As a reminder, I am planning to do a time travel reflection and a podcast part for my CCR.
I haven't really been a podcast person, but I have actually been listening to a lot of them recently. One podcast has been completely theatre related. Over the last two months, I have been auditioning for musical theatre programs across the country. Podcasts have been a pretty good way for me to learn a lot about the colleges in a short period of time. I am not a podcast expert, but I have definitely listened to enough professional ones by now to where I could emulate some of the techniques.
I plan to make a podcast specifically about the target audience of my film opening. It could discuss how I arrived at the film's target audience and how I plan to make the film available to the public. I would like to experiment with some of the regular aspects of podcasts, such as a theme song and an interviewer.
As a reminder, I am planning to do a time travel reflection and a podcast part for my CCR.
After a quick Party City run, I got myself everything I need to transform into the most drastic character I'll need to be for this CCR: Old Man Joey. The video will start on Old Man Joey meeting the viewer traveling to his time in a time machine (we'll ignore how/why the viewer got into his room). Old Man Joey will send the viewer back to crucial times during my process making the AICE Media final. These could include:
February: The beginning of the whole process. Discuss research in genre conventions. Discuss which conventions I embraced and discuss representation.
March: Approach to production. Reflect on how the process evolved throughout the production.
April: Editing. Explain how I integrated technologies into the project. (All types - hardware, software, Blogger, etc.)
It'll probably end with Old Man Joey giving a final statement.
The February segment would reference my "Choosing and Representing a Genre" blog post from Feburary. I would explain what I meant by a "Dramedy" and go into the details about how I balanced a serious and humorous tone. Here, I could go more into how I was inspired by the Soul opening, but how my final piece still differed greatly from it. I could also explain how I tried to recreate the dull feeling of the opening of Eternal Sunshine of the Spotless Mind. I could even incorporate my "Genre Research Activity" blog post from November of 2023. Overall, I didn't really challenge much of the genre's conventions
The March segment would take place during the week of me filming and beginning to edit. I could mention the troubles I had during the day of filming. I would mention how I got my actors to be in the film (and how so many of them dropped it). I could explain how I found locations for the two scenes of the opening and discuss how I confirmed them. Additionally, I would go into depth about how bad it was I started my whole process with a filming technique (the one-shot) instead of starting with the story.
The April segment would happen after I'm done with the final product. By then, I would have used all the technology I would need to create the opening and I could elaborate on it all. I would highlight the softwares I used, including Blogger, Adobe Premiere Pro, iMovie, and InShot. I would also explain why my phone was the only hardware I needed to film the piece.
Of course, my younger selves in all these time traveling wouldn't know how all his ideas came to be in the end. Still, it would be treated as though he was very determined and he knew that nothing would change throughout the process.
With only three clips in my entire film opening, there wasn't much editing to do involving cuts and trimming.
Much of the editing came from the sound. I really wanted to make sure the chorus sounded good during the auditorium segment of the piece. I feel like the combination of their voices, if done well, could really enhance the tense tone. I did different things in order to enhance the 4-person performance such as:
Requiring a metronome at 110 BPM playing either on stage or in someone's ear so that the chorus would stay on beat. The conductor's hand wasn't enough.
Filming the opening with live vocals, but also recording a voice memo of everyone singing the song. This could be placed on top of any part of the film needing more power from the chorus.
Leveling the vocals so that when the harmonies of the song comes in, all of the actors are blended.
There was minimal sound editing needed for the classroom portion. The room was enclosed and there was minimal background noise to cover. The students were supposed to sound bad, and they did.
The film's credits were placed right at the beginning of the opening. I structured the frame so that the text could appear on the white wall to the right. I wasn't ready to name the movie until after I filmed everything. While editing the clips together and seeing the atmosphere come to life, I decided to name it The Broken Score.
For the beginning credits, I timed it so that each credit showed up on beat with the music. Everything flowed together very nicely I think. In my "𝚏𝚘𝚗𝚝𝚜 𝚊𝚛𝚎 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚝" blog post, I researched the impact that different fonts can make towards the tone and atmosphere. I was leaning towards using Garamond, but during the editing process, I tried out a font called Caviar Dreams. It was slightly wonky, but still very serious. It has quirky "e" vowels and disproportionate consonants, but still maintained the perks of Garamond. I thought it represented the film very well with it's irregular feeling.
