3. What is the purpose of editing?
Editing can be used to enhance any film when done correctly. It can make the story
feel more whole as every shot connects to one another, it can change the tone of
the film (fast editing may fit a more action heavy film whereas slower editing can
be good for building suspense), and it can make the film look and feel more
stylistic, especially if the editing is unique to that film. An unedited film would be
too long, full of mistakes and wouldn’t be able to tell a full conclusive narrative due
to the behinds the scenes work of production being visible on screen. Editors make
the film appear seamless and cinematic. There are also different types of edit.
Sound editors make sure the sound is all synced up and they make sure it is all at an
appropriate volume. Colour correction editors focus on making the film look
aesthetically cinematic. They will change the contrast, sharpness, etc to change the
colours of the film and make it look a lot tidier. VFXs artists work on adding special
effects to the film that can’t be made in real life during. This could be explosions
that were deemed to dangerous to conduct, superpowers, or even characters that
have been filmed using motion capture.
4. What is the role of editors within a production team?
Editors have to manage the footage, cut it down so it is the right size, place it in a timeline in the
correct order so everything looks connected, sync audio to the video, determine what editing styles
best fit the footage they have, include graphics such as credits and add special effects where they
are required. They turn the raw footage into the finished film. Without them, the film wouldn’t be
possible as you’d be left with a lot of raw footage full of mistakes and correction to be made. Certain
editors are known for applying a unique style to the film that makes it stand out. Stephen Mirrione
is known for editing the Ocean’s Trilogy and also edited the academy award winning film ‘Birdman’.
These are good examples as they have two different editing styles. The Ocean’s films are very quick
paced in terms of narrative. To make the film feel even more action heavy, the editing is very quick
and jumps around a lot with stylish transitions. Without an editor, the film wouldn’t have been cut
down at all but with an editor, they can match the editing to the style of the film. ‘Birdman is a film
that is edited to look like it’s one continuous take. This style of editing makes it feel like the film
happens in real time so you witness everything that happens in these moments of the characters
life. It’s also very aesthetically unique which makes the film stand out and this wouldn’t be possible
without the editor. They tell the story using visuals in similar ways to the cinematographers.
5. How can editing be used to tell a story? Why are shots selected and
placed next to each other in the edit to convey meaning
Editing can help tell stories without the use of dialogue. You could
show and object and cut to a characters reaction of it and that would
present a particular meaning to the audience. The pace of the editing
as well can control how an audience perceives the story. Fast editing
can feel exciting and fits well in fast pace action films, whereas slower
editing would best suit a drama or thriller where suspense can effect
the spectator. Editing can also be used to manipulate space and time
on screen. A story that takes weeks in real time can be told in a few
hours of screen time thanks to editing allowing less important parts of
a story to be removed.
6. Editing Techniques
Technique Definition Example
Motivated cut. Cutting to a shot that is connected to either
the next or previous shot. An insert shot
would show an object and a then you may cut
to a characters reaction.
Bilbo looks at the Ring
Montage. Editing together a series of brief scenes that
are different from one another, edited in
quick succession often to show a character
learning something.
Rocky Training Montage
Jump cut. When you cut between the same shot.
Often used to show the passing of time
Little Shop of Horrors
Continuity
editing.
Editing together different shots that are
related by place, time, movement, etc to give
the audience the feel that the story is
happening in real time and there are no cuts.
The Avengers
7. Techniques Definition Example
Breaking the
180 Degree
rule
The 180 Degree rule is an idea that says a camera should not
move more than 180 Degrees from it’s furthest opposite point
when filming to maintain a smooth and clean edit. However, you
can break this rule by having the camera shoot from anywhere
around the subject and this can be used to make the scene look
unnatural and create a similar jarring feeling in the audience
The Shining Bathroom Scene
Cross cutting. Cutting between events that are taking place into more than one
location.
The Departed Phone Call
Timing and
pace (fast and
slow cutting).
Timing and pace in editing can change how the film feels. Fast
editing can make the film feel erratic and exciting and works well
for high stake action films whereas slow editing can be good for
more emotionally intense films such as dramas and horrors
where suspense and engagement is built up through a lack of
editing and this immerses the audience more due to the film
feeling more realistic as less cuts are there to take you out of the
action.
Fast editing - Taken 3
Sound mix. Sound can be used to help editing as well. L/J cuts can be used to
bridge scenes together by having a sound from the next scene
appear in the previous one before the edit, or to a sound from
the previous scene carrying over to the next. This can be used to
show that scenes are connected and can even imply that noises
can be heard across scenes if they are diegetic (appear in the
world of the film). Sound mixing specifically is the process where
you ensure the sound syncs up with the video.
The Jazz Singer
8. Editing
Type Definition Uses/Products
Film editing- single
camera editing
This is where a film only uses one shot
from one camera at a time whilst
editing. This is what films use. Even
though there will be multiple cameras
on a film set, they will only use one shot
from one camera that they need for
editing.
Used mostly in pre-recorded film and tv, so
that the raw footage can be edited
together to make the final product..
Video editing- multi-
camera vision
mixing
When several cameras are set up and a
vision mixer is used to change which
camera the shot is being shown through.
This is used a lot in live TV broadcasts
where they don’t get time off air to edit
so they have to do it live.
Use a lot on live sets where there is no
time for post-production so they have to
use multiple cameras at once to shoot.
