was a good start as to how to reflect the mood.
• I found the dialogue did not flow as intended. However, this can be improved by allowing the actors to improvise and feel the emotion of the dialogue.
• The montage shots have good energy and show the emotion correctly
• I am going to have to build a tracking dolly to improve the stability of the shots. 

I am going to discuss with the DT department about building a tracking rig for us. It would consist of four poles for the wheels to glide upon, with a flat wooden surface to place the tripod onto. This would allow us to get smooth tracking shots without having the wobble of handheld.

For the majority of these shots I added a lack of depth of field to emulate the pressure Stephanie, our main protagonist, is under. I would use walls to use as motifs to her discomfort, conveying the wall she must overcome to achieve her goal. I mixed this idea up with a wide shot (Shot Two, seen below) of Stephanie with a barren background, adding depth yet disallowing the spectator any comfort in the image.

The wide angle of these shots allows the spectator to feel the isolation the character is feeling. I hope to use closer shots to juxtapose these, as I still wish for the spectator to feel a connection with the character, not to just be an observer.

I originally had this take as a close up shot, but after encouraging the actor to continue doing her skills I changed to a wider shot. This helps the spectator gaige the size of Stephanie to her surroundings, as well as make her minute and small in the process.
To improve this shot I would line up the horizon line to the lower third of the shot, on the other hand I do like how the protagonist is suppressed by the image. In editing I added a cross fade to convey a passage of time, linking into my creation as a filmmaker.

I really liked this shot due to its contrast in colours. I deliberately set the camera to an interior white balance, allowing the blue hue to contrast with the green grass. The blue not only enhance the grass's colour but is also a visual to the suppression Stephanie is feeling during the course of the film. My plan is to add warmer tones in during the end football scene because of her enlightenment of finally doing what others said she couldn't.

This is a shot I recreated from my test shoot. I made subtle changes to the shot to balance the framing of the character, as I felt the desk to confine the protagonist to the left hand side of the frame, making her suppressed in her own environment. I continued to add the blue colorization by adding blue lighting to define the actress from the background, acting as both a mood setting and depth to the enclosed space.

I wanted to create loneliness in the visuals, not just through the framing, but through the framing also. I used a window, revealing the dreams and aspirations of the character, whilst restricting the character from what she wants most. The tacking shot to reveal the empty pitch imply that Stephanie is her own block to her goals, and that is what she must overcome in order to score achieve her goal.

Throughout the film I plan to use the colour as a key to Stephanie inner conscious and mood. But in some shots, I indicate to good morals and characters that Stephanie can look up to. Stephanie's sister, Jane, is a positive influence on the protagonist, however the spectator and the protagonist both learn through this encounter that Stephanie has to make choices on her own, even though she has the backing of others who support and love her.

I am also going to put up a plan for shooting over the next month. This will include meeting with the football team in school to shoot the opening and the finale shots. 

Hallway Shots- Thursday 7th January 2016

Montage Scene- TBC
Walking Home- Monday 

Bedroom scene (Re-shoot)-Friday 8th January 2016

Football Match Opening-TBC

Football Match Free Kick- TBC

These will be shot over the next month. The hallway shots can all be done in one afternoon (Lunch and Break Time) as well as the Football Opening and Ending can be shot on the same day.

• Football Match Opening

Total Amount of Shots needed: 10

• Montage Scene

Total Amount of Shots needed: 20

• Bedroom Scene (Reshoot)

Total amount of shots needed: 10

• Hallway Shots

Total amount of shots needed: 3

- Shot of Protagonist listening to a football Podcast

-RE SHOOT of framing against the window

- Protagonist reading a book on football drills