Prelim 2

During this session we edited the footage made during the 1st Prelim. We selected the best samples of the required shots and put them in the right transition order on the Adobe Premier Pro CC. To select the best cutting moments we looked over these shots using in and out points before moving them to the editing reel.

 There were several errors that occurred in the process. The most harmful one was our forgetfulness to constantly save the work, so when the program closed down for some reason a part of our progress disappeared. Others included selections of a wrong moment for the cut and incorrect adjustments of the footage on the editing board. We looked out for these mistakes afterwards.

 By going through the footage it became clear that we could have done better on the set. Several shots were spoiled by instability of the camera and wrong positioning of the actors. If there was another opportunity we would maximally avoid the camera movement during filming and retake the shots where the actors didn't take the right positions.

 The previous lesson on editing helped us a lot in accomplishing this task. We learned the essential styles of editing such as various transitions, cutting on the movement, and combinations between the different zoom levels. All of them went to use while editing the prelim footage.

When it will come to editing my thriller I will be able to apply the skills gained from both sessions and the ones we will have soon. My group will make sure to get the filming part perfect to enhance its effect by editing rather than restore it.

Prelim

   

The Prelim task was about filming a short scene using a storyboard as a guide to the shots. To make the process faster each member of our group was given a different role; two were actors, one was the director and one was the cameraman and the future editor. Together we discussed the positions of the actors and the order in which we will film the shots. Then we rehearsed the scene by running it twice without a camera.

On the set we used the rules and principles learned earlier.We didn't cross the line of interest established between the characters so they would maintain the same left/right relationship to one another.The call outs were "Stand by", "Rolling", "Action" and "Cut". We thought of positioning the camera at high angles when the character was vulnerable and at low angles when another one was dominating. Tape and small objects served us for marking the actors' positioning. We were starting to film before the action began and cutting some time after it ended to get extra footage for the editing. Watching the material was avoided to save time.

The immediate problem was in disagreement on the camera angles between the director and the cameraman.It was solved through quick discussions; after each one supported his point of view by explaining the effect achieved on the audience with his choice of angles, agreements were reached. The second one was the actors'struggle with dialogue, they could not memorise their lines in such a short time. So we filmed the scene with scripts in their hands or on the table to make them less noticeable. It improved a lot the fluency of the performance. The last difficulty was in arranging the sequence of the camera movement to film the shots from different perspectives most efficiently, but after some time spent thinking and marking each picture on the storyboard we worked it out.

If more time was available we could have taken more attempts for each shot, since some of them were spoiled by the minor mistakes. That would widen our choice of footage for editing. We could also record the dialogues and foley after shooting to enhance the sound.

Prelim taught me the importance of pre-production. The required steps are distributing scripts to the actors beforehand, choosing the right location and preparing it for filming, plan the shots carefully by writing a detailed screenplay.

Genre and sub-genre

Genre is a distinctive category of media products. The word is  French and means “type” or “class”. A genre can be recognized by its common set of distinguishing features, which are associated with a genre’s style and content may be, for example, a particular setting, character types, technical codes. These features are acknowledged and institutions use them to meet audiences’ expectations and therefore create more popular texts.

Sub-genre forms when media texts require more specification. It breaks down the classifications created by genres into more defined subjects. Due to the amount of the artistic material in the world today, sub-categories of major topics make searching material easier because it is a well-organised format.

Hybrid genre is a combination of two or more stylistic, themed categories. Certain guidelines are followed and common features of each genre are present within the work, although elements of one of them may be stronger.

Thriller sub-genres


Thrillers are usually defined by the mood they elicit. Suspenseful stories and stories creating fearful excitement are its two definitions. Because of this, thrillers are crossed with almost every other genre.

I.E.Gone Girl(2012)

Action Thriller

Take any other thriller subgenre, give it’s defining elements a back seat, and focus on the action, and you have an action-thriller. This is more common in movies than novels because of the visual appeal of explosions and violence.

I.E. Taken Series (2006 - 2014)

Conspiracy Thriller

In this subgenre the protagonist must confront a large, powerful organization whose threat only he sees. Usually he must do so alone.
I.E.Money Monster (2016)

Crime Thriller

This subgenre focuses on crime, and is usually from the criminal’s point of view. Physical action and eluding the police take the place of gathering evidence and trying to discover the criminal.
I.E. Pulp fiction (1994)

Disaster Thriller

In this subgenre a (usually) natural disaster is taking place, and the antagonist is either trying to stop the disaster, the extent of the disaster, or just save themselves before time runs out and the disaster has run its course.
I.E. Deep Impact (1998)

Eco-Thriller
In this subgenre the protagonist must stop a threat to the environment (man-made or natural) that will have consequences for society if left unchecked. The damage could be local, but nation or even world-wide stakes are more dramatic.
I.E. The Day After Tomorrow (2004)

Forensic Thriller
In this subgenre the protagonist(s) are forensic scientists whose involvement in an unsolved crime threatens their lives.
I.E. The Skin I live In (2011)

Legal Thriller
This subgenre takes place in and around the courtroom. Usually the protagonist is a lawyer who has found their case threatening death for either them or their client.
I.E. The Firm (1993)

Medical Thriller
This subgenre involves something usually used for medical purposes becoming a deadly weapon. Often it is a virus that is leaking out to the public. The protagonist or antagonist or both are doctors.
I.E. Outbreak (1995)

Mystery Thriller
This is a subgenre of both mysteries and thrillers. It differs from a regular mystery by being much more fast-paced, with the protagonist on the run and the threat of another crime serving as the “ticking clock.”
I.E. Zodiac (2007)

Political Thriller
In this subgenre political relations or the whole government is at stake, and the protagonist is employed by the government to stop the decline. The protagonist may have been low-level before having attracted attention.
I.E. Argo (2012)