9. Genre Example Analysis
Drama 'Mass' -
Everything You
Cannot See
This clip shows two sets of parents sat around a table, discussing an event that
changed all of their lives. The scene opens up on a medium close up, handheld,
eye level shot of Jay (Jason Isaacs), who is framed in the same shot type as
everyone else at the start of this scene, minus Gail (Martha Plimpton) who is
framed from a low angle, medium handheld shot. By having everyone (minus
Gail) in the same shot composition, we see they are all on a similar power level
when we cut between them as they are all in the same or similar places. Gail
on the other hand, is further away from the camera to everyone else making
her look a lot smaller, and this works in relation to the whole narrative as Gail
doesn’t want to be engaging with the other family at this point. She doesn’t
talk in this scene and is shot further away making her look more distant when
we cut to other characters who are closer to the screen. The camera also cuts
when people of different families are speaking, but pans when two people of
the same family talk. This shows a connection between certain people on the
table. It often cuts between shots of Jay and Richard whereas the camera pans
across to a different speaker if it’s Richard and Linda talking after one another.
This shows Linda and Richard to be more connected as the camera shows them
using one take whereas Jay is disagreeing with what they are saying the cut
across to him instead of a pan implies this by always putting him in a different
shot. The editing is also quite slow. It lingers on speakers and allows their
emotions and expressions to tell a story instead of the editing.
10. Drama (Mass) Evaluation
‘Mass’ is a drama film and the editing in this scene matches to what a lot of
typical dramas have. The editing isn’t fancy, it’s a lot of invisible cuts, often
motivated by another speaker and this is usually done in dramas to put more
focus on the story and acting, and to make the story feel more realistic by
not having obvious cuts. It’s quite slow for the most part and it stays on
characters for long times. In more hearted situations such as arguments, cuts
can become a lot quicker, but never to the speed seen in action films. I think
this works well for the genre it is for. It does make the films feel more
realistic and the less obvious cuts work well for immersing the audience in
the film. In some cases it can be a bit too slow and this can result in
audiences getting bored, especially if the content isn’t engaging, but for the
most part, it works well.
11. Genre
Genre Example Analysis
Action 'The
Departed' -
Billy learns
Frank
works for
the FBI
The editing of this scene is very fast paced. There are 33 cuts in 1:14 meaning every shot is on screen for an average of
just over 2 seconds. This fast pace style of editing matches the pace of the narrative. The film is erratic and never stays
with one idea for too long. Who you think the characters are switches up often as well. In this scene, Costigan finds out
Costello is working for the FBI. The way the shots frequently change in this scene copies how the way the characters
perceive each other changes and the unpredictability of the characters.
The first show we see is of a high angle, locked off, close up of the man. We then cut to a low angle, locked off, insert
shot of a picture of Jesus. Putting these shots next to one another show that the man isn’t as powerful as what Costigan
and the police, which is what I believe the religious imagery represents here. We look down upon the man because of
the high angle and we look up at the picture due to the low angle.
When Costigan points the gun at the man, he is shown from a low angle, locked off, medium shot. The shot also uses a
Dutch tilt. We cut to a high angle, locked off, close up shot of the man on the ground without a Dutch tilt. The difference
in angle shows us that Costigan has more power over the man, but the fact the Dutch tilt appears only when the camera
looks at him possibly represents Costigan’s mental state compared to everyone else who knows Costello. We know that
Costigan struggles with the things he sees whilst working for Costello, as he is a cop so putting these shots next to each
other shows us how uncalm Costigan is compared to others who are in a similar position to him.
Throughout the scene the camera frequently switches between close up, low angle shots of Costigan, to close up high
angle shots of the man. This shows us who has the power in the situation as we look up at Costigan, and down at the
man. It might also represent the moral position of each character as we look down on the man who works for Costello
and we look up at the undercover officer.
When Costigan finds out Costello rats people out, he is no longer seen from a close up shot. Instead the camera frames
him in a medium shot. Comparing these two, we see Costigan losing power and control over his situation as he learns
new information about his job. He still has power over the man as seen through the low/ high angle contrast, but not as
much as he previously did.
12. Action (The Departed) Evaluation
• This scene is an action scene and is suppose to feel very exhilarating for the audience.
There are 33 cuts in the 1 minute and 14 second clip which means the film cuts a lot. This
never keeps us in one place for too long and makes the film feel unpredictable which
mimics the character at the time. We also cut between images of the characters and
shots of religious imagery. By editing these together we understand that these are
connected and can infer some religious connotations regarding the characters. The scene
also cuts from low angles to high angles when looking at different characters which lets
us know there is a power difference between them and that one of these characters has
more control over the other as they are looking down at them. By editing it like this, we
get ideas about the genre and the film as a whole. It is a fast pace film with a lot of
twists. The editing is also fast paced and you never know what to expect from it, similarly
to the film. It also makes the audience more alert as the film is changing so frequently
due to these cuts. I think this is a really good way to edit action. It’s fast paced editing
makes everything look like it’s going faster and it can also be used to disguise fake
punches, or other quick movements. Sometime films go overboard and it can be hard to
follow what is happening on screen, and this quick editing can also result in motion
sickness in some viewers, but for the most part, when done in a controlled and sensible
way, this works really well.
13. Genre Example Analysis
Surreal Fresh Guacamole The first shot we see in this short film is a close up, locked off, high angle shot of a hand
sharpening a knife. This is a relatively normal image and the only thing that feels a bit off about
the film is the frame rate. Because it is a stop motion film it is made of hundreds of single frame
images edited together to give the impression that you are watching a moving picture. However,
here the movements are so smooth that it lands in an area between real and animation. This is a
clever style to edit the video with as it immediately tells the audience something is different
about this film and when paired with an image of a knife being sharpened (which can have
negative connotations of violence) it can be quite a mysterious first shot. We then cut to a shot of
a grenade from the same high angle, locked off, close up shot. The hand picks it up and carves it
with the knife revealing an avocado-like centre to the grenade with a pool ball in place of the pit.
