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BFI Portfolio (Silver Arts Award)


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BFI Portfolio (Silver Arts Award)

  1. 1. MY ARTS CHALLENGE. My foremost ambitions are set on working in the film industry, specifically, I work best as an editor; I admire working with the director on this part of the process and I love assembling clips into my own final product. The challenge I’ve been given (and what I believe I need to improve on when I’m editing in the future) is on sound effects. I will be concentrating on learning about sound effects, it’s thanks to the BFI that I will fulfil my challenge with their helpful advice and professional perspectives. My aims that are mentioned in this PowerPoint: • What I’m going to use to record sound. • How effective sound is and how timing is key. • How to extract audio from the film. • How I’m going to edit audio using audio effects.
  2. 2. GEAR USED FOR RECORDING & CHECKING SOUND TASCAM Digital Recorder When we met the BFI film team, there was an opportunity made by Laura who set me the challenge and advised me to talk to Will who works on the technical side of film-making. He is knowledgeable on the subject of sound. I talked to him about the challenge and I was lucky enough that he let me borrow his digital recorder to record sound effects by myself, but this was only if I needed it because I have other ways of using sound. Boom Pole Initially, I chose to be the editor in the group, although, I thought it would be a good idea to become a piece of contribution with the film crew to help out with sound. I suggested to them that I would be well-suited as sound boom operator to gather good sound for my benefit as the editor who is required for looking at any sound burdens during the editing phase, luckily, there weren’t any. The microphone is attached to a pole enabling me to get close to the action occurring in the shots . I should also be aware that there aren’t any shots with the microphone getting in shot of the camera’s frame.
  3. 3. ANALYSIS ON THE THIRD MAN The Third Man is a 1949 Film Noir directed by Carol Reed and starring Joseph Cotton, Alida Valli Trevor Howard and the legendary Orson Welles. The film is best known for it’s breath-taking long shots of the wide, open streets of a Renaissance-type Vienna. The film follows an American, Harry, who is examining the Vienna’s black market for the murderer who killed his best friend Harry Lime (played by Orson Welles). In conjunction with the search for the murderer, the film follows interesting characters who are quite evidently suspicious by the gloomy environment they surround themselves most of the time during the intense night-time sequences. Overall, The Third Man is praised as a time when the thriller genre was at its peak. Notably, it was voted by the BFI as the best British film. This black and white masterpiece inspired our group to produce our own film noir film with a modern twist of conventions we learnt from the films of today. It was mainly due to the visual features from the film that spawned ideas of the themes generated from film noir. A list of interesting Mise-en-scene from The Third Man. • Articulate shadows on walls – Lighting • The architecture of the Vienna buildings are visually eye-candy – Setting
  4. 4. THE THIRD MAN Review Arts Event There are Six main aspects to a film’s narrative that are important for the construction for a film such as the ‘The Third Man’ film. These are the story, the structure, dialogue, an original idea, characters and a conflict. Favourite Shot: Shot of the protagonist running into shot in the canted angle position (or Dutch angle) focussing on the streets alongside the character expresses themes of loneliness and solitude and the angle can be better described as a distorted look to enable further tension to rise. Powerful Single Moment: The scene where Harry Lime struggles to cling on to the ladder to escape, however Martins reaches Lime but pauses only to kill his best friend to portray the hesitation to stop him in his tracks, however the friendship is kept strong in this scene as Lime nods allowing his inevitable doom to come. Favourite Scene: The prominent, critical moment in the film is the apprehensive reveal of a key character. Martins notices someone watching from a dark doorway. A stretch of light exposes the face of Harry Lime, whom then flees the scene and ignores Martins’ pleas. Memorable Line of Dialogue: “Mind if I use that line in my next Western?” is the line cleverly delivered by Martins in a discussion with Calloway who advises him to that he is in danger and needs to leave. This demonstrates a curious person as what many writers are inspired to do, which is to seek adventure in his life. A truly inspirational comeback, to say the least.
