Group Member Post #9

 Introducing:

The Movie Project Team

Hello, this is Santiago Giraldo, and I will introduce to you the team for the final project!

1. Amaar Farooq:

This is Amaar Farooq, one of my good friends that I met last year in Chemistry. We worked together on the Sound Story Project in Quarter 1, in which we met up together many times so we could perfect our video. We also spent many hours on call playing games which made our friendship even closer. After the sound story, I observed that he is a great editor and photographer, which is something that is important for this final project. Due to this, I knew he would make a great partner for this. Also, we thought of working with more students (the maximum is 4 people), but we realized we could work better together since we will not have to depend on others to get work done.

2. Santiago Giraldo

Of course, this is me. I am a great editor but I specialize in script writing and sound editing. In the Sound Story, I was the one that  selected the sounds used in the video and helped edit them. Also, I created the script that we followed in it. I believe these are great qualities to have for someone making such an important assignment. I hope to have a good time creating this project due to my passion for film. We hope to finish this project by the beginning of January. I believe this group will succeed to due our intelligence and teamwork skills. Also, I think we will be receiving camera equipment which will greatly help us in recording the footage. This will be free of cost, so we could reallocate the money we would have used for camera equipment towards props and costumes.

In conclusion, I believe my group will have tons of fun and excel in this film project. Hopefully next year, we will be celebrating our scores!

Mis en Scene Blog Post #8

 Mise en Scene: Coraline

Shot 1

In this scene, Coraline, in her yellow raincoat, walks toward her dad, who is slouched in his computer. The setting is cluttered, a drab sense of browns and greys fills the screen because this portion of the real world isn't meant to be colorful. The lighting is dark, cool, almost an uninteresting and washed-out sense of life. The props are an old computer, a coffee mug to denote all work and no play, exhaustion, boredom. The costume is Coraline herself, the bright, exciting, dynamic character, in a drab setting because everything around her isn't nearly as exciting as she is. The blocking of actors is distanced as she's framed apart from her dad, as he ignores her just like he ignores this drab world - framed away from him so she can be appreciated more. The shot composition is the computer that divides them.

Shot 2

In this next shot, the tunnel of purples and blues that Coraline travels through is her entry into the Other World. At this point, the set design becomes a bit more abstract - walls like fabric seem to cup in towards a small, inviting door. This is an abstraction of reality - of what's good about exploration - and bad. The lighting is warmly glowing from the center, beckoning Coraline - and the viewer - to jump in and see what happens. The lightness against the darkness plays with an exploratory mood that ultimately prepares the viewer for what's ahead. The circular composition is vortex-like; it seems to pull in, which it does, but more as an illusion, as Coraline's intrigued exploration matches how intrigued the theme is to spin the viewer in for a ride right from the start.

Shot 3

Next, we first see the Other Mother in a kitchen that's welcoming. The set features yellow and homey ingredients for cookies strewn about, clean countertops, and yellow light - it's a bit too much in the direction of a maternal household. But too maternal. The lighting is warm, yet as time goes on, fake, allowing for comfort but not a comfortable aura to trust. The Other Mother's costume is that of an Other Mother in comparison to Coraline's real mother; she's dolled up, put together, while Coraline's average mother is simply haggard, which makes the other world feel all the more genuine, and the world that Coraline actually exists in feels all the more genuine. The Other Mother is center-framed due to actor blocking and the composition of the scene, meaning she's in charge of this universe, and as the scene continues, her being in charge becomes all the more compelling.

Shot 4

Afterwards, this is the shot that exposes the Other Mother for who she is. The lighting is a sickly green that highlights elements of the Other Mother's face as motherly one minute and monster-like the next. The setting is dark and dystopian, with the destruction of the webbing that supports the idealization of perfection that the Other Mother maintained to leave Coraline in awe and horror. The costume is ragged and comforting yet fragmented and part of her skin to suggest an almost naturally predatorial desire to keep Coraline forever, while props and blocking place Coraline beneath her as the low-angle composition creates a larger-than-life atmosphere for the Other Mother, as if she has quasi-deity-like power over this world, which she does, and the idealization of perfection is all-consuming.

Shot 5

Lastly, the climax of the Other Mother's trap, through which Coraline is entrapped. The setting becomes one giant web of black and white lines, and the metaphor for being caught in a web in the film is obscured. The lighting becomes so extreme that the separation becomes confusing. The props become webs and spiders and faux mechanical arms to signify that she will eventually not be doing anything. The blocking is Coraline essentially in the middle of a web, stuck in place, but also, visually, caught in a web within itself, stuck between what could be, what is, and all around her at all times. The final composition is metaphorical to end this act because she will have to learn how to separate herself from what's potentially great and back to reality, for good.

Movie Analysis Blog #7

Movie Analysis:

The Hunger Games: Catching Fire

1.

