Old People Wearing Vegetation

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Project: How to learn

The brief for Project 5 is to look back at a piece of work I have produced, including any notes and blog entries.  I will concentrate on my Alcoholic – objective POV sequence. 

I have already included some reflections in the Exercise 7 post:

http://helendigitalfilm.blogspot.co.uk/2013/04/exercise-7-alcoholic-from-objective-pov.html

Feedback from other students and friends

“I really like this. Love the way you focus in on the bottle and then Matt's face, then back, in time with his thinking. It all looks too clean for an alcoholics flat, dirty bed clothes and unshaven would be more effective.”

“Lovely construction and framing. Whilst I don't know if Matt or his surroundings do really have to be slovenly, whatever Matt is drinking looks like it's coming from a pretty posh brand (!). However it could be argued that both his choice of tipple and his pleasant surroundings, show that alcoholism doesn't always conform to a 'type'.”

“I like the framing and composition. The depth of field used here, a little bit extremely in some shots, created alcoholic’s blurriness world to me, especially when the focus is shifting from the bottle on his face, very well done. For me the distraction point is too long, I mean as he is looking and listening to the sound of the phone.”

From Matt, the actor:

“I really like how this turned out. It was a pleasure to participate. I think the two clips with the phone ringing could have been spliced together a little more seamlessly, but that's more than compensated for by how well the clip from the front, where The Alcoholic picks up the empty bottle and the clip from behind tie together.

I like the lighting in the scenes from behind much better than the scene from the front. Much more depth.

I would have liked a very subtle soundtrack, but you would run into copyright issues, and it would be very hard to find something that added to the piece without being heavy-handed.

Overall, I give it a 7/10. Very well done, especially for your first effort at directing an actor.”

From Stuart:

“I noticed these two questions in your blog:

  Does anyone know if I can isolate some sounds (i.e the noise from manually focussing the lens) and fade them out in Final Cut Pro X?

  What exactly does this mean (from the course notes): "Where are the borders of perception drawn in each shot?"

1. That's the poor mic built into the 5D (I also use a 5D). You should be able to open the audio track in Final Cut and then cut out that section where you move the focus ring or, alternatively, just cut that audio segment so that it's still part of the audio track but can be edited separately without effecting the rest of the audio track. You can then lower the sound just for that segment. You can see examples of what I mean in the two attachments. In 2.tiff, I've cut out the segment I want to edit separately, but it's still part of the audio track. 

Personally, I'd remove the bad section completely and then add an atmosphere track over the top of everything so that the audience wouldn't notice where I'd cut that small segment. You'll work with atmosphere sound later in the course.

The mic on the 5D is omnidirectional so it picks up everything, as you can hear by your hand movements in the film. Buying something like a Rode VideoMic will help with this. You can also add it to a boom pole and still connect it to your camera. You can also record audio separately and then sync it with the film - that's when you start having some real fun and involve other 'crew'. :)

2. Which page is this question on? I can probably get a better idea of the questions then.

About your film… Although the editing felt a little jumpy, I actually though tit added to the atmosphere. It left me a with a bit of an uneasy feeling, which I think suited the film. I liked the way you also often balanced the frame by putting the actor on one side and the bottle on the other.

The focus jumps quite a bit, but that just takes practice. You could make life easier for you by increasing your ISO level. That will allow you close down your aperture and give you a slightly larger depth of field. By doubling your ISO level, you let yourself double your depth of field (because you close down your aperture to compensate for the extra exposure created by the higher ISO level). “

From Margaret:

“I think you've done really well with this sequence. I like what you said about the lens giving intimacy - it does.  The light is very good but it may help to tell your story of doom and gloom if it was a bit less saturated - not sure whether you can do this in final cut.  Re the camera sounds - my camera and lenses have a silent option which means you can't hear focusing etc but generally it is one thing you need to watch.  Sound is something you'll come on to later in the course and I find it can make or break a film and have spent loads of time learning how to make it better.  Back to your film though, I think you've created a good film.  It's a bit of an ice breaker to complete this one I think and now you're well on your way to the next!”

From Elisa Paloschi, FilmMaker Extraordinaire:

“I love it! Matt is hilarious, such a great actor, and I love your shots and sequence. You used your 5D, good for you!! I think the out of focus works really well here, where Matt is first rolling over. Super!

