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.

 

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.

Documentary: Us

A short analysis for Integrated media 2: Documentary

Last weeks film; Us, explores the power shifts that have begun to appear in contemporary society due to an emerging participatory culture created by our mass consumer technology. With this great advancement in technology, so to comes a new generation of communicating with one another, this being ‘collaborative communication’. With the internet now allowing the masses to speak to one another, rather than one person to speak to many, so to has our knowledge expanded beyond the realms of our imagination. Instead of solely entrusting one ‘specialist’, we now have forums that allow the collaboration of many ‘specialists’ or knowledgeable persons to share their experiences with others. With all this knowledge being spread, Rheingold notes that a snowball effect is occurring, turning ‘individual acts of participation into a participatory culture’. With this in mind, many can see the benefits of sharing knowledge with others who may not be able to access it due to monetary or locational circumstances.

And so with a cultural network emerging through many-to-many prosumers being able to contact one another, so to is collective intelligence born. The amount of content available grows at an incredible rate each day, with Rheingold noting that ‘Youtube has over 35 hours of video uploaded each minute’. So in a world where participation can equate to real power, what is possible?

This is what this documentary predominantly focuses on. WIth its main argument proposing that our emerging participatory culture has the power to regulate, and some day even run the governments of the world. With societies collaborating information amongst one another, such as wikileaks, the government would be forced to run a more transparent parliament. As more and more people become included this could possibly shift into a world collaboratively ruled by the entire world.
Yet the documentary thankfully does acknowledge that there are massive challenges from this idealistic viewpoint. For with this mass communication, more people can express and broadcast their opinions than at any other time in history. With so many viewpoints there is always the possibility of conflicting information and also extremist views. The internet is also not readily available to everyone in the world and therefore may disenfranchise certain minority groups, that probably need to be heard the loudest. There is also the risk of saboteurs, who could ruin any exchange of information online.

Abstractness in video

This weeks task required us to create an abstract video with the video and audio content we had recorded previously in the semester. Having never used Adobe Premier before, I found this excersize to be a massive learning curve. Overall I do think the usability of Premier is superior to Final Cut, its cataloguing of your video library and clear visual layout is a massive bonus. Yet, I do have to acknowledge that i struggled with the audio levels and features. Luckily this excersize has highlighted that weakness so I can hopefully focus on it in class, or continue to watch the numerous youtube tutorials online.

For someone who lives by a routine, likes organisation and enjoys a sense of order, this video was definitely a struggle to create. I feel like this is reflected in the chaos this video ensues. I began by creating something with an obvious sense of symmetry and similarity, yet it grew into an explosion of movement, in every direction possible. It seems that it took me a while, before I could recalibrate and accept that I wasn’t going to create a film with a ‘narrative’, once I realised this I think that my video began to get better.

I was surprised to find that I found my main splice of audio from the backwards track that was created by one of my videos, I feel like this was a creative use of audio… especially as I had no audio tracks to work with from the first week. Due to this, all of the audio used in this film is from the different video tracks (some that I didn’t show). I did struggle with the levelling between the different tracks and would like to learn how to do this more effectively. To counteract this dilemma I  did attempt to layer the audio and also un-sync the tracks with the editing cuts.

Overall I found it quite difficult to create this video, mostly because there is no clear way to begin nor is their guidelines on where to cut, often given in narrative videos. It did, however show me that there are a number of different ways to approach your material when deciding on how to edit it all together. And that sometimes your original idea is only a mere diving board to a range of other ideas that are more creative and effective.

To watch the video, please click here.

 

This is an analysis question for Tv/Film Reflection #2

‘The End of the Line’ – Documentary treatment

I feel this documentary successfully shows a myriad of opinions by documenting a tapestry of individuals whom live together in Broken Hill. This is mainly achieved by the variety amongst the interviewees in their age, gender, religion and background.  It is their unique opinions of the town that create a rich and unbiased view, that argues that neither the city nor the country is inherently better, but instead dependant on the needs of each individual. This objective viewpoint is echoed in the groups treatment, and allows the documentary to be an exploration into living in the country rather than becoming an opinionated piece.

Filmed within their homes, at work or with their dogs, these interviews feel very personal and therefore successfully achieve the ‘intimate’ feel the group was aiming for in their treatment. This sense of intimacy produces a charming feel to the film and allows viewers to connect with the interviewee’s on a level they might not have if the interviews were more formal.

Yet, what I feel is the most outstanding feature of this film is its use of ‘fill in’ shots that occur between each interview. I use the word ‘fill in’ very loosely as these shots are crucial in the feel of the film. They capture small aspects of everyday country life that would mostly go unnoticed. The line of a fence, the movement of a swinging handle and the vastness of Broken Hill itself.

As I’m coming up to produce another film for university, I thought I would re-visit the two other films I have created. The first film I produced was in 2010 for my year 12 VCE class in Media:

The second I helped produce was for University in 2013:

I’m very excited and nervous to now produce my third film at University, in the documentary genre. Hopefully it will be another film I am proud to be apart of.

Imagined Realities Analysis

This is for TV/Film 2: Analysis/Reflection week 2

This week I read a chapter in Imagined realities by director Pawl Pawlikowski. I found his point; that cameras are overwhelmingly omnipresent in today’s society and so their form must be methodically considered when producing a documentary, a very crucial idea. It seems we are bombarded with amateur, hand-held footage every day and so in light of this we must consider new and creative ways of filming when attempting to create an engaging documentary. Personally, this gave me the idea of filming, similar to the style of Agnes Varda, things that would be symbolic of the subject matter being discussed rather than a series of boring panning shots that display the subject itself without the need to deconstruct their meaning. By asking viewers to engage and decode the meaning of your imagery, you can create a deeper meaning or feeling within your viewers.

I also thought his point about the importance of the directors personal vision very interesting. I enjoy watching documentaries in which the director is involved, providing a subjective viewpoint. So it made me think…. Why wouldn’t others want to watch a film with my personal viewpoint being weaved throughout the film? I enjoyed this idea of directorial subjectivity and the idea of telling a personal story, as seen in documentaries such as ‘The Cove’ and ‘The Gleaners and I’. I feel like it takes a lot of courage to place yourself within the critical realm of the film, but I am interested to experiment with it in my own film.