Tv/ Film 2- Analysis 4

A series of answers for my Tv/Film 2 class 

Question 1

In this clip from Anna Broinowski’s documentary; Forbidden Lies there is a number of different audio sources. This clip begins with non-diegetic music that is placed over the top of the visuals and has been sourced from somewhere outside of the movie’s onscreen ‘world’. Very subtly this music has been layered with a series of sound effects that have been used to enhance the visuals that are being screened. Firstly there is the intermittent sound of birds chirping and the noise of chimes and harps that are not synchronous to anything found on screen. Later in the clip there is also the familiar sound of a till opening ‘Ca-ching’, a camera’s flash and the turning of a page. These sounds are so clear that they have either been recorded properly in a studio or have been found from another source; such as an online sound effect website.

Throughout this clip, synchronous diegetic audio is also used to record the voices of the interviewee’s. Yet whilst the audio of the interviewee is being played, the visuals often skip to other clips that provide further evidence into what is being said. In this instance the audio is used as a link between different segments of the interview, to create a smoother editing cut.

The use of Foley also seems to be used to create sound effects for things that may be hard to find or create already. Such as the subtle sound of a scarf dropping or of a human’s body turning into sand.

Question 2

As this is the first semester I have used Adobe premiere, I have a very basic understanding of the editing shortcuts. After editing a very short video of my travels last week and after much frustration of having to manually change my cursor, I researched the C- razor tool and V- selection tool. These were the only tools I used, so I have been keen to learn some more shortcuts.

Obviously the Z- zoom tool is another valuable shortcut as it allows you to zoom in on your workspace for more accuracy, and is more speedy then manually dragging out the scroll bar.

Command + R- is definately another tool I will find useful to use in the future as It allows control over the speed and duration of your clip. I personally love the slo-mo and fast motion capibilites of editing, as it often allows you to time your clips to the tempo of your chosen music or it can create a certain mood.

Command + G – allows you to group a number of clips together, so you can easily move them up and down your sequence work space. This means that if you know a group of clips work well together but don’t yet know where they will be positioned in your video, then you can group them together and make them one clip that is easier to move and wont be altered. (to ungroup shift+command+G)

Command + D – an obvious one but nontheless a crucial shortcut in speeding up your editing process. This function allows one to apply a video transition quickly. Shift + D can also be used for a default transition that you can personally select- which makes the process even faster!

Question 3

Jean Ravel’s From a Distant Gaze (1964) conjures an overwhelming feeling of voyeurism. With cars intermittently crossing the camera’s frame, one can tell that the camera is positioned far away from the subjects it is filming. As the camera is hand-held and the lens is zoomed in, each movement is also more dramatic and jolty. Overall, I feel this adds to the ‘realness’ of the film, as it doesn’t look staged. In doing this I feel that viewers become more engaged, as what they are watching has not been artificially created and instead seems both naturalistic and amateur.

The hand-held feature also makes it easier for the camera to follow certain individuals, which pulls us further into our voyeurism. Continuously we see crowds of people walking in and out of frame, so as the camera begins to focus on one individual, we start to wonder, who are they? what are they doing? why are they doing that? among a sea of other questions. This aspect I find very intruiging as it mimicks the behaviour I sometimes do in every day life. Sitting in a cafe and people watching as they pass by, unknowingly focusing on individuals without even knowing it.

As very few people look at the camera it is also easier to watch. Firstly there is no awkward sense of creepily observing someone, and secondly no one is pretending to be something else. They are just merely being. I think thats what makes this film so interesting, it is the observation of someone living without them even knowing they were doing so. This seems purposeful in creating a realistic film that would intrigue viewers.

 Question 4

This weeks reading discusses the different ways an editor can manipulate time in a film, and the ethical implications that can arise when the original cause and effect sequence of events has been disrupted. It also discusses the ways in which an interview can be edited to create an emotionally engaging yet honest story. This can often be difficult when an interviewee produces long-winded or vague answers. This reminded me to always keep this in mind when creating interview questions and also conducting the interview itself. In requesting ‘more condensed answers’, we won’t be forced to let a long-winded interview play out and bore our viewers.

The reading also pointed out that it is easier to make a cut on a hard consonant such as t, b or v rather than soft consonant such as s or h. This is a great tip that I hadn’t already known and will be remembered when I am in the editing suites.

 

Advertisements

A Media Dilemma

Racism within Australia is only perpetuated when we are shown fragmented parts of the truth. We shouldn’t be striving for ‘good stories’ that continue to fear-monger attitudes that already exist. But reporting honestly and without prejudice. This continues to be more difficult as the government’s influence over commercial stations grows and the cuts to public broadcasting rise. Studying media, and making my own films, I know the power of the edit. With godly powers, you have the power to make someone say anything. This is a reminder to everyone to think about what we aren’t being shown rather than what we are.