The only thing I can think of is that I'd like a bit more mystery early on. It could seem like matt is just sleeping and maybe sick. I really like how he picks up the first bottle and throws it down. I may have tried to find a way to introduce the bottle earlier, without really knowing what it was...

PS - just read now your comments of the film process, great points you make. You are a natural.

AS for this: does anyone know if I can isolate some sounds (i.e the noise from manually focussing the lens) and fade them out in Final Cut Pro X?

The short answer is NO. This is one of the biggest issues with the 5d, or most dslrs in general. The only way to isolate the sound is to use an external recording device. You could also try an external shotgun mic as well, attached to the camera. This will isolate the sound a bit - but the problem is you still can't change the levels and such.

It's hard work to think about sound and use a dslr at the same time. I know you want this to be great, but you are prob better off concentrating on the camera and the story, till you feel more comfortable with the camera and the editing program.

You might even consider working with a sound person. Anyone in your course live nearby and you could collaborate with each other?”

What did I set out to achieve?  

A convincing portrayal of an alcoholic in a few simple frames, carefully choosing the right camera angles to convey information and atmosphere.

How can I identify what I have achieved?

I can try to take an objective look at the film and how closely it matched my stated aims (and maybe some extra magic stuff that I hadn’t expected) and this proves that it is important that my aims are clearly set out in detail before embarking on the project.  

Did I achieve it?

Yes I think so – I kept the frames simple and was very clear about what information needed to be included. The story has been told. I also used specific camera angles and lighting to create the right mood. 

Improvements

The big mistake is that I left too much footage in of Matt looking towards the phone – it just went on too long and seemed unnatural.  Quite a few people have commented that Matt did not look like an authentic alcoholic but I am happy that he was presented like that – less clichéd and therefore hopefully more thought-provoking. I wanted the audience to have some empathy with him (hence my choice of camera angles) so they could really think about what it would be like to wake up and need a drink so desperately.  What has happened to him that his life is like that?  Who is trying to call him repeatedly?

Things I have learnt:

• In order to ensure I have achieved my aims, I need to be very specific about what they are in the first place.  Spell everything out, line by line – avoid being vague, even if that is tempting.
• The planning is essential. I actually thought when I started this course that the storyboards were going to be an annoying waste of time but they are critical to help me visualise and work through the best options and to keep me and the actor(s) on track during the filming.  
• Name problems precisely so I can work out a solution… eg “I need to see more of your head AND the room” so … I will pull back or change my focal length or move the actor … etc
• Continuity is important. I need to study clever devices and plan them in, rather than just getting lucky. I can use my sense of composition for this and make the most of the motion aspect.  Also: I mustn’t let the actors make random changes to the set that you might not notice until editing stage.  Again the storyboards can help with this.
• Directing and anticipating during the shoot is critical. The actors want to be told what to do, how and when. Explain what is required before each segment and be encouraging. I do have these skills – I just need to bring them into this process.

I was really nervous about using the 5D due to the focusing issues. Apart from the sound capture when changing the manual focus, I think this worked well.  I also bit the bullet and bought Final Cut Pro X – so far, so good.  I suddenly feel like a whole world of creative opportunity has just opened up to me.  My skills as a still photographer really will have a bearing on how I make films and I find that to be very exciting. I always struggle with lack of confidence causing inertia so this feels like a really positive moment.

Reflections

Is it better to struggle and improve your weaker areas or should you cut your losses and focus on your strengths?

I think it is essential to always try to improve weaknesses but this can be done in tandem with a focus on strengths. This is all part of the process to find my voice.

How can you ever really know what your strengths and weaknesses are?

By looking at other people’s work and by being ultra-critical of my own. Also by being very detailed in my vision and aims for each project and then critically assessing how closely I have come to achieving those aims and if my vision has been created successfully.

How do you know what you need to know if you don’t know what it is yet?

I know when I am falling short of creating something that I think is exceptional so I need to break down what elements are missing and how I can achieve them.

Who can you ask or where can you find out?

I am right at the beginning of this journey – I need to watch so many films and study like a madwoman.  I have a network of friends and other students to ask, plus my tutor and, of course, the interwebs!