That's right. Filming DAY. I was thankfully able to do all of the filming in one day. Everything had seemingly worked out.
Almost.
It was Monday, March 18th, 2024. I had gotten verbal confirmation and confirmation by text that all 11 of my actors could stay after school that day to film. 11 people still wasn't ideal, since a regular chorus class size was usually much greater. Still, I thought the audience could suspend their disbelief for the idea. 11 students could still produce a big sound that could fill an auditorium.
I had told everyone to meet up in the theater. As I walked into the room (very happily because I had just secured the location with the band kids), I only saw five of my actors.
Five.
I instantly contacted the group chat with all of the members and asked where everyone was. Slowly but surely, everyone began to send their excuses. Some of them were valid. Some of them were not. One of my members was feeling very sick with a sore throat and mucus (Valid). Another one of my members completely forgot it was today (Not Valid).
One person named Santiago had agreed to be the chorus teacher for my film opening. He was the oldest out of the 11 actors I asked to come, and he looked it. He took the Chorus elective at my school with me and I figured he could mimic some of the actual instructor's work as a conductor. That whole plan fell apart when, on filming day, he informed me how he was in the hospital being scanned for a form of retina detachment. It was very scary, but luckily, it did not develop into anything serious. Still, he still had to stay in the hospital all day. I've been talking to him throughout the entire process and he is starting to feel much better now ❤️
I now had only 5 members, and they were all juniors. As the only senior, I decided to take over the role as the conductor. All the actors would wear there regular school clothes so that they were believable high school students. I wore all black in order to try to give off some of the conductor's authority. I needed someone to be the camera operator, and I chose Alex. He had great experience with the camera and I could trust him to follow what I had in mind. That left my film with only 4 people to be the chorus students.
This was the only day we could film. I had reminded everyone many times about how we planned to film on that Monday. Even if only 4 people showed up, I knew that it was the best chance I had. I used what I could. I continued on with filming, and it went pretty well. I didn't worry the present actors about how we were missing six members. That would just cause more stress. I told everyone that the plan had changed to where the film would be about training a student barbershop quartet. It was perfect for the 4 members we had there. It started off as a placeholder plot to get along with filming, but I actually started to like it a lot.
I made sure Alex closed in more on the chorus so they filmed up the frame when they were showcased. This would help make the audience ignore the small number of students.
The good thing about working with your friends is that you get to goof off.
After obtaining the two filming locations, I really took time to figure out the final lighting for both scenes.
Starting with the auditorium, I got very lucky with what I was able to get away with. Again, the bare minimum would've been just a bare stage with all the lights turned on. After contacting some connections, my group and I were able to use the lightboard. I used the advice from the Phoenix Union Youtube video (which I studied from the "Lighting Ideas" blog post). We were able to turn off all the lights in the seating area of the auditorium. We kept one singular light on at the ceiling of the stage. The light I chose was a long strip of LED bulbs which could be raised and lowered. We raised the row to a height where it showcased each of the actor's faces, but didn't light up the whole room. We stationed the performance to where the light shined directly in the the space between the conductor and the performers.
This oval of brightness was still a little brighter than I pictured, but it's okay. The key light above the subjects is admirable, but I actually really appreciate the darkness of the picture. You can barely picture some of the instruments and chairs throughout the scene. There are specific parts during the rotation around the conductor where the lighting is exactly how I pictured it would be from the storyboard. Although I said I wanted a spotlight in the "Lighting Ideas" blog post, I realized that the spotlight would have to come from the room in the back of the auditorium (pictured below). It would not be able to light up the conductor's face at all, and there would probably be a terrible shadow placed on the performers.
My favorite parts of this segment are where the camera pans across the conductor's reaction. The minimal backlight of this picture really produced the ethereal aspect of an imaginary episode.
Figuring out the classroom was much easier.