The image of the knife pairs well when edited with the grenade as they both carry ideas of war
and violence, but they both are juxtaposed by the image of the avocado in the grenade. This edit
adds to the surrealist feel of the film and the cut between the two things seemed explained, but
the longer we lingered on the grenade, and the more of it that was reveal to us, the more
confusing the image got. The slow editing style is another way this film creates a confused
emotion in the spectator. It’s slow and lets us see everything on screen for a long enough time to
process what we are seeing. But the imagery is so usually that audiences are likely to just get
more confused the longer they look at it. Bit it isn’t too slow that we get use to what we are
seeing. In one scene we are shown a plant with lights growing off it. We get to look at it for a
while, and it is a very confusing design, but then we cut away to one of these individual lights
which is cut in half and ‘de-seeded’, which is now in the forefront of our mind, and despite having
seen the tree for long enough the audience is no longer trying to explain it because this image is
just as weird and is in the forefront of their mind, but then the light gets chopped up even further
into ‘Monopoly houses’, which is even more unexplained than the previous shots. The film allows
us enough time to see what is happening on screen, but takes it away from us in favour of a
different odd image, leaving us without explanation for what we have seen.
14. Surreal (Fresh Guacamole) Evaluation
Surrealist videos tend to be extremely weird. Filmmakers like David Lynch have gained a big
following by making films that are very unconventional in terms of narrative and visuals.
Surreal films are also usually edited to help support this ‘weirder’ style of filmmaking. The
editing pace is a lot slower than most films, likely so the eye stays on the confusing, and
unnerving imagery for longer, provoking a particular feeling in the audience. Fresh
Guacamole lets you watch the tasks in full. You see the hand chop into the grenade to
reveal avocado. You see the baseball get turning into dice which are suppose to take the
place of an onion. This isn’t the most unusual imagery seen in surreal films, but it’s not
normal and by keeping the camera fixed on several close ups of these things, the audience
gets to look at them for longer and the longer they stare, the more they try to understand
what is going on, and in most surreal films that usually just confuses them more. I think
this style works really well. We don’t see it much in this film, but often the camerawork is
weird and unexplained as well with jarring cuts and the 180 degree rule being broken. It’s
not a genre for everyone but it works really well at what it’s trying to do. It’s different, it’s
confusing and it keeps you watching, and the editing helps mimic and prolong these feeling
in the audience so I think this style of editing works really well.
15. Genre Exampl
e
Analysis
Factual 'Amy' -
'Back
to
Black'
Scene
One interesting decision chosen by Kapadia for this scene is his choice to edit in the lyrics of the song. This was likely done so spectators would stop and
read they words that Amy is singing. Kapadia also didn’t include the non-diegetic sound for a huge portion of the song in order to put extra focus on what
is being said. Amy was writing this song about Blake Fielder-Civil who had left her to go be with someone else. We know this because it was told to us in a
scene before this, however, a spectator may not have realised how much of the song is about him. By not including the non-diegetic backing track to the
recording, and by adding in the words to the screen, Kapadia is ensuring that people take note of what is being said which means the lyrics of the song are
more powerful in the greater context of the film. She sings about someone going back to ‘his same old safe bet.’ By reading the words and not focusing on
the backing track, we notice how the entire song is about Blake and his relationship with Amy.
When Amy is singing, the pace of editing is extremely slow. Throughout the entire 91 second performance, the camera only cuts between shots three
times. I think Kapadia chose to do this so all of the focus was on Amy and what she was saying. Similarly to why the words are on the screen. However, it
also shows us that Amy is able to have the audience focus entirely on her, without the use of fancy, equipment, camerawork, or editing. This shows us how
talented Amy is. The editing pace also matches the slow nature of the song which may have been another reason as to why it was edited the way it was.
One of the edits in the performance cuts from a close up, low angle, handheld, shallow focus shot of Amy to a high angle, close up than zoom out to a
medium long shot. This zoom out reveals the studio. I believe Kapadia edited these two shots together to show a contrast between who Amy is and where
she is. The lack of editing is used so all focus is on Amy, then when we cut to see where she is, it adds to our opinion on her talent as she isn’t in a fancy
studio with equipment to make her sound better, the edit shows us she is in a plain, basic booth recording using nothing but her talent.
When Amy finishes singing we see her in a close up, low angle, shot. The same shot we had previously seen when she was singing. I believe this footage
was chosen to show that there is no difference between Amy the singer, and Amy the person. We cut to a close up of her. Here she is talking and joking. As
she is at a close up and at a low angle we look up to her. This makes us sympathise to Amy the person instead of just connecting to the singer as it shows
her in a similar angle and shot to when she was singing. I believe Kapadia chose this as there is a lot of blame later in the film on people who didn’t respect
her as a person. By showing her singing and her being herself, in the same angle, shot, etc, Kapadia is showing her as a person. By showing her singing and
her being herself, in the same angle, shot, etc, Kapadia is showing that she shouldn’t be any less respected when she isn’t singing to when she is.
Kapadia also edits a lot of sound in on top of the footage. Most notably is the sound of Mark talking about Amy. He talks about her talent and praises her
commitment. I believe this was added in to show us how talented she was that a DJ and producer was complementing her. It also clears up the idea that
Amy was tough to work with. This again allows the audience to sympathise with her, which means later scenes are more emotional to watch. Kapadia also
edits in some audio footage of Amy talking about Blake right at the start of the scene. This reminds the audience of Blake’s actions and makes the footage
of her singing about him more impactful as we have just heard her talk about writing songs about him.
16. Factual (Amy) Evaluation
Factual editing is best left quite raw like in this film. By making it too obvious,
films can feel like they are manipulating a particular event often to create a
more biased outlook on the film. By having most of the shots, just look at
Amy and her singing, we are seeing her for who she was at this point and the
editing isn’t trying to tell us anything else. This makes it slower than most
editing, but it gives the feeling we are watching something real and not
something that has been stitched together. There are also graphics on the
screen which work better in factual editing as they can tell us information
that perhaps doesn’t fit into the film, whereas in fictional films, narratives
can be sculpted to make sure every important detail is included. I don’t have
any criticisms for this lack of editing for factual films. It creates a really raw
experiences and helps facts and real life events get presented as they
actually happened.