How do you know if you have improved?

I know I have improved by comparing my first Alcoholic (subjective) sequence with this latest version. A lot of the improvement is to do with the camera (last time I used a compact) but I also found myself really using the storyboards as they should be. I now feel that I have a more experienced critical perspective from analysing films and generally learning more about this field.

When is it time to move on?

I spent far too long (almost a year) on just one assignment in my last module (People and Place) which I am determined to avoid this time around so I am not going to let myself get caught up on specific projects or exercises unnecessarily.  Once I have identified what I have learnt, and possible improvements, I think it is good to move on.

How to learn?

• Watch others
• Practise
• Share
• Reflect
• Study others
• Copy
• Compare
• Contextualise
• Practise more
• Ask
• Analyse
• Experiment
• Respond
• Be critical
• Improve
• Perfect...

Exercise: Alcoholic from an objective POV

This exercise is to record the same scenario as in the project 3 Alcoholic sequence but this time from an objective rather than subjective POV.

• An alcoholic alone in their home
• They look around an empty room
• Nothing interests them
• They notice a bottle
• They hold the bottle and unscrew the lid
• Something attracts their attention, they look round
• Nothing happens
• They look back at the bottle and pour themselves a drink

What information do I wish to draw attention to? I want the information to be simple: the mans wakes up and almost immediately needs a drink.  He has a lack of interest in anything except for making it through the rest of the day.

How do I want each shot to feel? We need to be close to the man so we feel his fuzzy hangover, his desperation, his annoyance at the phone ringing. It needs to be a bit claustrophobic.

Choice of frame?  Quite close up to ensure we cannot escape from what the man is going through and not too much jumping around, as this is a short sequence.

The storyboards

Close-up of the alcoholic asleep

He is now awake, siting up and looking around the room

View from foot of bed as he looks around

He finds the bottle and unscrews the cap

The phone ringing disturbs him

He decides to ignore the phone and drinks from the bottle

The sequence....

Alcoholic - objective POV from Helen Rosemier on Vimeo.

My reflections

This is the first attempt with my 5D and I decided to try the 50mm f1.4 lens, to add a sense of intimacy and some interest with the shallow depth of field. I know this is not to everyone's taste but I think it worked quite well for this sequence.  This is also the first time I have used Final Cut Pro X so the editing is very basic!

The first frame is a close-up of the face with the camera at the same level. I chose this so we get to know him straight away - a deep gaze at the sleeping man. 

He sits up and looks around the room a bit. I went for an over the shoulder angle so we have some empathy with his POV but not so much that it becomes subjective.  This leads our eye into the room but without us seeing very much as there is nothing that interests him.

We then switch to seeing him from the foot of the bed as he tries to orientate himself and find some stability.

Next he finds a bottle with some booze and the view is over the shoulder again so we can focus on the hands opening the bottle.  We see his profile as he listens to the ringing phone and then he takes a glug.

I wanted to convey the sense of him feeling rough and everything being rather out of control but also the repetitive, mundanity of his life.  Being close in and the hand-held approach fits well with this, I think.  

Matt got frustrated as I wasn't very good at directing him and he said he found it to be a difficult experience without knowing exactly what he was supposed to be doing so I really need to work on that aspect. I used to have a similar problem on still portrait shoots and had to really push myself to tell people how I wanted them to arrange themselves.  Matt suggested that even if I had told him to ad lib that would have been better than nothing.

Possible improvements

• The phone could have been ringing at the start and be the reason he wakes up. This would add some tension - the idea that someone (or lots of people) are trying to get hold of him 
• He could have opened his eyes suddenly and looked straight at the camera
• When he first sits up, I should perhaps have focussed in on the shelf on the other side of the bed with an empty wine bottle on it
• For continuity it may have been better to add in another frame with him in profile when he has first sat up before us going behind with the over shoulder view
• The switch from the POV behind him to in front from the foot of the bed isn't great and the light was a bit too bright for that segment
• I considered a wide angle from high up (top of a ladder) looking down so we could see the whole mess of his bed and he would be quite small in the frame but I thought it might seem a bit gratuitous

Questions

1. Does anyone know if I can isolate some sounds (i.e the noise from manually focussing the lens) and fade them out in Final Cut Pro X?
2. What exactly does this mean (from the course notes): "Where are the borders of perception drawn in each shot?"

