This past week, Gendrick and myself have putting the final touches to the video, smoothing out the rough edges, and contemplating fitting music and sound to ensure the video resembles something of a masterpiece we would be proud of and not something that would be made fun of, by those with critical eyes and namely, by ourselves.
Before we met to put an end to Post-Production this week, we had agreed that Gendrick would put together the remaining 20% of the video himself over the weekend, as that would help speed up the editing process for when we would meet up and because we had decided to edit using his personal laptop as the University's computers, simply, are sup-bar and frankly, unusable.
Meeting up this week, after some complications from his end putting the remaining 20% together, the video was more-or-less in a complete state, but very rough in nature with some sequences poorly linked to one another and without music, which is undoubtedly the piece de resistance that this project requires.
These were the only steps remaining for the video from being finalised, and for them to be taken, we began by watching the video in its rough finished condition, and quickly, it became obvious as to what needed to be smoothed out, and improved.
The opening of the video begins with a sequence of a text exchange between the main character played by me, and an unknown person, played by San. At the time of filming these text sequences, there were periods of 30 seconds from the message sent by me to a reply being sent back, which means as we were shooting the text exchange from my view, the camera recorded that 30 second wait.
As we have a story to tell and a a contemporary audience whose attention span in the modern age is non-existent, we obviously cannot include this 30 second wait in-between messages, and so, we have had to condense the wait to about a few seconds. The only problem however, is that these sequences do not match up whatever we do as my hand does not - and cannot - remain idle in an alleviated position for long as was required; and that is the problem within these scenes: with cuts to turn the 30 second wait to a few seconds, my hand is instantly in another position which ruins the immersive experience our film tries to provide. The only solution for such a problem that has no solution, is to make that problem as small as possible; and we done that as best as we could within these scenes but even then, it makes the problem no better.
Another scene which came to our attention, was a quick cutaway from a shot of me running, to a shot of my feet buckling, as a result of the frantic run. Whenever a film laden with special effects has something that looks counterfeit when presented to be genuine, those watching with a judgmental mind are likely to utter "that looks so fake" at the offending material. Witnessing that particular segment together, we did the same and both laughed at how disproportionately out of sync the cutaway looked within the falling-down sequence of the character and so, after the giggles died down, we cut it out, which will ensure the audience will not lose the immersive experience we want to provide, as they did with films like Sharktopus (2010) and The Scorpion King (2001).
Another complication within the video that we came across in its finished state, was perpetrated by my ill-advised but lovable group member Gendrick, who had forgotten to include a scene that was mutually deemed important to incorporate. When looking through the video together, I watched the main character who was standing at a pedestrian crossing, waiting to cross, looking at something for a long time, then walking off and thought to myself: "why was he looking over there; what was over there that compelled him to look for so long?" I turned to him and said: "Why didn't you put in the close-up of the traffic men symbols that we agreed should be in there?" His hand moved promptly to the mouse pad and in went the close up.
The consensus with the film is that not only is it to include sound/music, but also a logo of some sorts and a credit sequence to acknowledge those who made the film possible. After going through the video with a microscopic comb and ironing out the inconsistencies as mentioned, we engaged in collaborative discussion to address this topic, and it began in a somewhat facetious manner.
With suggested production titles like "Bad-man Productions" and "Rudest Boyz Presents" first out of our system, it allowed us make more sophisticated suggestions representing the theme of our "realistic drama." We decided to give the typography of our film "Disconnected", a typeface representing what the narrative is about: being disconnected from technology in the modern age. The letters for the title are loosely connected to one another, and grainy in appearance to give out an ambience of desolation. We also inserted in a credit sequence which would follow on from the title at the end of the film, accrediting the people who worked to make the film even possible: the writer, actors and producers are all rightly acknowledged, as without their hard work, we wouldn't be on the verge of finishing a video-making process which has been dismal from beginning to end, and never looked as if it would make it to this stage.
Music is all that's left to be incorporated to complete the video in its entirety, and of course, for the project to meet its end. For all the details, read on...
Ceysun Dixon KU ID: K1326851
These were the only steps remaining for the video from being finalised, and for them to be taken, we began by watching the video in its rough finished condition, and quickly, it became obvious as to what needed to be smoothed out, and improved.
The opening of the video begins with a sequence of a text exchange between the main character played by me, and an unknown person, played by San. At the time of filming these text sequences, there were periods of 30 seconds from the message sent by me to a reply being sent back, which means as we were shooting the text exchange from my view, the camera recorded that 30 second wait.
As we have a story to tell and a a contemporary audience whose attention span in the modern age is non-existent, we obviously cannot include this 30 second wait in-between messages, and so, we have had to condense the wait to about a few seconds. The only problem however, is that these sequences do not match up whatever we do as my hand does not - and cannot - remain idle in an alleviated position for long as was required; and that is the problem within these scenes: with cuts to turn the 30 second wait to a few seconds, my hand is instantly in another position which ruins the immersive experience our film tries to provide. The only solution for such a problem that has no solution, is to make that problem as small as possible; and we done that as best as we could within these scenes but even then, it makes the problem no better.
Another scene which came to our attention, was a quick cutaway from a shot of me running, to a shot of my feet buckling, as a result of the frantic run. Whenever a film laden with special effects has something that looks counterfeit when presented to be genuine, those watching with a judgmental mind are likely to utter "that looks so fake" at the offending material. Witnessing that particular segment together, we did the same and both laughed at how disproportionately out of sync the cutaway looked within the falling-down sequence of the character and so, after the giggles died down, we cut it out, which will ensure the audience will not lose the immersive experience we want to provide, as they did with films like Sharktopus (2010) and The Scorpion King (2001).
Another complication within the video that we came across in its finished state, was perpetrated by my ill-advised but lovable group member Gendrick, who had forgotten to include a scene that was mutually deemed important to incorporate. When looking through the video together, I watched the main character who was standing at a pedestrian crossing, waiting to cross, looking at something for a long time, then walking off and thought to myself: "why was he looking over there; what was over there that compelled him to look for so long?" I turned to him and said: "Why didn't you put in the close-up of the traffic men symbols that we agreed should be in there?" His hand moved promptly to the mouse pad and in went the close up.
The consensus with the film is that not only is it to include sound/music, but also a logo of some sorts and a credit sequence to acknowledge those who made the film possible. After going through the video with a microscopic comb and ironing out the inconsistencies as mentioned, we engaged in collaborative discussion to address this topic, and it began in a somewhat facetious manner.
With suggested production titles like "Bad-man Productions" and "Rudest Boyz Presents" first out of our system, it allowed us make more sophisticated suggestions representing the theme of our "realistic drama." We decided to give the typography of our film "Disconnected", a typeface representing what the narrative is about: being disconnected from technology in the modern age. The letters for the title are loosely connected to one another, and grainy in appearance to give out an ambience of desolation. We also inserted in a credit sequence which would follow on from the title at the end of the film, accrediting the people who worked to make the film even possible: the writer, actors and producers are all rightly acknowledged, as without their hard work, we wouldn't be on the verge of finishing a video-making process which has been dismal from beginning to end, and never looked as if it would make it to this stage.
Music is all that's left to be incorporated to complete the video in its entirety, and of course, for the project to meet its end. For all the details, read on...
Ceysun Dixon KU ID: K1326851
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