17. Genre
Genre Example Analysis
Promotional The Suicide Squad TV
Spot
The Suicide Squad is an action blockbuster and this TV spot
has to get people interested in seeing it in only 30 seconds.
There are 29 cuts in this 30 second clip resulting in very fast
paced editing. This allows both the studio to show a wider
variety of scenes from the film without giving too much
away, and it also creates an action packed style which mimics
the genre the film is. A more serious film like a drama would
still have a lot of cuts in a TV spot, but would likely have less
than this film had due to the genre it is.
There are also a lot of graphics edited over the footage. We
see that it reads ‘In Cinemas Now’ at the bottom which is an
important graphic to include in a promotional video as it tells
you where you can find the product, and there are quotes
from reviews scattered across the trailer praising the film.
These are paired with huge bold yellow graphics that stand
out to the audience and let them know that the film they are
seeing will be a good one.
18. Promotional (TV Spot) Evaluation
There isn’t a lot that can be done for this type of promotional video. The scenes are
placed together in a random, non-linear order as a way of not giving too much
away, but also telling the audience enough about what they are seeing. Usually
promotional videos are fast paced as they only have a short run time and they are
trying to sell you something as oppose to the other genres on this list which are
trying to entertain you. This editing pace and style works as it makes what you are
looking at appear exciting, and the graphics that are more common in promotional
films are good for directly speaking to the audience and telling them what they are
seeing.
Sometimes promotional films can feel very artificial as they are trying to sell you
something, and in cases like TV spots, you never know if the final product is like the
presentation you have just seen. Also due to the small length, they sometimes are a
bit too packed with stuff and you can’t really process what you have seen, but they
are made to be viewed several times so this works as both a positive and a
negative. Overall though, I think this form of editing works really well for the
restrictive nature of promotional videos.
19. Genre
Genre Example Analysis
Horror Pan's
Labyrinth -
Pale Man
Scene
When Ofelia first opens the door the shot cuts from a long shot of Ofelia looking through the door to an extreme long
shot of the corridor with Ofelia in the background. This shows the sheer size of the room and how Ofelia likely feels lost
as she is not only in a new place she is unfamiliar with; but is in a world she doesn’t know. Ofelia then climbs in the
room. As she does this, its cuts from a picture of Ofelia at a medium close up, low angle, locked off shot. To a insert shot
of the hourglass. This stresses the importance of being quick otherwise Ofelia will get trapped in the fantasy world.
When Ofelia enters the dining room. We see a cut from her reaction to a over the shoulder, extreme long shot of the
entire room. We see the size of the table the pale man has with all of the food on it and showing us Ofelia’s reaction
beforehand shows us the fear she is feeling. We then see a shot reverse shot of Ofelia and the pale man. This gives her
exclusive pale man reaction where we see she is slightly disgusted. This shows the audience that Ofelia is uncomfortable
in this situation. Insert shots are a key part of the camerawork here. They are often followed by a reaction from Ofelia.
We see a cut from an insert shot of the dagger to a medium close up shot of Ofelia looking a mixture of confusion and
pride. Likely as she doesn’t know why she needs the knife but embracing the success of having got it.
When the Pale Man awakes, we see a shot of him attacking the fairies. Then it cuts to a shot of Ofelia from over the Pale
Man’s shoulder. This shows Ofelia at a high angle long shot locked off shot from over the Pale Man’s shoulder. This
shows the size of the Pale Man compared to Ofelia suggesting he is a lot more powerful than Ofelia. When Ofelia runs
away we see a shot of her running down a corridor. This is a locked off, eye level, long shot of her. When she runs off of
the frame we see the Pale man in a very similar shot. He is in a low angle locked of long shot showing he is likely more
powerful but the fact it takes him a lot longer to exit the frame, shows he is slower which is Ofelia’s advantage here.
The hourglass is shown again, only this time it has run out. We see it run out then we cut to Ofelia frantically running
down the corridor yelling ‘No,’ This cut adds further urgency to the scene as Ofelia’s one way out has now closed. The
cut to her face highlights her fear as she knows she is stuck.
The cuts between the shots becomes more frantic when the Pale Man wakes and even more so when he gets closer to
grabbing Ofelia. The short time between cuts adds a sense of urgency to Ofelia’s escape showing how quick everything
is happening compared to the long shots we see following her when she first enters the room.
Finally, We see the Pale man come round the corner. We cut back to Ofelia. She is breathing heavily and looks very
frightened. The contrasted shows the anger and power of the Pale Man and the weak and frightened look from Ofelia.
20. Horror (Pan’s Labyrinth) Evaluation
When the Pale Man first appears on screen, he isn’t awake and the threat level is quite low
compared to later in the scene. The editing is slow and lets us see what is in the room for
longer. This helps build tension as it feels like Ofelia doesn’t have time to be searching
around and the editing is lingering of shots of paintings and food instead of getting her out
of there. When he awakes, the shots linger on him showing his slow movement, but
horrifying, grotesque appearance. The technique is used a lot in horror as the film doesn’t
let you look away from something that is terrifying making you feel more scared. When he
chases Ofelia, the cuts start to speed us giving a sense of urgency. We cut back and forth
between them which is the opposite to what was seen before but is another technique
used in horror editing to show that the characters you are rooting for are running out of
time and need to act quickly (just like the editing speed.) A combination of fast and slow
editing is the best way to create a film that can create a feeling in the audience. The slow
editing builds anticipation whilst quick editing works by showing that danger is quickly
approaching and the chaos of quick editing can make scenes feel unpredictable and more
unnerving. Sometimes like with action films, the quick editing can be a bit over the top and
makes a film more frustrating than fun to watch, but overall I feel this editing style for this
genre works well.