Sherrybaby (dir Laurie Collyer, 2006)

Watching this made me ponder how much filmmakers assume that we will already know by the time we watch a film.  The synopsis tells us:

“Sherry Swanson returns home to New Jersey after serving a three year prison sentence. Eager to re-establish a relationship with her young daughter, Sherry soon discovers that coming back to the world she left behind is far more difficult than she had planned.”

I would have liked to watch the opening sequence without knowing this to see how much I could have surmised.  This was front of mind because I was not convinced initially that Maggie Gyllenhaal could pull this role off.  She didn’t seem quite angry enough for someone who had just left prison after three and a half years. We get a glimpse of her attitude when a passer-by bumps her arm and does not apologise but it didn’t quite ring true for me.

Sherry Swanson’s daughter has been cared-for by her brother Bobby and his wife Lynette, played Bridget Barkan who does a superb job of being a passive-aggressive surrogate mother who is clearly conflicted in her feelings towards the situation.  On parole and staying at a half-way house, Sherry must stay out of trouble or risk going back to prison.  This battle becomes increasingly difficult for her and she behaves more and more brattishly, as if she is in a teenage drama.  The film explores parenthood (and perhaps the theory of transactional analysis – the parent, adult, child alter ego states?) as well as rehabilitation.

I must confess I was shocked by the suddenness and context of some of the sex scenes.  Not least that the manager of the outreach programme is unprofessional enough to shag Sherry in the garage a few days after her arrival.  As the film progresses it becomes clear that most men Sherry encounters are more than willing to take advantage of her.  She is not a victim (in all but one of the cases) but she is vulnerable and the men, in my opinion, are behaving inappropriately.   I have it on good authority that there is a well-known “13^th step” in AA lingo which involves sexually predatory behaviour towards emotionally vulnerable newcomer to the programme.  This is very clear in the scene where Dean comes to Sherry’s motel room.

Sherry becomes increasingly out of control and unlikeable and this reaches a climax when the character of her father, Bob Swanson Sr (Sam Bottoms) is introduced. Our natural response to this is that he will represent stability and support for her. We immediately see Sherry regressing even further into childish behavior, jumping on the sofa and clamouring for the attention of her dad.  The family get-together quickly lapses into drama and Sherry appeals for help from her father. Just at the point when we can hardly stand her anymore, there is the stomach punch of seeing Bob Swanson Sr fondling his daughter’s breasts.  This brilliantly played but nauseating scene was perfectly placed as it creates a convincing context for much of what is happening in Sherry’s life. She never mentions the abuse or uses it as an excuse but it has clearly taken its toll on her self-esteem and her interactions with men.  She takes heroin in the next scene so we know the link is direct.

Her brother Bobby also witnesses the moment but is unseen. I am not sure if this was a device to add drama (Bobby is hovering behind the door so we know something important will be revealed) or if it was supposed to add to the narrative.  I didn’t notice his behaviour particularly change towards his sister afterwards, which perhaps suggests he already knew that abuse had occurred?  Maybe some of this plot development was edited out at a later stage.

I enjoyed the film and was quite moved by it but there felt to be something lacking in terms of the direction of the narrative – it was a little scrappy. It may have worked better with a less well-known actress or with a stronger ending.  The resolution is that we see a strong bond between her and her brother (who is the only really good person in the film) so we feel that Sherry has a chance.  She is back from the brink of ruining her life.  The overall feeling I was left with by this film was that everyone in it is just muddling through life, trying to cope, trying to keep going.

Car scenes

There are several scenes set inside cars and I was interested by the different camera angles.

1. In the first Sherry is being driven by her brother.  The camera view is from outside the car on the passenger side looking across at both characters. I think this aims to enhance the idea that this is a normal, respectable neighbourhood. Sherry is going straight and engaging in a family activity with her brother.  He even mentions that he has quit smoking so we feel safe and hopeful for Sherry’s rehabilitation.  She looks out at the world and we see kids playing in the park and hear their happy noises.
   