Psychological Thriller
In this subgenre a lot of the conflict is mental, rather than physical. The protagonist has become involved in a dangerous situation which literally threatens their sanity. They must use mental prowess to overcome their opponent, whether the battle is inside their own head or it a battle of wits.
I.E. Donnie Darko (2001)

Religious Thriller
This subgenre uses the history and myths of religion. Usually a religious artifact or historical secret is discovered, and different people and groups vie for control.
I.E. The Ninth Gate (1999)

Romantic Thriller
This is a subgenre of both thrillers and romantic novels. The plot line follows a typical thriller’s tension, suspense, and excitement, but a main element is the growing relationship between two characters.
I.E. Perfume (2006)

Spy Thriller
This subgenre focuses on the high adventures of field agents. It is usually set against the backdrop of some war.
I.E. Body of Lies (2008)

Supernatural Thriller
In this subgenre otherworldy elements are introduced, usually as an antagonistic force, but just as in the romantic thriller, the plot line and feel or distinctly that of thrillers. Some characters may have psychic abilities and other supernatural novel elements may be present.
I.E. The Sixth Sense (1999)

Techno-Thriller
This genres is a cross between near-future science fiction and thrillers. Cutting-edge technology plays an important role, either as something to obtain, or working for or against the protagonist.
I.E. Source Code (2011)

Editing Workshop

On 28^th of September we had a practical on using Adobe Premier Pro CC. The goal of the lesson was to edit the shots we filmed during the second camera workshop by merging them together with cuts.

 

The main principle of editing is to save the work constantly. This way one doesn’t risk losing the progress in case of the software’s breakdown. The short cut for saving is Ctrl + S.  The bottom left corner of the software is the sections with the footage; the video material for editing. Small icons of videos in this section have a nickname “rushes” or “daily’s”, which originates from the time when film had to be developed before viewing. Directors demanded developed footage in less than 24 hours, from here comes the title.

“Razor” is the tool used for making cuts, with the Ctr + C shortcut. To cut without selecting razor one should use Ctr +X. Arrow is the tool for selecting and moving the footage, Ctr + A is its keyboard access.

 For time saving it is recommended to use in and out points before beginning more accurate cutting in the editing reel, which means viewing the daily’s in a smaller window and marking where the footage should start and where to finish when inserted into the board with the other frames. Zooming in and out can be used to adjust timings for cuts most accurately or move the footage across the time line quicker. Shortcuts to it are Ctr + and Ctr -. The time line, or editing reel/board, is the area under the replaying screen where the majority of editing takes place. By going through the time line an editor can see what his video looks like so far.

The other three sections of the screen are for choosing the footage from daily’s, determining the in/out points and reviewing the completed work. This way an editor can work more efficiently by getting from one stage of the process to the other quicker. In case of an error, it is possible to go back as many steps as there were during the session by pressing Ctr + Z or clicking the undo button.

 

Sound analysis

“Se7en” – the box

Sound effects play a major role in building this climax, the soundtrack being especially important. The music appearance is effective due to its intensity and high volume. It begins with a slow rhythm melody of deep bass horns and high pitch metal sounds, which is a heavy and disturbing combination. As the scene develops other brass instruments and percussion join the composition to make it more powerful. The soundtrack, as well as the action of the scene, has three crescendos. The beginning is the first one; a tuba chord signals that the situation is about to get out of control and is supported by Somerset’s terrified facial expression. 

The music calms down at the start of the dialogue between Doe and Mills, but regains the strength as soon as Doe reveals what he has done, and establishes the second, longer and more acoustically complex peak moment. Then, after remaining constant for a while to extend the tension, the sound reaches its third and final summit, when Mills finds out about the death of his pregnant wife, and droppes to a momentary silence to emphasise the pain of the character. The chords and high pitch notes become more frequent and sharper from this point on to convey the struggle and suffering Mills feels, even after he killed Doe.

This use of music would not be as effective if it didn’t contrast with the silent beginning of the scene. There is only dialogue and diegetic ambient sound present until the 41^st second, the loudest of them being the working helicopter engine, hardly heard in the distance. To prove how quiet are the surroundings the audio includes noises from the minor sources, such as rustling of the paper when the box is being opened, birds’ singing, bursts of the wind and the grind of the swinging wires. Even when Somerset discovers Tracy’s head in the box and steps back in horror the stillness isn’t broken. In a way this is use of the contrapuntal sound, since the tranquility of the setting doesn’t fit with the disturbance created by the image. 

A cut away to the helicopter serves as a sound bridge; the loud sound of propellers introduces thrill to the scene. It continues into the following shots as an ambient sound. Gun shots are other special sound effects. The audience hears them both with the frame of Mills offloading bullets in Doe's head and without a visual image, to motivate the viewer's imagination.

However, the featuring part of the audio is the variety created by the actors’ voices. There are multiple emotions presented by Brad Pitt, from the plain annoyance and anger to overwhelming hysteria and despair. Michael Freeman acts as a reasonable man and his voice sounds as if he attempts to suppress the feeling of shock to bring Mills to his senses. The delivery of his lines conveys panic, fear and confidence while he pleads Mills not to make the wrong decision. The helicopter crew is confused by the happening and we can hear it in their dialogues despite of the radio interference. Only Doe’s voice never changes, not even when he confesses in Tracy’s murder or looks in the face of death. He remains cold and distant, a way to speak for a real madman.

Therefore the drama and thrill of this scene are created more by the sound than by the visual image. One would not experience the characters’ feelings without the support of the soundtrack, or believe in the scene’s reality without clear ambient noises. Although eighty percent of the information is received by our eyes, sound takes the top priority in film-making and many sacrifices can be made to achieve its required quality.