  5. 5. ABOUT THE BFI (BRITISH FILM INSTITUTE) The British Film Institute is a charitable organisation that servers a purpose to inspire the art of moving image, film and television all across the United Kingdom and to endorse education on the medium of film and their influence it has brought to the world, They focus on caring for the history of British cinema and to let everyone appreciate them. The many areas/activities the BFI are involved in is plentiful. The BFI runs the BFI Southbank and the London IMAX cinema. The IMAX is known for its capabilities in showcasing films in the best ways possible such as: 3D format, digital surround sound and IMAX has the largest cinema screen in Britain. It showcases recent Hollywood film, shorts and films from all over the world who usually don’t receive cinema showings anywhere or any ways of distributing their work. The BFI have been known to distribute films others spots in Britain and to other venues abroad. The BFI are responsible for launching schemes in schools to teach film. The BFI are also responsible for the London Film Festival, London Lesbian, Gay Film Festival and the youth-orientated Future Film Festival. The BFI hold the world’s largest film archive, called the BFI National Archive. It consist of mostly British creations made by distinguished British actors and directors. Statistics on the BFI • Their archive contains more than 50,000 fiction films, over 100,000 non-fiction titles and around 625,000 television programmes. • They distributed films to more than 800 venues each year all across the UK, and other countries
  6. 6. Establish the activity you undertook (e.g. The idea for the film) Each group huddled together and formed a circle and gave turns to give their ideas and sub-ideas related to the core plot of the film. It starts with a Film Noir approach (inspired by The Third Man) and develops from there, including the codes and conventions of a typical Film Noir Flick. What did you most enjoy about the activity? What I enjoyed the most was having the right to share a thought and idea to express to imply team effort and the job to fill out any plot holes that haven’t been mentioned; questions resulting the film’s inaccuracies can be resolved with the involvement of the everyone within the group. This activity also involved answering questions set-up by the help of professionals who wanted the group to able to establish the film properly. The questions were related to the six important components in a film in order to be experienced with the film-making process. Not only did we create character names, there were a section of questions that relate to fully describe the character and to provide them with more depth. What do you think could be improved for next time (In reference to your own activity) What could have been improved was communication as there were times when nobody could fully explain their considerations, however, the group consisted of two writers and one director who focussed on their Arts Award for Envisioning the film. These three worked consistently well with no indecisions with what they were sharing. What skills did you share? The skills I shared with the group were editing aspects that could further enable the three innovators for the film. I talked to them about the various different edits to the film that could fit with the Film Noir style we aimed to achieve. For example, there will be times in the film where the brightness and contrast need to be altered make the film appear in the way it was inspired visually through The Third Man with the intense light and dark areas in film, and of course, I explained the black and white effect and how it effective it is in coinciding with the correct lighting . I mentioned that dealing with this combination correctly would make the film more seamless. What you thought of and discussed when planning it? What did others think? My thoughts on the idea for the film concerned about the originality of the project and how it might steal concepts from other films. I discussed with the group films like The Matrix and Inception that surround ‘the Dream vs. Reality’ idea. The group agreed with me, and consequently, It allowed the group to spot similarities and differences with these films that collide with the original model we had planned.
  7. 7. THREE THINGS THAT WENT WELL AND THREE THINGS YOU WOULD I DO DIFFERENTLY NEXT TIME? Three things that went well. 1. Team-work came together effortlessly; everyone in the team had at least two jobs to show that every person had an equal amount of opportunity. Likewise, each team member kept to their roles allowing us to cooperate and communicate better. 2. The direction of the editing enabled this particular phase much easier for me with the shared obligation of editing the film with Director, Tom Beattie. He knew what clips would make the final cut, therefore I had a clearer arrangement of clips for us to attend to. 3. The organisation of picking actors for the film was on point. One member was close friends with an exceptional actress who we believe delivered ‘the damsel’ character brilliantly. Another member, Edo, had a history of acting so he was open to play the role of the protagonist. Hiring people with experience in the field really heightened the film’s quality by a long shot. Three things you would do differently next time? 1) The full-scale plot/synopsis needed to be our primary focus from the start as we had trouble developing certain plot holes. There were countless times where we altered on numerous occasions as it was not up to par when the industry professionals reviewed it. Most of the process time was spent on the storyline trying to solve various different faults. I would like to put the story first before anything. 2) The location where the stairs scenes took place was a bad choice to film because of the various things in shot that got in the way with the traditional 1930-40s aspect to tag along with the ‘Film Noir’ genre. We had two location options for the scene, but the owners of desired location said isn’t available for filming. I believe we should of considered more options for close-by sites in a town consisting of many outdated architecture that would fit appropriately. 3) After the Director’s cut, I would consider also giving my take on the film and provide my edits for the film using my expertise that the Director didn’t know about.