2. The second scene is shot from the back seat in between Sherry and Dean (Danny Trejo). It is dark and they are leaving their NA meeting - probably in a bad neighbourhood. The light is coming from the front and lights up under their faces – the camera switches back and forth as they speak to each other. It feels much more claustrophobic and awkward.  The viewer is being put right inside this relationship with no escape.
3. Later on when Sherry is planning to run away with her daughter, the view is from in front and to the side of Gyllenhaal looking into the back seat where the child is.  This enhances the idea that there is a link between them but also shows that the disconnect is very significant.

 Other reflections

• Unsubtle opening soundtrack – too much editorialising
• The film is quite pale, de-saturated and seems a bit insubstantial. This works well when Sherry is washed out and sick looking when strung out on drugs or booze and adds something to the white trash feel
• Heartbreaking scene when she first encounters her daughter again after three years inside – she hugs her tightly and cries saying “I am sorry” repeatedly and eventually the kid says, in a tiny voice, “Where were you?” (very minimalist)
• Much of the film is in documentary style, hand-held camera, very natural acting – especially the scenes with Sherry and her kid 
• Good line from the parole officer “You don’t want to do the work” – sounded authentic - we almost like him in this scene which adds to the sense that all the characters in the film have good and bad aspects - they are very human
• The scene in diner when the brother says “I’m on your fucking side!” is given an extra edge by the speed of the traffic going past outside – it adds to the tension in the scene and the feeling that everything is running out of control
• Sherry wears headphones frequently to show her unwillingness (fear?) of fully engaging with the outside world – she is always on the outside looking in

Wuthering Heights (dir Andrea Arnold, 2011)

Blimey, you go for 45 years without seeing an Andrea Arnold film and then two come along at once!  We watched her rendition of Wuthering Heights (made in 2011) a couple of nights again and I am still feel rather haunted by it.

The film concentrates on the first half of the Bronte book and particularly the childhood bonds between Cathy and Heathcliff.  The cinematography is stunning and really captures the sights and sounds of the moors, as well as the primal passion felt by Cathy and Heathcliff as they run wild together.  Arnold uses muted colours and diegetic sound brilliantly.  We hear the deafening winds and rain of the moorland, dogs snarling, animals eating loudly and Cathy singing by a crackling fire.  Some scenes are shot POV to show, with intensity, how Heathcliff sees Cathy.  Lots of use of the darkness and not quite being able to make out what we are looking at.  Minimal dialogue.

As in Red Road, Arnold uses inexperienced actors and, I think, gets some good performances.  The youngsters, Shannon Beer and Solomon Glave, don’t actually seem to be acting at all.  The older Heathcliff did not work for me at all – he just seemed too wimpy.  Using a black actor fitted well though – he always feels like an outsider and this allows the narrative to develop convincingly.  The older Cathy played by Kaya Scodelaria looked nothing like Beer and I found this break in continuity to be jarring. 

This film is not at all what one would expect of a “costume drama” and was a brave and artistic approach to a well-known and beloved story.   For me, it went downhill when the older Heathcliff returned but there are still some superb moments and everything is beautifully filmed.  The scenery and portrayal of childhood and young love was very evocative and powerful and, as I mentioned at the start, quite haunting.

• Lots of feathers (very sensual) and birds.  Is watching the birds and the skies an analogy for his aspirations?  He wants to escape and move up in life but he is grounded by his feelings for Cathy
• Great close-ups of moths against the window. Some pretty stomach-churning images of dead rabbits and fowl.  Very earthy portrayal – in fact, literally there is some frolicking in mud
• The camera focuses on tall grasses and then tunes into the forms of people standing beyond.  A visually appealing effect used more than once in this film.
• Continuity created via seeing Heathcliff closing his eyes in one scene and then opening them in another.
• We see Heathcliff lifting a trunk off the back of the cart and then a coffin, seemingly of similar size and at the same orientation, going into a grave.
• Lovely shots of wall scratches and graffiti in candle light 
• Heathcliff watching Cathy at Thrushcross Grange through the window to stress the different lives they are now leading
• Robbie Ryan was the Director of Photography (as for Red Road) 
• Lots of use of hand-held camera and intimate close-ups to create a sense of the tensions
• Why the choice of 4:3 aspect ratio when the scenery would seem to be very widescreen? 
• Mumford and Sons song at the end – beautiful but seemed out of place