22. Camera Techniques and Lens Use
Definition
Stock formats The size and shape of the film. Common formats are 35mm, medium format, and larger
format. The smaller the format, the less detailed your film will be and the more grainy it
will appear, but 35mm is the most common format as it is the most appropriately
shaped for traditional film.
Imagers A frame image or cut of film stock.
Aspect ratios The ratio of an images width when compared proportionally to its height. Shown using
two numbers and a colon e.g. 16:9
Exposure index The quantity of light that a lens is being exposed to. Usually refers to an ISO rating.
Latitude The range of useable exposures that produce a distinguishable and usable image.
Dynamic range The ratio between the brightest and darkest colours that a camera can capture in one
exposure.
23. Camera Techniques and Lens Use
Definition
Frames per second The number of shots a camera can capture in one second.
Filters A camera accessory that can be attached to the lens that will block particular colours
and lights which changes the type of image you will be able to capture.
Prime lens A lens with a set focal length that doesn’t allow you to zoom in or out.
Zoom lens A lens with an adjustable focal length.
Optics How the lens works. This takes into account the aperture, focal lens, material of the lens
and how all of these things work together to create the full lens.
24. Camera Techniques and Lens Use
Definition
F-stops The aperture measurement on your camera. Controls how much light enters the lens.
T-stops A measurement of how much light is getting through the lens within an f-stop. You can
see the percentage of light is entering the lens and uses that plus the f stop to calculate
the t-stop.
Focus The resolution, sharpness and contrast for your image. By changing the focus you are
changing these three qualities on your image.
Depth of field The distance between the closest clear image to your lens and the furthest clear image
to your lens.
Hyper-focal distance The distance between the subject of your image and the camera where everything after
the subject, and 50% of the foreground before the image will be at a suitable sharpness
level.
25. Different Lenses and Why You Should Use
Them
• Lenses are measured in millimetres and this measurement is calculated by seeing the distance
between the optical centre of the lens and the image plane in the camera. The smaller the mm on
the lens, the wider the image will be. 14mm to 35mm lenses are considered to be wide lenses
and are great for capturing establishing shots of locations. This lens can be really good for setting
the scene for your film or for making characters seems small in relation to the world around
them. 35mm to 85mm lenses are standard lenses and are the most used lens in filmmaking. They
allow a variety of shots depending of the distance your camera is to your subject. You can also use
lenses of 135mm or more for extreme close ups. This can highlight and object or emotion on a
character and can be used for pointing out elements of the film that tell a story without the need
for dialogue. Some lenses can change their focal length between two set numbers. These lenses
are called zoom lenses. Lenses that have a fixed focal length are called prime lenses. Some lenses
can effect the image as well. You can effect the depth of field of an image using the combination
of different lenses as well as an aperture change and different lenses also can have different
aperture values. The aperture is the size that the lens opening and determines how much light
gets into the camera the bigger the value, the smaller the opening. The bigger the opening, the
more light gets in and the more exposed your image is. You could use a wider opening for darker
areas so more light can get to the lens at any given time.
26. Film vs Digital
Films used to be shot on cameras that would take 24 frames a second and
would immediately leave a ‘negative’ (where the image is dark where the
subject was light and where the image is light where the subject was dark) of
these frames on a filmstrip. Then they would have been treated with
chemicals (in a very careful environment as it is very easy to lose the image if
done incorrectly, for example you can’t let the filmstrip be exposed to light)
in order to be displayed in a projector. Nowadays, these cameras are still
used by some, but the majority of filmmakers use digital cameras. These
cameras record the footage, save it to a digital storage device (SD Card, USB,
etc) and can be transferred to a computer for editing. Looking at it from a
convenience standpoint, digital takes the upper hand. But there are several
reasons people do/don’t use a certain type of camera. One reason stated
against digital is that it looks too polished. The ‘rough around the edges’ look
that you get due to the perishable nature of filmstrips, can insight a certain
nostalgia in people that isn’t achievable with digital cameras. People argue
that digital looks too artificial.
Film films are still around due to the likes of high-profile directors such as
Quentin Tarantino, Christopher Nolan, Paul Thomas Anderson, etc but more
and more films are being filmed and shown on digital. This is likely down to
the convenience of it. Anyone nowadays can record, edit and create a film
and very few people know how to develop film. Digital has taken over but
technology has a way of embracing the old and I don’t believe it will be long
before we see the rise and return of film cameras and lessons on how to
develop them, but technology also advance. Digital cameras will continue to
improve across time. It all matters on the individual persons preference and
skillset. I personally, don’t know how to develop film cause I’ve not had any
experience, so mostly use digital, but that doesn’t mean I’ll never want to try
film. And when I do try it I may prefer it, I may not. It all depends on what
you refer, what you have at your disposal, and which type best fits the film
you are making.
Other arguments for film include:
It delivers a higher dynamic range (captures black and
whites better)
Higher resolution
More forgiving of minor focusing issues (mostly in
photography)
More organic
Richer colours
Arguments for digital include
Footage can be viewed immediately
Easier to edit
Tiny story devices
Easier to carry around
Harder to mess us
Some cinemas are digital exclusive
28. Director
Directors are the people in charge of ensuring their creative vision is met throughout the
filmmaking process. They need to be authoritative and have a clear understanding of what
they want to do whilst also ensuring that vision is clearly projected to others working on
the film. They work alongside everyone in the film production industry as they want to
make sure that everyone understands the vision they are hoping to achieve and is actively
working towards making it a reality. Of everyone involved in the process though, they work
closest to producers to decide who is going to be hired for the different roles and to discuss
the costs and practicalities of the film. Wes Anderson is a good example of a modern
director who is very good at getting his vision to the screen. He has a unique style creating
films that use very symmetrical, colourful cinematography and he incorporates a lot of
visual gags in his films. I wouldn’t want to be a director myself as I don’t think I’m
authoritative or organised enough to manage an entire crew and lead them to make my
vision, but I appreciate what they do and I (like many) view them as one of the most
important roles in the industry as without them films wouldn’t have a one individual in
charge of making sure everything is perfect likely resulting in a lot of sloppily made films
with no creative vision being achieved.
