The eZ Life

Adobe Premier Pro - Editing

Over the past few lessons, I have been learning how to use Adobe Premier effectively for software editing.

I had to start from a blank canvas. This involved importing the necessary audio and video clips to the Premier file so I could use them to slowly form my very own music video.

My first task was to create a short music video. I found the specific clips which I wanted to use and imported them onto the program. I decided to portray the 'New York City' (due to the first song, Heart of The City (Ain't No Love) by Jay-Z- who often lays claim to be the King of New York) and 'Dancing Bear' clips. Alongside these default clips, I also gathered some more mp4. files such as a car exploding in slow-motion and a very small portion from Kendrick Lamar's 'Swimming Pools' music video to suit the lyrics in second song which I used in the video, 'M.A.A.D City ft. MC Eiht'.

Here's my first ever Adobe Premier footage:



Afterwards, I put my newfound skills to the test when creating a James Bond teaser video which can be seen below.


Juno Opening: First Filming Assignment

Storyboard: I tried to follow
this when filming.
I was tasked with recreating my own version of the Juno 'All I Want Is You' video, this concerned familiarising myself with the video cameras, practise my camera and editing shots and further improve my Adobe Premier skills.

First of all, I had to create a storyboard (right). For this I had to number each shot, write down the duration of each shot, the type of shot and the transition from scene to scene.





I had to try my best in matching this video:



Here was my best effort in recreating the Juno scene:



You are editing your own footage, how did the filming go?Was your storyboard accurate?
What were your strengths and weaknesses in the group?
Did you get all the footage you wanted?
What technical skills - camera and premiere - did you learn?
How does it compare to the original?

What went well - What I learnt - What I will take with me to the next production





Film Language - Boyz n the Hood and Up

Film Language Overview:
Film language can all help to create and understanding of characters and why the film is being shown a certain way.

It's split up into four sections:
  • Camera
  • Sound
  • Editing
  • Mise en scene
Camera:
  • Frame - extreme close up all the way to extreme long shot.
  • Angle - Levels, high and low and Birdseye and worms eye.
  • Movement - Pan left and right, tilt up and down, zoom in and out, tracking shot on the move.

Sound:
  • Music - feelings from it
  • Contrapuntal - music/lyrics does not go with the genre
  • Diegetic - sound the actors can hear, non diegetic are sounds edited
  • Off screen/on screen - sound from frame and out of frame
  • Voice-over
  • Emotion
  • Dialogue - (age, tone, level, accent)

Editing:
  • Transition - Straight act, dissolve, wipes
  • Order of Narrative - beginning, middle, end. (flashbacks, dreams and time)
  • Pace - how quick you cut time

Mise en scene:
  • Costume
  • Lighting
  • Actors
  • Makeup
  • Props
  • Setting

Using this knowledge, I applied these factors to two movie openings.


Boyz n the Hood Opening:

Overview: 

Boyz n the Hood is a crime drama written and directed by John Singleton in 1991. It stars, Cuba Gooding Jr. (also known as Ice Cube), and Lawrence Fishburne. It's a saga about a group of children growing up in a ghetto in Los Angeles. It was nominated for 2 Oscars.

Indication: Signs are the main use of iconography in the film's opening.

Camera: 

There's then a use of iconography through a stop sign (notice that the stop sign is also at the centre of the shot and the camera zooms into the sign, this makes the audience focus on it and understand it's importance).

Next, there's a camera shot moving, following the children walking along the street. The camera goes from a long shot to a mid shot of the children.

Later on, the camera moves from a sign reading 'ONE WAY', to a street which the children are walking up, a sign next to the street can be seen, it reads 'WRONG WAY'. This is deliberate iconography used by Singleton to express the fact that there is danger or something negative ahead.

Sound:

At the beginning of the opening, there is some off-screen dialogue which sets the tone of the film. The use of off-screen sound is very effective as it suggests that the drive-by shooting was done in mysterious circumstances and the culprits were unseen. The dialogue gives the narrative of a drive-by shooting in an American neighbourhood, we can understand this by the colloquial accent used. The type of voice used sets the scene of a poor Afro-American neighbourhood.

Editing:

There's then a fact put up on screen reading "One out of every twenty-one Black American males will be murdered in their lifetime. Most will die at the hands of another Black male."

Mise en Scene:

There's then a use of iconography through a stop sign (notice that the stop sign is also at the centre of the shot, this makes the audience focus on it and understand it's importance).  Also, an aeroplane is flying overhead, this shows that this is a 'regular' place and it happens on a regular basis in this area of America. This is the director's way of spreading a message to try and prevent needless bloodshed.