I did not have to manipulate the lighting at all for the classroom. There were basically three settings for the lights: Bright, Less Bright, and Off. The brightest setting was perfect. Although the ceilings were high, everything was able to be lit up. The bright colors in the room helped create this temperature which contrasted the intense and illumination-based claustrophobic scene before.
After making these lighting choices, it greatly improved my film opening by setting the mood and tone, enhancing visual appeal, and directing attention to where I wanted.
The filming is done. We can talk about that later. I need a whole blog post to talk about how lucky I got with the set and location.
The locations worked out completely. During my drama elective, I went to the chorus room and confirmed that I could use it for a few hours after school. The only issue was that there would be a 15 minute chorus meeting after school. My group could use it when the meeting finished. That wasn't too bad. In my mind, I could picture that, even in the worst case scenario where we couldn't use the auditorium, I could tweak the film enough to where it could all take place in the chorus room. We secured the most important location, and that was a huge relief.
The chorus room was bright and static. It is a clean classroom, but a little cluttered. A grand piano can be seen covered by sheet music which the teacher hopes to conduct in the future. Many chairs are set up, showing how the teacher was expecting more students to apply to his class. As the camera rotates around the subject, posters can be seen put up all around the room. The decorations range from group pictures to school stickers. It's all the regular stuff you would see in a classroom.
I stayed after school and tried to claim the auditorium. It turns out that the Band kids needed the auditorium to set up for their Music Performance Assessment competitions the next day. It took place right on the stage. This, at first, was heartbreaking. I looked online to my school's Activities Calendar, and their set-up time wasn't reserved. I couldn't believe that my plan was going to be fumbled by a group of people who tried to sneak their way into the auditorium without booking through the Activities Calendar. Of course, I couldn't be too mad, though. I was trying to do the exact same thing.
Through all this ruckus, an idea sparked. Originally, I pictured an empty stage for the auditorium segment of my film opening. As the Band started moving in instruments, I realized that their assemblage of objects could actually help my piece. I asked if I could record something which featured their gizmos, and they said it was completely fine. Their tests didn't start until tomorrow.
There are numerous chairs and instruments that can be seen. They are never the focus, but they help add to the story. With the stage filled with furniture to be like an actual orchestra, it makes the dream sequence of the film feel more grand (and more unrealistic for the poor teacher). The curtains are all raised so you can see backstage as well. I'm very thankful that I chose this specific day to film.
I will be traveling quite a lot to visit colleges during my school's Spring Break. That will not stop me from finishing my AICE Media project, though. I plan to finish filming my project within the next few days and edit the piece in my free time while I travel. Some projects in my AICE Media class have introduced me to editing softwares, but there is still so much to learn for the ambitious film opening idea I have in my mind. This will be one of my last research posts. I had to really explore every possible visual and audio editing software and see their perks. Some seem to go along with exactly what my film needs, and some do not.
Adobe Premiere Pro:
Adobe Premiere Pro remains a dominant force in the editing software landscape, known for its robust features, flexibility, and integration with other Adobe Creative Cloud apps. Its non-linear editing system allows for seamless editing of footage in various formats, including 8K and virtual reality. Premiere Pro offers advanced color grading tools, audio editing capabilities, and a wide range of plugins and extensions to enhance workflow efficiency. Additionally, its integration with Adobe After Effects simplifies motion graphics and visual effects integration into projects.
Final Cut Pro X:
Developed by Apple, Final Cut Pro X is a professional video editing software known for its intuitive interface, powerful performance, and seamless integration with Apple's ecosystem. It features a magnetic timeline, making it easy to organize and rearrange clips without affecting the overall structure of the project. Final Cut Pro X offers advanced color grading tools, built-in audio editing capabilities, and support for 360-degree video editing. With the addition of features like ProRes RAW support and HDR workflows, Final Cut Pro X continues to be a popular choice among Mac users.
DaVinci Resolve:
DaVinci Resolve, developed by Blackmagic Design, is a comprehensive editing software that also includes robust color grading, audio post-production, and visual effects capabilities. Its non-linear editing interface provides professional-grade editing tools, including dynamic trimming, multi-cam editing, and advanced keyframing. DaVinci Resolve's Fusion page offers node-based compositing for creating complex visual effects, while its Fairlight audio page provides high-end audio editing and mixing features. With its free version offering many powerful features and the paid Studio version unlocking even more advanced capabilities, DaVinci Resolve has gained popularity among editors looking for an all-in-one solution.
