One of the clips I edited for the “Jada Memories” sequence. A fairly simple clip that Jada dances around and responds to.
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One of the clips I edited for the “Jada Memories” sequence. A fairly simple clip that Jada dances around and responds to.
This is one of the clips I made for the “Ornate” section of the film, towards the end when we reach a point of maximalism and the film reaches the height of its intensity. I shot all the footage around Leeds, visiting various buildings with interesting details and ornate features, and then cut it together with the same techniques I used in the “Organic Forms” section.
The final version of one of the clips I made for us to project during the “Organic Forms” section of the film. I used double exposure and grading techniques to try and create dreamlike and surreal images.
Editing Process
The edit has progressed over the last few days, led by Levi with assistance by myself, Sara and Callum. We are trying to preserve a certain pace to each sequence of the film that will help to convey the psychological environment of that sequence - slower for the Opening and Minimalist Sequences, faster for the Memories Sequence, energetic and rapid for the Fantasy Sequence and more sedate again for the Final Sequence.
We have been provided music composed by a friend of Sara’s that we are working with and editing in order to get it to fit the tempo that we want for each sequence, which is helping to guide the edit of the imagery as well. We are on track to get picture lock and then colour grading and final sound mix by the feedback screenings next week.
A quick edit of the Opening Sequence I made as a guide for Levi and Callum.
Moving onto the edit, I wrote up a paper edit for Levi and Callum to work from. Follow the link above.
Shoot - Day 3 // Jada
Jada helping us frame the Final Sequence.
Some behind the scenes footage from the Memories Sequence.
Shoot Day Three
On the thirdly day of the shoot we managed to get all of the remaining sequences shot. The most trouble we had was with the Final Sequence. Sara and Callum had built a rig using a boom pole, a C-Stand and a Go-Pro camera to emulate an overhead crane shot of the flowers projected onto Jada. However we had trouble arranging the shot right without capturing shadows and other elements of the set in frame. We decided instead to use a high angle shot with the C300 on a tripod, which was not as impactful but served the purpose well enough.
Here Sara was directing Jada’s choreography for the scene that transitions between the Opening Sequence and the Minimalist Sequence. We used songs from Jada’s and Jeanine’s music libraries to help her with her movements. The track in this clip is Eleggua by Ibeyi.
Some behind the scenes footage from day two.
Shoot Day Two
On the second day of the shoot we began with the final shot from the opening sequence so that we could match the action into the next shot which begins the Minimalist Sequence. We then shot the entirety of the Minimalist Sequence as well as recording some foley sounds and wild tracks for use in the edit. This leaves the Memories Sequence, Fantasy Sequence, Final Sequence and Opening Sequence to shoot on the third day. We decided to come in at 7:00 AM in order to get everything done.
Some shots from the minimalist room setup. We used props to arrange a room with a few personal touches from Jada's belongings.
Shoot Day One
On the first day of the shoot we spent most of the day testing how we would be able to shoot the projections on the following two days. Chris Tritschler agreed to help us figure out a lighting plan and a way to have Jada separated from the projections - we did not want the projections to hit Jada for most of the shots but she also needed to be lit correctly without having the projections washed out by the light from the lamps.
This meant getting the main projector very high and having everything spaced out at some distance to give room for all of the elements. It became clear very quickly that the idea of doing different setups with the fabrics and projectors throughout the film would take too much time and we would not be able to execute this effectively. We decided that we would keep the same basic setup of one large projection on the infinity wall and two small projections on either side. We will use two polyboards with fabrics wrapped around them for the side projections.
Today we also shot the “minimalist room” for the Minimalist Sequence that we will shoot tomorrow. Unfortunately we were notified that the Black Magic Pocket that we wanted to shoot on is unavailable despite having booked it well in advance, so we will now be shooting on the Canon C300. The DoP is less familiar with this camera but Chris has helped her to get to grips with it somewhat so hopefully it will not be too much of a problem.
Shared with Dropbox
The rough shot list we created prior to the shoot. Follow the link above.
Prepping for the shoot
As we approach the shoot we have found the film evolving further. After struggling to find a dancer at the Northern Ballet School, the Northern School of Contemporary Dance, and Leeds Beckett (all students at the former two schools have an extended Easter Break well into the timeframe in which we will be shooting, and the latter have their end of year exams at the time of the shoot), we have decided to use Jada (our producer) as the performer in the piece. She has some experience with hip-hop and street dance and because she is less trained than a full-time dance student here performance will be more natural and seem a little less “rehearsed”.
We have now collected most of the footage we want to project on set during the shoot and are in the process of editing these clips. We have sourced three projectors from the library AV store and will use VGA to Thunderbolt adapters to plug them into our MacBooks in order to project the footage. We have also booked Studio One at Prime Studios for three days at the end of April to shoot the film, where there is an infinity wall that we can put to use for our film. The only problem with this is that FTU are in the process of moving all of the materials from Prime for the summer so there will be no flats available for our shoot. Instead we will find a way to hang fabrics that can be projected onto.
We also have not had time to find an appropriate venue to film the ending shots in a theatre, so we have come up with a more simple ending for the film. We have refined the narrative in general and now have five principal sequences:
Opening Sequence
In the opening sequence, we begin with the dancer silhouetted in darkness. We then see her warming up in an empty space, shot in black and white. She then demonstrates awareness of the camera and begins to dance - the dance symbolising a conversation between two people. She then introduces us to a new environment and we move into the next sequence.
Minimalist Sequence
In this sequence, the dancer performs against a projected background of a white minimalist space. We will also have glimpses of brutalist structures projected alongside this environment to represent the initial coldness of the conversation. Her dancing will be slow and somewhat awkward. After she sees a glimpse of something more personal to her projected nearby, she invites us to the next environment.
Memory Sequence
In this sequence, the dancer is now wearing a white dress. She performs against a projection of her own bedroom, while projected “memories” appear around her. These memories will be footage that we have shot with Jada at home and around Leeds, as well as some footage she has provided for us of her first meeting with her half-sister. This sequence will represent her becoming more at ease and sharing more of her personal history. At the end of this sequence she takes us to the final environment of the film.
Fantasy Sequence
Here the dancer will perform against a variety of abstract projections. The projections will be vibrant footage of ornate buildings and tiled patterns, as well as natural forms such as plants, flowers, and sea creatures. She will perform energetically and this will represent her opening up her creative, imaginative side.
Final Sequence
In the ending sequence of the film, the projected environments will disappear. The dancer will have a field of flowers projected onto her from above, and she sit down into this field with an arrangement of real flowers surrounding her. The projection will disappear, leaving her in darkness. After this, a projected version of the dancer will appear on the wall behind her - the projected dancer will stand up and walk out of frame, leaving the real dancer to lean forwards into a pool of light, looking directly into camera. This will be a bookend of the initial shot of the film and represent how she is now comfortable with the audience.
This is a video I stumbled across where a girl begins to dance spontaneously. I quite like the unrehearsed feeling here and would like to capture that in our film.