Then, there is a scene focusing on a street covered in discarded matter and two stray dogs run past. This gives a very strong impression that the neighbourhood is poor. This is then backed-up by the sight of several more dogs eating out of discarded rubbish bags on the edge of the side-walk. However, this isn't the main focus of the scene, contrasting this is a group of Afro-American children walking along the pavement, they're wearing quite casual clothes but are carrying books and rucksack.s are on some of their backs. This gives an indication that they're of a relatively young age as they still go to school.

When one of the boy's in the group announces that he's going to show the group 'something', he looks relatively at ease and unphased by what he's about to show the rest of his friends. This sharply contrasts with the expressions written on the other children's faces. The other boy turns back to look at the girls which suggests that he's feeling uneasy and is wanting reassurance from the two girls behind him. The two girls look at each other in a knowing way, one which suggests that they are wary of the situation.




Up, (Married Life, Carl & Ellie):

Overview: 

Up is an animated Pixar adventure drama written and directed by Pete Docter and Bob Peterson in 2009. It stars, Edward Asner, Jordan Nagai and John Ratzenberger. It's a story about 78-year-old Carl fulfilling his lifelong dream to see the wilderness of South America along with young Russell, at 70 years younger, inadvertently joining Carl (as a stowaway) and helping him achieve his dream. He achieves this by tying thousands of balloons to his home. It won 2 Oscars.

This particular four-minute montage, entitled 'Married Life, Carl & Ellie, includes a few issues rarely raised in a movie aimed at families; including a miscarriage, the failing health of the elderly, and even death and bereavement.

Acclaimed: The four-minute montage reminiscences upon the story of the life of Carl Fredricksen and his wife.

Immediately, the scene begins with a close-up shot of the flash of a camera bulb. This is a metaphor for the whole scene, suggesting that the scene is a snapshot of Carl's life. After the sound of the picture being taken, upbeat, happy music related to marriage is played. Then the camera focuses on a somewhat dazed Carl, the shot pans to the left and zooms out slightly to bring his wife into shot, they're dressed in marital attire. They kiss, and then the camera turns into a long shot of the newly wed couple, you can hear people clapping and cheering. Then the shot changes to the view of the whole room and there's a whole assortment of people jumping up and down, with happy expressions on one side, clearly the wife's side. Conversely, on the other side of the room member's of Carl's family clapping but in a withdrawn way, this expresses how the couple are different.

Then, the scene cuts to a shot of a somewhat run-down house with a sign outside of it reading 'SOLD'. Clearly this is now the Fredricksen household. In the background of the house there are many trees and the garden seems overgrown. Carl is seen carrying his wife into the house.

Working Together: They are both on the same level as each other in the shot,
 (Carl is on a stool, Ellie with her back slightly arched),
 this portrays that they have a mutual respect and love for each other.
The scene then cuts again and the couple, still wearing their wedding clothes, are beginning to build their house. It begins with a close-up shot showing Ellie sawing a plank of wood. Then the camera switches to a shot showing Ellie sawing and Carl hammering a doorway. This shows that she's helping Carl and they have a relationship in which they both contribute to.

The next scene shows the couple pushing a duo of arm chairs across a newly furnished room. Ellie's armchair is deep pink which connotes gentleness and unconditional love. Whereas Carl's armchair is beige which is a relatively dull and boring colour however it has leaf patterns on it which shows his love for nature and perhaps how Ellie influences him. The armchairs promote each of their personalities. Then once the armchairs are in place, Ellie places her hands on her hips and turns to smile at Carl, this shows pride and teamwork, he smiles back. Later on in the montage, Carl is sat in the pink armchair and Ellie is sat in the beige one. This suggests that they may have selected the chairs for each other.

The scene afterwards begins with a close-up shot of a letterbox with the hand-painted inscription 'Carl & Ellie' courtesy of Ellie's artistry (we know this as she is the person holding the paintbrush, with Carl looking down lovingly at her). The camera zooms out and when all of Carl's head is in shot, he removes his hand looking surprised and slightly upset that he's left a purple hand print on the letterbox. Ellie smiles and puts her paint-covered hand onto the box next to Carl's print and looks up reassuringly. This scene is a great summary of the perfect relationship which the couple shares.