Avid Media Composer:
Avid Media Composer has long been a staple in the film and television industry, known for its stability, industry-standard editing tools, and collaborative workflow features. It offers a wide range of editing capabilities, including advanced trimming tools, timeline customization options, and support for multiple video formats and resolutions. Avid Media Composer's MediaCentral platform facilitates seamless collaboration among team members, allowing for real-time sharing of projects, media, and metadata. While it may have a steeper learning curve compared to some other options, Avid Media Composer remains a go-to choice for professional editors working on large-scale productions.
Of all of these options, I am leaning towards Adobe Premiere Pro. My class is already pretty fond of it because of our previous projects (which some of my early blog posts go in-depth about). A big perk of Adobe, though, is their audio help.
One of the standout features of Adobe Audition is its integration with Adobe Premiere Pro, enabling a seamless workflow between video and audio editing tasks. Editors can easily send audio clips from Premiere Pro to Audition for detailed editing and then import the edited audio back into their Premiere Pro projects without losing synchronization. For example, let's say you're editing a short film in Adobe Premiere Pro and need to enhance the audio quality of a dialogue scene. You can select the audio clip, right-click, and choose "Edit Clip in Adobe Audition." This opens the selected audio clip in Audition, where you can apply noise reduction, equalization, compression, and other effects to improve its clarity and balance. After fine-tuning the audio in Audition, you can save your changes and return to Premiere Pro. The updated audio clip will automatically replace the original clip in your Premiere Pro timeline, with all edits and effects intact. This seamless integration between Premiere Pro and Audition streamlines the audio editing process, allowing for efficient collaboration and a cohesive post-production workflow.
I believe I have a few original and funny ideas for my Creative Critical Reflection.
In this episode of How I Met Your Mother, Barney pretends to be an old man from the future to bring a girl home with him. In his "future" form, he warns the girl that she must buy his "young" self a drink the next time she sees him. The plan surprisingly works.
I want to make a portion of my CCR about time travel. The video would start from the "future," where I would dress up as an elderly man. I would reminisce about my grand AICE Media project from many years ago before it cuts to my younger self. The video would go through different days throughout the two months through my research/filming/editing process. I would be filming all these segments now, but pretend as if the viewer used a time travel machine to hop to that part of my creative process. I would be able to give a first person point of view on what I was working on. It would allow me to answer the questions fairly easily and seamlessly since it takes place during the working days.
For another part of my CCR, I would create a podcast. This would be much simpler than the time travel idea. The only editing required would be audio related. For any of the CCR rubric's questions which I didn't answer in the video, I would answer any in this podcast. People have already told me that I have a decent voiceover voice. I think that with the right setting and mic adjustments, I could really make a reflection with a clean creative take that's easy to listen to.
Unfortunately, actors for my project have been dropping left and right. The week before Spring Break is pretty hard to schedule people for, so I made sure to ask early. Still, it wasn't enough. I am filming my project within the next few days, and I am still uncertain how many people are committed to come. I thought this would be the perfect time to explain why I am going to these lengths to get as many students as possible (and explain our song choice).
In the dynamic landscape of filmmaking, juxtaposing elements from different eras can create a rich and immersive experience for viewers. When tasked with crafting the opening sequence for my present-day film project, I found inspiration in the haunting melodies of the 1800s. Thus, I decided to weave the timeless strains of "Across the Fields of Golden Grain" into a modern choral arrangement, setting the stage for a journey that transcends time. I originally heard of this tune in my own chorus class.
Modern Interpretation of a Classic:
"Across the Fields of Golden Grain," penned by Stephen Collins Foster in the 19th century, embodies the essence of a bygone era. Yet, its themes of longing, nostalgia, and the passage of time resonate just as strongly today as they did over a century ago. By infusing this timeless melody with a modern choral arrangement, I aim to bridge the gap between past and present, creating a cinematic experience that transcends temporal boundaries. The song is from the 1800's and there have been no other major iterations of it. I am able to use it as it is now in public domain.
