Monday, December 5, 2011
BLOG ENTRY 3 -- PRODUCTION NOTES
Now that I have finished the project it is easier for me to think clearly about it and to make a retrospective analysis of it.
What I learned the most about doing this project is definitely working with sound elements. First in recording, I realized how crucial are sound levels, and how the slightly outdoor noise can become a big audio interference once I listened to the interview I recorded. Indeed, we recorded the interview outside, on the East building rooftop to create a more friendly environment, since it was the first time that Marine and I ever meet. Because I did not use a foam screen on the Zoom recorder, I realized afterwards how lucky I was that the interview was still audible enough to be edited. Also about the interview recording process, I now understand how important it is for the interviewer to remain focus and by all means silent during the interview, to allow the subject to talk and finish their sentences. I discovered while editing that any breath sound or “hum” from me could become a real pain in seeking for smooth editing.
Using Final Cut was not the biggest discovery for me since as a Film major I use it for many other classes. However young filmmaker like me always need a good reason to practice and improve on editing.
My biggest regret about this project is certainly that my subject left the class very early on the semester. I just had time to do one audio recording with her. Not having her around and barely knowing her made the task really harder. I had no possibility to do additional sound records and moreover I was not able to shoot any still or moving image of her. This somehow killed a part of my inspiration and my motivation about the whole project.
Though, those circumstances taught me how to adapt and to improvise with an unexpected situation, and I have the feeling this will happen again in the future.
Monday, October 24, 2011
BLOG POST #2
The clip of Bjork’s song " Hyperballad ", directed by Michel Gondry, appears as an overlapping of three images which represent Bjork. The first one to appear is a regular film type image, in color, which centers the face of the singer, eyes closed, lengthened, in a close-up. On this image, overlaps the second image of Bjork, as if projected on a screen, in bluish tones, which also centers the face of the singer. This image that seems less real is paradoxically more alive, because Bjork moves and sings. The third image represents the singer running, under the aspect of a video game character.
The first image represents the character that sleeps in the song. The singer indeed says " I through all this / before you wake up go ", and so speak to a part of herself. So, another part of her makes a "hyperballad", represented by the video game character, which appears from the face of “inanimate Bjork”, and begins to run. The character that sings through the video projected image makes the link between the two others, and overlaps at certain moments on the first image.
The device set up by Gondry is made possible by the technique of composing, which allows to overlay elements of diverse sources on an image, to embed digitally and instantly a fragment of image, well confined in another image, to create a composed image, which imposes a new mode of representation. The depth of field in this clip results from the superposition of those three layers of images. What the editing spreads over the time in this very singular succession of shots, the video mixing allows the viewer to see it in one time, in the simultaneity of the compound image.
With this technique, modes of associations are more diverse and freer, but still ruled by the work on images
Monday, September 12, 2011
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