Symbolic: The letterbox's iconographic
use portrays Carl & Ellie's
 relationship perfectly.
The next scene begins with a close up of a scrap of paper with a child's crayon drawing of a multi-coloured house similar to the house which Carl and Ellie now inhabit. This suggests that it's an illustration of what either Carl and Ellie envisaged themselves living in when they grew up. This then therefore suggests that their current situation is a living childhood dream. The scrap of paper is then removed and goes out of focus, the camera then focuses upon the house completed in all it's imagined glory, confirming what was implied.

Next scene, a long-shot of a hillside view. Ellie at the top of the hill, Carl not far behind but stops to catch his breath. This signifies that age is catching up on him and she is still feeling somewhat youthful still.

The camera then cuts to a birds-eye-view of Ellie and Carl laying on a patchwork blanket which has been spread out on the grass, there's a picnic hamper beside it and a camera on it. Carl looks peaceful and whereas Ellie is pointing, wide-eyed and pointing. The posture and facial expression of Ellie is very similar to a newborn baby experiencing the world for the first time, she's in awe. She then begins to point out the shapes which clouds make, the camera cuts to show what she can see (a turtle/tortoise). This again helps give the impression that Ellie is still youthful. The camera then cuts again to a panning shot featuring Ellie making gestures with her hands explaining to Carl what she can see, he just lays there nonchalantly.

The next scene begins with the camera tilting from an entrance sign reading 'ZOO'. The camera moves through the entrance and cuts to Carl dressed up standing beside a brightly coloured stand reading 'BALLOONS', tied to it are a huge bunch of balloons beside a gas canister. This suggests that he works in a Zoo and it's his job to sell balloons to people. Ellie walks into shot with a tropical bird on her arm. she seems to be very proud of the bird. Carl is momentarily distracted by Ellie and the balloon stand begins to rise. Ellie finds this funny, this shows how she loves his personality.

Iconography: The rising balloons, safari attire and tropical bird
 foreshadow what is to come in the movie.

Next scene shows Carla and Ellie sat in their armchairs holding hands, showing equilibrium, everything is fine.

Back to laying on the grass, this time there's no picnic basket but the camera still remains. This time both of them are pointing out shapes in the clouds. Carl points out a baby-shaped cloud. The camera focuses on Ellie's expression when he says this and she readily agrees. And then says that every cloud looks like a baby. This metaphorically and symbolically implies that Ellie wants children. Carl looks shocked and looks to Ellie for reassurance, she smiles and he seems to like the idea.

The scene then cuts to a shot of a bright room, stylistically organised to cater for the needs of a baby. The wall features a painting created by Ellie. She can be seen atop a step-ladder working on her artwork while Carl fixes some coloured Zeppelins to the ceiling. The camera then pans to the right, going into a dark room, sharply contrasting with the first. There's a doorway where a doctor can be seen informing Carl and Ellie of some news. The news is clearly bad as Ellie has her head in her hands and is crying. Carl is standing behind her, head bowed, with his hands on her shoulders for reassurance (notice how now Carl is the one doing the reassuring, the roles have been reversed). There's a diagram of a pregnant woman in the background of the room. This suggests that Ellie has been told that she cannot have children.

Heartbroken: The room is bright, implying a key moment and the main focus of the scene.
However, everything outside of the room contrasts, it's dark, foreshadowing a miserable or dim future for Ellie.
The scene cuts to a shot of Carl looking glumly out of a window at home. The camera cuts to a shot just behind Carl's head, it shows that he was looking at Ellie, who is sat on a wooden chair in the garden with her hair down. This is key as this is the first time we see her with her hair down. This implies that she's lost her motivation and work ethic in life.

The scene cuts to a mid-shot of Ellie sitting straight. Her eyes are closed. Carl walks over to her and kneels down, placing his hand on her. She lowers her head slightly and looks at him, she is clearly not happy. He smiles up at her in an attempt to reassure her that everything is okay. She smiles a half-smile. The camera shot switches to a birds-eye-view of Carl placing a book entitled 'MY ADVENTURE BOOK' on Ellie's lap. She looks pleasantly surprised, and turns to Carl somewhat cheerier.

The next scene cuts to Ellie painting a picture of a house atop a waterfall. Her hair  is tied back once more signifying that equilibrium has been restored. The camera zooms out from the picture to a shot of the room. The painting is in the centre of the shot, this suggests that it's now the main focus.

The scene then cuts to a close up of a jar titled 'Paradise Falls', the furniture in the background is out of focus. This suggests that the jar is the main focus of the shot. Carl places some coins into the jar. The scene then switches to Ellie doing a 'cross my heart' gesture. Carl then does the same. This signifies that Ellie's youthful aspects have also returned. Then, the scene cuts back to the jar, the camera slowly zooms out while the lighting changes from dark to light, showing the passing of time (day and night). The jar slowly fills up with coins, again, this shows a passing of time.