Emotional Amplification: A chorus has the capacity to evoke profound emotions through the sheer force of multiple voices singing in unison. Whether it's joy, sorrow, longing, or triumph, the collective resonance of a chorus can intensify the emotional impact of a scene or piece of music. In film, this emotional amplification can serve to deepen the viewer's connection to the story and characters.
Narrative Conveyance: Just as in ancient Greek theater where the chorus served as a commentary on the action, a chorus in film can convey important themes, motifs, or messages. Through their lyrics or vocal expression, a chorus can provide context, foreshadow events, or offer insight into the characters' inner thoughts and feelings. This narrative role adds layers of depth and complexity to the storytelling process.
Symbolism and Unity: A chorus often symbolizes unity, community, and collective strength. In both music and film, it can represent solidarity among characters, societies, or even humanity as a whole. This symbolism reinforces themes of togetherness, resilience, and shared experiences, resonating with audiences on a deeply human level.
Sense of Grandeur: The sheer magnitude of multiple voices singing in harmony creates a sense of grandeur and majesty. This can elevate the emotional stakes of a scene or piece of music, imbuing it with a sense of importance and significance. In film, a chorus can be used to underscore pivotal moments, adding weight and gravitas to the narrative.
Timeless Appeal: The timeless quality of choral music transcends cultural and temporal boundaries. Whether it's a classical choir performing a centuries-old masterpiece or a contemporary ensemble singing a modern composition, the power of the human voice in harmony resonates across generations. In film, this timeless appeal can help create a connection between audiences of different backgrounds and ages.
This is the only recording of the song I can find. The song itself is fairly unknown. I am glad that there are no other official covers. No one will be able to compare my film's cover to anyone else's.
Our protagonist, a passionate chorus teacher, stands on the grand stage of an empty auditorium, preparing for a pivotal performance. The stage is set, quite literally, for us to manipulate the lighting to enhance the impact of the scene.
While researching lighting techniques for stage performances, I've discovered several strategies to consider:
- Spotlight: A classic choice for drawing focus, a spotlight can highlight our protagonist as they deliver a stirring monologue or conduct their choir. By controlling the intensity and angle of the spotlight, we can create dramatic contrasts and evoke a sense of theatricality.
- Backlighting: Placing lights behind the performers can add depth and dimension to the stage, casting captivating silhouettes against the backdrop. This technique can amplify the emotional resonance of the scene, especially during poignant moments of reflection or triumph.
- Color Temperature: Playing with the color temperature of the lights can evoke specific moods. Warm hues like amber or golden yellow can infuse the stage with a sense of intimacy and nostalgia, while cool tones like blue or purple can convey melancholy or mystery.
Scene 2: The Messy Classroom
- In stark contrast to the polished grandeur of the auditorium stage, our next scene takes place in a static, messy classroom—a reflection of the chaos and charm of our protagonist's everyday life.
For this setting, I envision a more naturalistic approach to lighting, capturing the authenticity of the environment:
- Soft, Diffused Light: Soft, diffused lighting can mimic the gentle glow of daylight filtering through the windows, casting a flattering yet understated illumination on the cluttered classroom. This lighting style can convey a sense of warmth and familiarity, inviting viewers into the intimate space.
- Practical Lighting: Incorporating practical light sources within the scene, such as desk lamps or overhead fluorescents, can add layers of realism and texture. These practical lights can also serve as focal points, guiding the audience's attention to specific areas of interest within the frame.
- Subtle Variations: Introducing subtle variations in lighting intensity and direction can enhance the visual interest of the scene without overshadowing the narrative. By strategically positioning lights to create pockets of shadow and highlight, we can add depth and visual intrigue to the cluttered classroom setting.
Lighting is a powerful tool in the filmmaker's arsenal, capable of transforming ordinary scenes into cinematic masterpieces. By carefully selecting and manipulating lighting techniques, I can imbue the film with depth, emotion, and authenticity, captivating audiences and bringing our story to life on the silver screen.