    (0:59 - 1:02)

In this scene from Catching Fire, the camera angles and editing used powerfully convey the fear and brutality of the Capitol as Cinna, Katniss Everdeen’s stylist, is swung violently away by the Peacekeepers. The high camera angle shows Cinna from above, dwarfing him and making him appear meek and powerless. This is symbolic of how one is crushed by the authority of the Capitol; whether one is an official or serves the Capitol, even those who serve it are in danger. The guards are also all dressed alike in their rigid white uniforms, and their demeanor emphasizes their absolute authority over everyone present and their dehumanization. An over-the-shoulder shot from Katniss’s point of view intensifies the emotional impact. The audience sees what is before Katniss, but Katniss’s attitude of helplessness is emphasized, for the figure taken is that of Cinna, and in this over-the-shoulder shot, one sees not only her point of view, but also the suffering of Cinna, which brings to the audience the feeling of the shock and anger and horror of Katniss.

2.

(1:17 - 1:20)

In this shot, Katniss stands near the entrance of the 75th Hunger Games arena, a moment before the games begin. At the time of filming, the camera was positioned using a medium rear shot with the water in front of Katniss and the Cornucopia (the point where many players first clash) in the background as a visual reminder of the dangers and unknowns she faces. Using a medium rear shot helps to convey Katniss's sense of isolation and resolve, while also making it clear that even though she has gained fame for her participation in previous Hunger Games, she remains just one person, up against insurmountable odds. The fast-paced, tense editing used here will create an increased level of anticipation and fear as the audience waits to see what happens next. This combination of camera angle and pacing creates a feeling of apprehension in the viewer, and it makes the viewer share both her fear and her courage prior to the start of the chaos.

3.

(2:25 - 2:27)

In this sequence from Catching Fire, the camera movement used, which is trucking, and quick cuts edit the action to a point of urgency as we see the tributes run towards the Cornucopia. The quick cuts of Katniss’ intensity and focused face, edited with the chaos of the action scenes, heighten the tension and confusion of the moment. Low-angle shots create the space of power, but they also serve to show their vulnerability as they are caught in the throes of a desperation for survival. 

4.

(2:36 - 2:45)

This scene from The Hunger Games: Catching Fire uses a shot reverse shot technique between Katniss and Finnick as they first meet in the arena. The editing alternates between shots of Katniss with her bow drawn and Finnick’s calm but intense face, creating an atmosphere of suspense and mistrust. Each edit increases the suspense and forces the audience to deliberate on whether Katniss will fire the arrow or whether Finnick represents a potential threat. The tight framing allows us to almost encroach upon the two characters, forcing us to study them through minute movement before the camera-character's depth is rapidly reversed. The use of editing in this scene accentuates the dramatic and emotional uncertainty, forcing the audience to become nervous and curious regarding the attributes of characters within their environment.

5.

(3:43 - 3:45)

In this shot, it shows a close-up angle shot of Katniss just after Peeta emerges from his fight with the other tribute in The Hunger Games: Catching Fire, where she can't believe it when she sees that he has made it out. As Katniss gets over her fear to realize that he is still alive, you can visually see all the emotions on her face melt into relief and then love, creating an incredibly strong and deep connection. With the camera shot being so close up, we are able to see every single expression and feeling on her face as her fear melts away, creating a strong visual representation of how much Katniss cares for him and the relationship they share. The editing of this scene is extremely slow and stays on Katniss's reactions for a long time, which creates an even stronger visual effect of her strong feelings and bond to Peeta. 

Sound Story Blog #6

 

The Creation of the Sound Story:

Difficulties Encountered

This is the sound story that my partner, Amaar Farooq, and I created. The first idea that came to mind when presented with this project was a basketball match, but we had doubts about how we would make the video long enough and what sounds we could Foley. However, a few days later, Amaar and I got on a call and started brainstorming great ideas. Finally, we were able to create sounds that fit perfectly into the video, and they felt realistic. Another problem we encountered was the editing and layering of sounds in the video. We had to scour the internet for hours trying to find artificial sounds that could fit into the video. Also, we had to rewrite our script multiple times since we couldn't find some sounds we originally wanted. We used WeVideo as our editing software to combine all the sounds together to create this masterpiece of a sound story!