Watch this video, to fully understand the ramifications.

Fish or Foe?

Im currently in the midst of producing a documentary for Uni about sharks. Here is the link to the blog: https://fishorfoe.wordpress.com

and the original rough idea for the pitch:

The passion to kill our predators is ingrained in our primitive animalistic instincts. But have we taken it a step too far? Has our supreme intelligence and advanced technology made us irrelevant to the animal food chain that imprisons the rest of nature. Should we instead use this great power, to become protector’s of what remains of our ecosystems?

This has certainly never been the case for sharks, forever demonized in popular culture; their existence has become futile with the new shark cull laws that have been implemented in Western Australia. Aside from a certain few, who have remained loyal to the protection of these magnificent prehistoric predators, sharks have received a cold and bloodthirsty reception. So why then are sharks revered as evil and untrustworthy when they kill less humans then ‘Majestic’ animals such as; Tigers, Lions, Leopards and Hippo’s. What has created this sometimes-irrational fear that does not exist for other Apex predators?

In this Documentary we would like to source the general consensus of what Australia thinks and also what they know about the Shark cull’s that are taking place in Western Australia currently. We would also like to uncover what impact, killing sharks will have on the ecosystem, and how vulnerable their position is by interviewing a marine biologist. This could all possibly be filmed at the Melbourne Aquarium and at the Marine Research Centre in Queenscliff. This would be a great place to source natural sounds as we would want to steer clear of scary, fear mongering music that is so often associated with sharks.

Overall, we feel that there is a romanticism placed on other marine creatures, such as dolphins and whales that isn’t placed on sharks that needs to be questioned. Where did this all begin? Is it at the fault of the media and cinema industry? And what repercussions has it produced in the real world? How much does Australia know about the culls and how willing are they to stop them?

Procasti-Travel

Earlier this year I made my way back to the Motherland; that is….. Europe, to finally experience the trip I was forced to abandon a year before. With A LOT of footage at my hands, I decided to make this short video, that doesn’t come close (and never could do) at documenting how much fun I had.

Filmed with a go pro, the footage and editing is quite rough but this process has finally taught me how to use Adobe Premiere!( well at least the basics)

Enjoy! 

The new ‘social’

In this weeks flipped lecture, Alex Lambert discusses the idea of ‘social’ and how it continues to be re-actualized in contemporary society, not only offline but online as well.

Evolving from the billboards of the seventies and the text forums of the early eighties, Web 2.0 is founded on the exchange of data and information from one to another. Yet, What differs is that Web 2.0’s technology has provided a platform for a new form of social media to evolve. These online mediums provide ‘egocentric networks’- where everyone is at the centre of his or her own network and the ‘personal is foregrounded’. These differ from the past, in which the information was exchanged via a smaller network and did not revolve around a single entity.

What is also extremely important to note, is the active role we play in ‘performing’ our own identities online in contrast to how we behave in every day life. The online world allows us to edit, crop and dictate what content may be shown, whilst also allowing us a short/long delay to reply or communicate with someone that would not be possible in a face-to-face interaction. This also allows for more witty and playful communication to occur.

Alex describes this ‘sense of performing’ ones identity as one of the three reasons we use facebook, as it provides some extent of pleasure. He highlights 3 uses and gratifications as:

1. Identity

2. Surveillance: 

3. Sociality 

We perform our identities via the public online sphere very differently to how we perform them privately. With posts being publicly displayed we also see facebook as a type of mirror, projecting our identifies back for us to be criticised. Respectively, this control and insight gives us a newfound pleasure as we edit the way our lives our seen, and also how we perceive ourselves. This must also be stressed with the way we ‘perform’ our friendships, what content we wish others to see and how we want others to see our connections. I also found it interesting to note, that the term friend, has now become a verb in society, expanding from becoming ‘friends with someone’, to now ‘friending someone’. Yet with social media still a fairly new concept in society, I feel that there is still an awkwardness felt around the idea of ‘friending someone’ online. I wonder if this will change over time or whether i will always remain. In ‘real life’, we no longer need to constantly have our friendships validated by asking ‘will you accept me as a friend’, not only is their a possibility for rejection but we also have a sense of this fact without having the need to ask.

On facebook, ‘surveillance’ can be used for a large number of reasons. For close friends, it could be used to gather information that would be talked about at a later date, for example if that person was travelling. But it has also enabled another more voyeuristic social interaction, perhaps in the surveillance of people we have looser ties with, or we haven’t met all together. With the term ‘stalk’ now becoming a commonly accepted term for facebookers whom purposefully contemplate the online presence of another facebooker. Yet Alex describes that these online frienships mark a broader socio-cultural shift- a shift away from the family. No longer is our interpersonal intimacy revolving around family relationships but voluntary ones.