(If this whole idea about using an auditorium works, I also prepared myself to work with the light board. One video by the Phoenix Union was really helpful in explaining the terms)
The storyboard is finished. It is a pretty simple series of shots, but it is still nice to put everything together in order. I'm really starting to imagine the product now. As you can see, I still haven't made a title. I need to choose one immediately.
You might not realize it (I certainly didn't), but the font choice in a movie title can say a lot about the film even before you watch it. I recently embarked on a journey to understand how different fonts can set the tone and evoke certain emotions in viewers.
Fonts are more than just letters on a screen; they're like the wardrobe of a film, helping to establish its personality and mood. Picture this: you're scrolling through Netflix, looking for a movie to watch. Suddenly, you stumble upon two titles: one in bold, blocky letters and another in elegant, cursive script. Which one catches your eye first? Chances are, the font played a significant role in your decision-making process. The Cambridge viewers have no choice but to watch my film opening, but you get the idea.
Different fonts can convey various emotions and themes. Some even have built up their own stereotype. For instance, serif fonts like Times New Roman or Georgia are classic and traditional, often associated with historical dramas or period pieces. On the other hand, sans-serif fonts like Helvetica or Arial are sleek and modern, fitting for contemporary stories or action-packed thrillers.
But what about dramedies? These quirky, heartfelt films blend elements of drama and comedy, requiring a font that strikes the perfect balance between seriousness and lightheartedness. After some careful consideration, I've narrowed down my font choices for my dramedy movie about the chorus teacher:
Garamond: This elegant serif font exudes sophistication while maintaining a hint of warmth. It's like the wise mentor that is the protagonist. Garamond could be an excellent choice for a dramedy that celebrates the power of music and mentorship.
Comic Sans MS: Despite its reputation, Comic Sans MS has a whimsical charm that could suit a light-hearted dramedy perfectly. Its playful demeanor suggests a story filled with laughter, heartache, and ultimately, redemption.
Bodoni MT: Bold and stylish, Bodoni MT commands attention while still maintaining a sense of sophistication. Its sharp serifs and dramatic strokes make it ideal for a dramedy that explores the complexities of human relationships within the backdrop of a chorus teacher's life.
Ultimately, the choice of font for a movie title is subjective and depends on the specific tone and themes of the film. In addition, I think it will be up to when I actually place the title card. The Comic Sans MS approach could only work if it was placed in a comedic portion of my film opening. Currently, I'm leaning towards Garamond. As I continue to learn about the art of storytelling, I'm reminded that every detail, from the script to the font choice, contributes to the overall cinematic experience.
One thing that came up from the group meeting a few days ago was how I would be able to find the right actors for my film opening. I will need a classroom of chorus students. I started off with terrible expectations. I'm assumed that many of the people I knew at school had already been asked to act in an AICE Media project and would not care to be in another. I had to go on a hunt. I decided to ask some of my real friends in my chorus class to be in the piece. They can probably sing. I also threw in some theatre kids, since they can probably sing as well. I put them all into a group chat and gave the whole list of directions if they were to participate in the project. To my surprise, they were all instantly engaged in the concept, and 7 of them gave back quick positive answers.
I got on a few more verbal confirmations as well while asking around school. I don't believe I need a regular class size of 20 students in my film opening, but I would like as many as possible. This is an amazing start. I just hope that everyone was being truthful in how they believe they'll be available on our filming days. I'm sure that homework and studying and work may conflict. We will be filming on "Week Seven" now. It is a bit late to film, but that week is the only time where everyone is free. Technically, I still wouldn't be going against the original schedule!
I have one more huge problem. I don't know who to choose to be the main conductor. I am very stuck between choosing a student or choosing an adult. I am not sure if the audience will be able to suspend their disbelief enough if they see a student as a teacher. However, it will be able hard to convince an adult to stay after school for the project. The most possible idea would be asking the actual chorus teacher if he'd like to be the role. Still, I'm sure the filming process will take a few hours and maybe even multiple days. I wouldn't want to put him through that if he is hesitant. I will be contemplating about this. For now, I'm gonna look at my cast and see who could possibly pass for being the conductor and bringing that tired teacher energy. Additionally, it's about time I make the storyboard.