29. Camera Operator
Camera Operators are in charge of filming the scenes of the movie and
capturing the footage. They also have to set up the cameras and rigs so they
are ready for the shots. They primarily work with the directors, who they
listen to every order from and make sure the shot composition is exactly
what they are after, and the Directors of photography who are in charge of
the camera crews and have to make sure every shot is usable. Greig Fraser is
a cinematographer and camera operator known for films such as Dune. His
job is to make sure the film looks as aesthetically pleasing as possible and
also tries to tell the story through the shot types. The camera operator is a
role that I really like and one that I’d like to try. Even though you have to
follow the orders of the DoPs and Directors, it is still a very creative role that
holds a lot of responsibility as camera operators are in charge of shooting the
film so the look of the film lies on their shoulders.
30. 1st Assistant Director/
2nd Assistant Director
First ADs are there to help the director conduct their tasks. They plan shooting
schedules, break down scripts (looking for what is needed in terms of cast, location,
props, etc), and managing the set so the director can focus on other things such as
making the film. Second ADs are in charge of off-set contact with other
departments in production such as locations and facilities. They prepare call sheets
and ensure all actors are ready to film. Both the 1st and 2nd AD work with a lot of
people, producers, screenwriters, designers, etc to make sure that everything is
ready for the director who is the main person they work for. Chris Castaldi is a
Assistant Director for a lot of Disney and Marvel films such as Maleficent and
Avengers Endgame. These films have huge sets and require a lot of control to
operate efficiently and Chris’ job is to make sure everything is ready and everyone
is working in time for the director. These roles seem extremely stressful on bigger
sets as they require a lot of attention to a lot of elements of the production.
Surprisingly they don’t get enough credit for what they do, especially when you
consider how much they have to manage.
31. Key Grip
Key grips are in charge of the grips who make sure that the vision of the
director is possibly and work out what kit is required to achieve an
intended shot. They work closely with DoPs and camera operators to
find solutions for any camera problems of difficult shots that need
sorting. Tommy May is one of the most recognised key grips and
worked with people such as Billy Wilder. Tommy’s job was to ensure
that what the directors were after was possible on the kit of the time
and if it was possible, what would be needed to achieve it. I think this
role is another underappreciated role that have a lot of work to do.
They need to get the cameras perfect for the situations and also have
to ensure they are safe for use. The visual element of the film relies on
these people as well.
32. Working as a Director
I wasn’t too fond of directing when I had to take it up. I found I wasn’t confident
enough to be authoritative when I needed to control and entire set. The camera
operator and the actor both had ideas which they pitched to me, but they also saw
them as the only way. My ideas about how to go about filming a particular scene
(which require one actor to play three people on screen at once) were rejected by
this crew in favour of theirs. This isn’t as much a criticism of them as it is an
evaluation of myself. I wasn’t confident enough to tell them that we were doing it
my way. I didn’t have control of the situation because I didn’t actively pursue it.
Possibly the fact I was directing friends instead of professional actors didn’t help as
A.) you have a closer connection to them and don’t want them to feel like they
aren’t being listened to and B.) actors are specially trained to put on the
performance that the director asks, but I still think in a real studio environment I
wouldn’t suit this profession. That being said, the film was made, using a mix of
everyone's ideas (some of which worked, some didn’t) and the effect we were
hoping to achieve did work somewhat good so maybe I wasn’t as bad as I thought,
but it definetly doesn’t feel like a role for me.
33. Working as a Camera Op
Of all of the roles here, Camera Operator was my favourite. This job had me
setting up the cameras for the best shot, changing camera settings, moving
the camera smoothly to create on screen effects, and packing it all away. I
feel very confident with operating cameras so setting it up was easy. The
director has very clear instructions on what to do so framing the shots they
wanted was easy enough, and I was able to discuss changes I felt would be
beneficial for the camera position and settings with them. The film looked to
be of a really good quality and I was proud of the work I had achieved. The
only real problems were the location limitations. Because we only had a
small room to film in, there were a few times where a shot would look a little
messy due to unmovable objects in the background or something like that,
but I can’t really critique myself on that as it likely wouldn’t be the case with
other shoots that weren’t so restrictive. I could see myself working as a
camera operator on a professional set. I really enjoy it and felt I was pretty
good at it.
34. Working as
Assistant Director
I found working as the AD easier than working as the director. My job
was to ensure the film was set up and ready to film. I made sure the
script was practical and could be made with the resources we had. I
made sure the props had arrived and that everything was in the right
place. I felt like I did a good job as the production could start
immediately, as I did my tasks before everyone else got there. It was
less pressure than the directing role as your job is mostly behind the
scenes and I think that is where I best operate. I didn’t find this role too
difficult either for the scale of the production we had, but I imagine it is
a lot more pressure on a larger set. Although I consider it a successful
test as everything went well, and was efficiently performed
35. Working as Key Grip
I worked as a key grip on one of 5 short silent comedy films we made for the
course. I found it (alongside the Camera Operator) to be the most collaborative,
technical role. You worked very closely with the Camera Operator to ensure that
the environment was safe to film in and that none of the kit or crew would get
damaged by the camera or the environment. As the film I was key grip for was a
one-shot film, I had to make sure that whenever the camera operator was moving,
it was safe for them to do so and I had to ensure they didn’t fall with the kit. One of
the shots had them walking backwards so I had to support them and make sure no
obstacles were in their way. I enjoyed this role as it was one of the more technical
roles and I feel like I did a better job ensuring everything was safe and managing
the camera equipment with the CO, than I did at more central jobs like director. It
was a lot of pressure as the cameras were quite expensive which was a little
daunting but you have to get past that in order to have a clear mind to make sure
you are doing your job. And I’d say I was successful. The shoot went well and the kit
was efficiently managed and the camera operator filmed safely.