The scene then switches to a mid-shot of  Ellie and Carl riding in a car. The camera tilts downwards and the tyre gets a puncture. They couple are forced to break the jar with a hammer to pay for the repair of the tyre, (note that the hammer was once used to build the house, creating opportunity is now being used to hinder opportunity, this is a use of iconography).

Back to Square One: Carl and Ellie are forced to smash the jar.
The jar is between them, centralised (it's the main focus).
This signifies that it's the only thing preventing them going to Paradise Falls.
The scene then changes and shows Ellie on one side of the jar, Carl on the other. She shrugs and smiles, Carl then smashes the jar with a hammer. The picture of Paradise Falls is in the background, this suggests that other things are getting in the way of going there. The jar is smashed and then the scene changes. Carl can be seen kneeling beside a brand new car wheel. The scene then changes again and Carl is in a hospital bed with a cast on his leg. Ellie is looking down at him, humoured by the situation. Again, another close-up, and the jar is smashed by the hammer. The scene then changes again, it's a shot of their house. In noticeably bad weather, a tree falls onto the roof, breaking it. Yet again, the jar is broken with the hammer. Not only does this show that they're having to break the jar each time, it signifies the passing of time.
Carl's Assortment of Ties: Pixar successfully use his costume changes
to signify that time is passing.

Another scene change, this time it is of Ellie fixing a tie on for Carl multiple times. This again is another method used by Pixar to show that time is passing. The ties are at the centre of the shot to imply that they're the main focus of the shot. Notice the final tie, it's a black bow-tie. This is an indication that Carl is now old, withdrawn and wants to keep himself dignified at an old age.

Once old age has been reached, the black bow-tie, the camera zooms out to show the couple. Carl smiles at Ellie, the camera switches to a shot of her face and she gives him a nod of approval. They turn together and the camera pans right to a view over Carl's shoulder to them looking at themselves embracing in the reflection of the mirror.

The scene then changes, and it's back to the zoo. This helps give the montage continuity. Carl can be seen giving a balloon to a child, Ellie takes a picture. This time instead of jumping to catch the balloon stand, Carl casually leans back. This shows character development. Carl has some confidence- finally!

Finally, the scene changes. Carl and Ellie can be seen in a mid-shot dancing together, the camera pans slowly to the right, following their dance. They then dance out of shot. The camera stops panning and zooms in to focus on the 'Paradise Falls' jar on a shelf, tucked in behind some books. This suggests that they've forgotten all about the idea of going to Paradise Falls. Carl and Ellie have been so busy that they've forgotten their original dream.

Genre Trailer DISTINCT Task

Oculus (Horror Genre):

A family move into a new house in America, the house is generally cast in low-key lighting in the exterior. The majority of the film is set at night, though some is set in the day.

There are several themes in the movie, a fractured family relationship, justice to find whatever's causing deaths, revenge.

The mirror in the house is used for iconography in the movie trailer and the whole film revolves around the supernatural things which occur due to the mirror. The mirror signifies the devil.

Two people are hunting 'it', responsible for 45 deaths in the 4 centuries of it's recorded existence, a girl (Kayleigh)  and a boy (Tim) discharged from a mental hospital of some sorts, they are the people hunting the supernatural being that resides in the mirror. A family move into a new home with the mirror inside of it. It is also revealed that the father may have killed his children's mother and may be corrupt.

Special effects are used to give viewers an indication as to who is corrupted by the supernatural. Camera trickery is used to give the impression that people have disappeared. The actors are dressed in normal, everyday attire as the events happen to a 'normal' family. Within the house, the lighting is generally low-key lighting, this gives a dark and eerie effect. Whenever the mirror is in shot, it is central on the screen which helps give the impression that it's the main focus and everything is based around it.


Guardians of the Galaxy (Sci-fi & Comedy Genre):

Guardians of the Galaxy is set in the future, on foreign planets in the daytime. It features humanoids, talking animals and aliens, alongside humans. A mixture of high-key and low-key lighting is used, depending on the location (good affiliation- high-key, bad affiliation- low-key).

There are themes of comedy, justice, revenge, friendship and a power struggle in the trailer.

In the trailer, an orb is the main use of iconography, this shows it must have some kind of significance within the film.