The Creation of the Sound Story:

The Sounds and What I would do Differently

This is our Foley stage video showing our methods used to create sounds that simulate the process, starting from getting out of bed, and later going to play basketball. It shows how we used a brush and a coaster to simulate someone brushing their teeth. We also opened and locked the front door to make the main character sound more in a rush since he is late to a significant event, which is the basketball championship. Both of these clips are in the first half of the video, since he is still in the house by this point. We blended these sounds very well with other sounds from the internet, such as pouring cereal and milk, showering, and sprinting down the stairs. We felt like all these sounds captured the tension felt by the main character. Due to this we were pretty content with these Foley sounds. Furthermore, once the main character leaves his house and arrives at the gym where the game is being held, we used Foley to create the sounds of the basketball bouncing and the sneakers squeaking. We attempted to make the bouncing of the basketball sound powerful and slowed to make the video even more intense. Also, when creating the sound of the sneakers squeaking, I had to change shoes multiple times since none of the previous ones I used made the correct sound we wanted. When we blended these sounds into the video, the basketball bouncing sounded almost exactly like what we envisioned so that was great. The squeaking of the sneakers was good as well, but it was a little faint and could have been a little louder. Amaar and I had a fantastic time making the sounds for this video and we hope to work together on later projects!

Transitions #5

 

Smash Cut

A smash cut occurs when a scene in a movie or other moving image format suddenly switches to another for artistic, humorous, dramatic, or emotional reasons.   To increase the effect of the cut, there is frequently a contrast between the scenes on each side of the cut, such as a change from a tense to a pleasant scene or from a fast-paced, frantic scene to a calm one. As you can see, my friends agree to go play tag, when, abruptly, it cuts to one of them lying on the ground unconscious. This was for dramatic effect and to emphasize how everything was normal until the aftermath of the hit occurred.

Wipe

A wipe transition is a dynamic editing method in which a distinct edge moves across the screen to replace a previous scene. This transition adds a visually appealing element that helps writers signal a change in time, place, or viewpoint. Wipe transitions enhance the narrative flow in both film and video production, whether it's a noticeable change in the landscape or a subtle passage of time. Wipe transitions serve as visual cues that let you convey changes or movement in your narrative. It can grab viewers' attention or evoke particular feelings, like tension or excitement, by utilizing various forms and directions. As you can see, my sister is on the couch and she states she is angry. The screen then wipes to the next scene of her in a new location punching the yeti away. This allows the viewer to understand her feelings and the change of scenery.

Fade In

Fading in from black introduces a new image slowly, usually at the start of a film or a major scene. It’s a classic move for starting chapters without saying a word. As you can see, I introduce the video with a fade-in to reveal to my friend. Also, there is a slight graphic match transition as well. When he puts his hand on the camera, we go to the next scene. In the next shot, his hand is there, but when he removes it, he is in a different outfit.

Camera Movements Blog Post #4

 Pan

A pan is a very noticeable camera movement. It simply moves the camera from left to right, while having the camera on a fixed point. In this video, the son of the king monkey is attempting to speak with him while the bodyguard is listening in. The camera is first on the king's son, showing that he is speaking first. The camera quickly pans over to the king, showing that they are having a conversation. The camera pans to whoever is talking in the moment, allowing the viewer to follow the subject and understand the context of the scene.

Tilt

A tilt is a camera movement in which the camera simply rotates up and down. The camera is on a fixed point, just like the whip pan mentioned earlier. However, unlike the whip pan, the tilt goes up and down instead of left and right. The shot is typically used to reveal something or to set up an establishing shot, high up in the air. In this very short video it features the king monkey being introduced to the camera by a tilt, going down to up, and it shows him looking forward at us, showing his dominance.

Arc Shot

An arc shot is a simple camera movement, where the camera moves around the subject in an arc. It follows and focuses on the subject while the camera is moving. It is used to show the subject's surroundings all around them. This video shows the king monkey looking ahead to his followers after giving his speech. This shot allows the viewer to see his surroundings, which takes place in my room.

Camera Angles #3

Tilted Shot

A tilted shot is used to make a dramatic effect just by tilting the camera. It can create an effect of madness or desperation. As you can see, my friend's expression is of realization and confusion due to the fact he saw his grades. The tilt makes his realization more cinematic.

Over the Shoulder Shot

An over the shoulder shot is typically used for dialogue scenes, and the camera is positioned behind one person to focus on another. In this photo, you can see my friend putting up signs toward my other friend. It seems that he is explaining something complex to him. This shot was taken a few days ago.

Low-Angle Shot

A low angle shot is filmed from below, looking up at a subject. This makes the subject of the photo taken look large in size, strong, and powerful. I took this photo of my friend that is 6 Ft tall to show how big he is compared to the normal student. His pose in the photo makes him look like a big, friendly giant.

High-Angle Shot

A high angle shot is used to make the subject look vulnerable and weak. Clearly, in this photo of myself, I am visibly afraid, looking up at something above me. This makes me look weak and frail. My hands are also up meaning that I surrender.

POV Shot

A POV Shot is used to show a view from a subject's perspective, and show what they're looking at. As you can see, my friend is punching me, and I am putting up my hand to block it. This shows my perspective of his attack, which you can see he is coming at me from the front and side.