36. Cameras in my Film
For my short film I used the Black Magic Pocket Cinema Camera 4K. I chose
this camera as it allowed me to get really high level quality footage on a
device that is relatively simple to use. I set it up so that camera filmed at
25fps and the footage was saved to an SD card located in the camera.
Initially, I made an error and the footage was saved as a file type that can
only be edited on Davinci (Black Magic’s editing software) called BRAW, but I
quickly noticed this mistake and changed the settings so my footage saved as
.MOV files instead. I changed the ISO, Aperture and Shutter Speed when
necessary for different aesthetics for certain shots, and I also turned on
‘focus assist’ which put a red border around anything in focus so it was really
easy to tell when something was clear. The only major downside I found to
this camera was the battery life which only allowed around 50 mins of
shooting time. As someone who likes to capture several different shots, I
found myself needing to pause production a lot to recharge as I only had one
battery.
37. Rigs in my Film
The only rig I used to support my equipment was a tripod for the
Camera. It was a ‘Manfrotto’ tripod which extended to around 1.8M at
full length and 45cm as smallest size so it allowed me to capture shots
from a variety of angles and places. This tripod also had a 1/4” screw
which fit perfectly into the Black Magic’s 1/4” mount. It occasionally
wobbled a bit and was slightly unstable for a few shots in particular
that were shot on uneven ground, but that may have been a fault with
A.) How I set it up as I often did so relatively quickly as it was one of the
easiest parts to set-up or B.) The type of terrain I was filming on.
38. Lenses in my film
The two lenses that I used for my film were both part of the Panasonic
Lumix collection. One was a prime lens of 25mm and the other was a
zoom lens of between 45mm and 150mm. The 25mm lens allowed me
to capture a lot of the wider shots in my film. Given all of it takes place
in one small room, I didn’t need lenses that went any wider than this
and it was a great lens for capturing the more standard shots in my
film. The 45-150mm lens allowed me to get some extreme close ups of
a lot of the objects and subjects in my film such as the cake and the
character and with such a wide mm range, I could use this lens for a
variety of shots from different distances. These lenses both also have
Micro 4/3 mounts which is the mount built into the Black Magic 4K so
this meant I didn’t require any adapters to help them fit to the camera.
39. Lighting in my Film
I used two Soonwell sticks to illuminate my film. These are extremely
bright, colour changing pieces of equipment that allowed me to
change the colour of subjects in my film. For the most part I had the
LED Sticks on a creamy brown colour which I used to light up the
whole scene with high key lighting. I used one in front of the main
character and one behind him which gave the character a smooth look
and the colour helped with the genre of my film. Preferably I would
have had 3 lights to make a 3 light set-up, but I couldn’t get a hold of 3
but I think I did well with 2. Some of my scenes also involve strong
colours appearing in the world of the film. For these scenes I removed
any external lighting to make the room pitch black, then I got the
colour I wanted (Red and Blue) and held the lights very close to the
subjects face so he had shadows appearing where the light couldn't
reach. This gave the scene a very mysterious aesthetic and make the
VFXs that I was using it for look very realistic.
41. Date (w/c) Workflow Activity What should be
complete/
Milestones/
Progress monitoring
by this date?
Production Logs
21/03/22 Filming Film any footage
that doesn’t require
any VFXs added in
post production.
By the end of this
week I want any of
the simple shots to
have been filmed.
This include the
ones of the actor
that don’t involve
magic, and the close
up shots of items
such as the cake and
magic book.
They will reflect
how the filming has
gone, what I have
left to do and any
potential
improvements I
could make.
42. 28/03/22 Filming The shots that require
VFXs and green screen
will be filmed here.
Any of the shots that
require VFX will likely
require a different set
up. This means I’ll focus
on collecting all of
these today to make
filming easier as I won’t
have to change my set-
up as much saving
time.
This will reflect what
percentage of footage
is now filmed, how
filming with VFX shots
planned is different to
filming regular shots,
and again an
evaluation on the
week.
04/04/22 Editing I’ll focus in building the
timeline so the whole
two minute film is
edited together
correctly. This includes
me cutting and moving
clips onto the timeline,
and ensuring the
transitions and edits
work.
The first thing I’ll want
to do is put all of the
clips that I want to use
into Premiere Pro and
then I’ll hope to have
cut them, removing any
excess footage that isn’t
required. From here I
should drag and drop
them into the timeline
and build the 2 minutes
of footage up.
This will reflect on how
the final footage looks
and how the editing
process is going, plus an
analysis on what needs
to be done next week.
43. 11/04/22 - EASTER Editing This week I will look
at adding the VFXs
to the footage. I
want this to look as
good as it can so
will put this entire
weeks toward
achieving that.
By the end of this
week I’ll want the
VFXs to be in the
premiere file and
for them to look
convincing and
complete.
Similarly to last
week, just log how
the editing is going,
and given this is
where you edit the
VFXs, comment on
how that is going as
it is something that
hasn’t been tried
before by me.
18/04/22 - EASTER Post Production Once the above is
completed, I will
look at adding a
score to the film and
ensuring that the
colour and sound
editing is up to
standards with the
rest of it.