The narrative revolves around a group of interstellar outlaws who team up to save the galaxy from a villain who seeks huge power in this space adventure from Marvel Studios.

Drax (Dave Bautista), Gamora (Zoe Saldana), Rocket (Bradley Cooper), Groot (Vin Diesel), Starlord (Chris Pratt) are the main members which make up the 'Guardians of the Galaxy. 3 of the characters are made up of CGI as they're aliens and simply don't exist in the real world.

Mainly CGI is used as the majority of the characters and scenery aren't real. There is a lot of 80's themed music used within the movie.

Mise-en-Scène


Today's lesson consisted of the study of 'mise-en-scène'. This French terminology roughly translates to 'placing on stage'. As the translation suggests, we spent the hour discussing the ways in which various decisions can impact the scene in question. We were told that there are 5 basic categories which can be manipulated in order to give specific desired effects to the viewer.

The categories were:
  • Settings and Props
Setting: Hogwarts is one of the settings from the Harry Potter saga.
  • Costumes, Hair and Make-up
Costume, Hair and Make-up: Edward Scissorhands (played by Johnny Depp).
  • Facial Expression and Body Language
Facial Expression and Body Language: from horror classic, The Shining (1980).
  • Lighting and Colour
Lighting and Colour: the lighting in Psycho (1960) is used very effectively. The shadow behind the curtain has negative connotations and gives visual implications of what's ahead.
  • Positioning of Character
Positioning of Character: In this scene from The Matrix (1999), Trinity is looking down upon Agent Smith, this gives Trinity the impression of having power. However, the shadow cast by Smith gives him a foreboding impression.


Genre Picture Task

We were given this task and we were given 4 genre's that we'd have to portray in each picture that we took.


Here are the 4 genre's which I was given:

  • Comedy

  • Romance

  • Horror

  • Action


Comedy
In this picture, an element of comedy was attempted to be on display. This can be seen by the actor's positive facial expression, (in this case- a smile), which wouldn't be seen if the punch was done in a violent or unhappy situation.



Horror

In this picture, an element of horror was attempted to be on display. This can be seen by the relatively dark colours used and the only colour being red. The colour red has mainly negative connotations in this picture as it is coming from a dying/dead animal. The knife is centralised on the picture which shows that it's the main focus for the poster.



Action

In this picture, an element of action was attempted to be on display. This can be seen due to the actors heroic posture, and the grimace on his face suggests determination. The fact that he's carrying someone suggests that there are elements of strength and perhaps bravery involved.



Romance

In this picture, an element of romance was attempted to be on display. This can be seen due to the actress' posture which could be seen as shy, mourning or upset. The fact that she's wearing all black could have negative connotations of sadness, or could suggest that she's a mysterious character.





Breaking Bad Poster - Semiotics


Semiotics:

Denotation: The stacked barrels in the background feature yellow radioactive signs.
Connotation: This connotes danger and a possible safety hazard.

Denotation: The only colour used other than the title is on the radioactive suits.
Connotation: This connotes that the two men are somehow related to the radioactive barrels.

Denotation: The two men are standing in an upright pose.
Connotation: This connotes that they're confident and have intent.

Denotation: There are things falling from the sky in the background.
Connotation: The objects falling from the sky could be radioactive fallout or ash, this has connotations of an explosion or eruption.

Denotation: The first two letters of the title look like elements of a periodic table.
Connotation: There are scientific connotations.


Analysis of Opening- Toy Story 3 Opening Scene




I decided to analyse one of my favourite movie's opening scene; Toy Story 3.

Overall Summary of the movie:

The animated movie focuses on the main characters: Woody, Buzz Lightyear, and their friends dealing with an unforeseeable future as their owner, Andy (who has now grown up), prepares to leave for college.

In Depth Analysis:

The opening scene begins with a tilt shot descending upon a speeding steam train, the music parallels the shot because, it too, descends. There is then an explosion at the roof of one of the carriages and the camera zooms in to focus on a mid shot of Mr Potato Head dressed as a villain, we as an audience can tell this due to an additional eye-patch and a manic laugh which he makes after causing the explosion and raising his arms aloft, fists clenching bags of money. Then, the money is lassoed out of his hands and he is put onto his backside. The camera then switches to Woody, head bowed and face partially covered by his cowboy hat, walking towards Mr Potato Head. There is then a worms-eye view of Sheriff Woody, hands on hips, talking to Mr Potato Head. This gives the assumption that Woody is firmly in control and the character with the power. Then, Mrs Potato Head is introduced and the music is quickened, this suits the film well as they proceed to fight.