Edit



Editing has began!

All is going well so far, and with a week to go before submission, I'm confident that we will be able to produce a finished film that we are happy with. We have formed our basic structure;
forest-light art animation-paper room
and are now trying to put it all together in a way that actually works. The forest section is now all roughly put together and as it stands is pretty conventional. This was an issue at first considering that we are trying to make an experimental film. However, we think that actually, starting conventionally then moving to gradually less and less 'normal' stuff could work; it could mislead the audience and give our latter footage more momentum and impact. Another idea we had was to create a much more experiential soundtrack for this first third. Current thinking is that each third will have a different backing track. 

The main issue I think we now face is putting all our footage together in a way that works well and does the ideas justice. Each individual scene I think will be good but moving between them is the key to making it a film... we don't want it to end up like Inglorious Basterds... 

We also had a tutorial today in which we received good feedback, but as mentioned, the transition between scenes has to be really good. And, more importantly, so does the end. 

This is something that, if I am honest, we haven't given too much thought. We intended to end with the female character waking up, but this does seem rather conventional. As we know, 'it was all a dream' isn't exactly the most original storyline. So this weekend is going to be spent thinking up the best ending to a movie ever. 

Bruce Munro


Bruce Munro makes lights. He makes such good lights that he has been asked to do a number of light installations at places such as the Eden Project and the V & A, more than once.

His installation at the Eden Project, called Field of Light, is really quite spectacular. It looks so alien yet so natural, which is why I think I find it so appealing. The lights fit into the environment so well that it is as if they are a new species of plant, a wonderful natural phenomenon, like glow worms.





Thomas Albdorf
TVC#001

Stalker

One of the sections in our film is based in the woods. Our main character wonders through aimlessly, the context is unclear. One of the reasons for choosing this environment was, first and for most because the scenery is very beautiful and it makes for a great setting for a dreamy sequence. Another reason is based on the idea that, without sounding too 'new worldly',  the woods can have an 'energy'. I think it is the fact that being in a very natural, peaceful place can be really refreshing.. but these ideas are connected with those in Tarkovsky's Stalker, in which the protagonist, the stalker, has a connection with 'the zone' and feels like this overground forest is the only place that he can be truly content. In the film, also, there is the notion that this environment is alive and moves and reacts to human presence instantly. The room that is the central intention of the journey the three men take also has a dream like quality to it. When the approach, there is the scene in which we see 'the writer' has a monologue in a room filled with sand. This bizarre, out of context sequence is something we are going to try and replicate in our own experimental film. 


sound log, peaks

Sound Log – Peak District 30/1/12


219 – fierce water
220 – gentle water
221 – even gentler
222 - georgie kicking water
223 – discussing x
224 – microphone stereo stream
225 – ‘oh hello’
226 – x
227 – x
228 – stereo forest
229 – mono forest
230 – mono forest crow miss
231 – ‘’  ‘’
232 – ‘’  ‘’
233 – stereo walkers
234 – mono
235 – stereo shoes
236 – stereo
237 – shoes stereo
238  - mono shoes
239 – mono walking
240 – stereo trees/birds
241 – mono x
242 – stereo pool
243 – stereo pan/par (not too sure what it says…)
244 – ‘’ ‘’
245 – stereo shuffling
246 – stereo par/pan
247 – hard waterfall
248 – soft pool stream
249 – general pool

Soundtrack Inspiration