I will want the entire
film to be just about
finished at the end
of this week.
Everything should
have been edited
and fixed and it will
just be a matter of
ensuring everything
is ready to be
submitted.
This is where you
will write about how
the final film looks,
and if there is
anything else you’d
want to change.
44. 25/04/22 Post Production Check everything is
how you want it
and export the film.
The film should
now be exported
and ready to send
off for grading.
How did the film
turn out, what
would you do
differently if you
had the time to do
it again, what went
well?
02/05/22 Submit deliverables Upload the film to
my website and
email the link to
anyone who is
required to see it.
Everything should
now be sent off for
marking.
Possibly comment
on how the website
looks. Does it
present your film in
an interesting way
or is it very
simplistic.
46. Locations – Release Forms
Land Owner
I, the undersigned hereby grant permission to Sam Miller the right to enter and remain upon 11 11 11 11111 (the Property),
which shall include not only real property but any fixtures, equipment or other personal property thereat or thereon, located
at 11 11 11 11111 , with personnel and equipment (including without limitations, props, temporary sets, lighting, camera and
special effects equipment) for the purpose of photographing scenes and making recordings of said Property in connection
with the production of a digital media text on the following date(s): 21/03/22, 22/03/22, 28/03/22, 29/03/22. This
permission includes the right to take motion pictures, videotapes, still photographs and/or sound recordings on and of any
and all portions of the Property and all names associated there with or which appear in, on or about the Property. This
permission also grants all rights of every nature whatsoever in and to all films and photographs taken and recordings made
hereunder, including without limitation of all copyrights therein and renewals and extensions thereof, and the exclusive right
to reproduce, exhibit, distribute, and otherwise exploit in perpetuity throughout the universe (in whole or in part) such films,
photographs and recordings in any and all media, whether now known or hereafter devised, including without limitation in
and in connection with the documentary video and the advertising and other exploitation thereof. I certify that I have the full
right and authority to enter into this agreement and grant the rights herein granted, and that the consent or permission of no
other person, firm, or entity is necessary in order to enable you to exercise or enjoy the rights herein granted.
47. Locations – Notice of Filming
• Write email informing land owner of when filming will take place,
durations of filming and cast/crew
48. Cast & Crew
Cast Name Cast Role Number
Harry Miller Man with Injured Leg 11 11 11 11111
Crew Name Crew Role Number
Sam Miller Director/Editor/VFX Artist 00000000000
50. Scheduling – Call Sheet
Shooting
Day
Who Is needed on shoot Expected Time
of Arrival
21/03/22 Crew: Sam Miller – Cast: Harry Miller 09:00
22/03/22 Crew: Sam Miller – Cast: Harry Miller 09:00
28/03/22 Crew: Sam Miller – Cast: Harry Miller 09:00
29/03/22 Crew: Sam Miller – Cast: Harry Miller 09:00
51. Scheduling - Production reports
Shooting
Day
Summary of Activities Crew responsible for
the completion of
Production Report
21/03/22 Filming any actor scenes that don’t require heavy VFX. Also film and close
ups of objects and establishing shots of locations.
Sam Miller - Director
22/03/22 Finish up any missed scenes from 21/03/22. Sam Miller - Director
28/03/22 Film any scene with VFXs in (both with and without actor) Sam Miller - Director
29/03/22 Film any outstanding scenes and any from the previous week that didn’t
show up on camera very well.
Sam Miller - Director
52. Locations – Risk + Health and Safety
Assessments – Location
Location – 16 111111111111111 (Kitchen)
Risk Control Measure
Kitchens naturally have a lot of dangerous objects in
them that could do harm in left in the wrong place.
Ensure that before any set-up takes place, the room is
suitable for use and any objects that could be a risk to
health and safety.
Bright Lights will be in the room and may cause heat
related damage to anyone exposed to them for a long
time.
Provide water for everyone on set and ensure that
everyone take regular breaks to avoid exhaustion.
Wires may be trailing around the room and could be a
trip hazard.
Tie any loose wires down and attempt to place them
out of the way. If they can’t be placed out of the way,
ensure they are clearly pointed out to avoid anyone
not noticing them and falling over.
The exploding cup scene may have some debris that
could hit a member of the crew.
Remove everyone who doesn’t have to be in the room
for that scene and provide everyone with safety
equipment when filming it.
53. Contingency Planning
Potential Issue Control Measure
Actor doesn’t show up. Plan extra filming days to what you need in case
you can’t film on one of the days planned.
Camera runs out of battery. Bring at least two batteries and have one
constantly on charge.
Footage isn’t there/deleted. Upload it to a computer as soon as you have filmed
it.
Premiere Pro isn’t working. Plan travel into college to use their computers if
you need to.
Continuity isn’t accurate. Take pictures of the actor and set at the end of
every day to ensure continuity can be kept across
days. Film in chronological order.
54. Cloud Based Production Management
What Cloud Based Providers Will You Be Using OneDrive
What Folders Will You Need to Create HNC > Black Magic Gateau > Footage > Shot 1, 2, 3 etc
HNC > Black Magic Gateau > Post Production >
Premiere File
HNC > Black Magic Gateau > Final Export > H.264 File
55. Budget
ITEM COST CREW RESPONSIBLE
FOR PURCHASE
Cake £5 Sam Miller -Director
Food and Water for Cast and Crew £5 per day (*4=£20) Sam Miller -Director
64. Justification of Organisation and Software
Choice Why
File formats pproj This format is the most compatible with Adobe Premiere Pro which I shall be using to
edit.
File storage Local Drive Quick assess and speedy render time.
Backup OneDrive It is a software that is easy to manage and has a lot of space so it can handle saving
large video files.
Software selection Adobe Premiere Pro It is a software that is relatively easy to edit on, but also allows a lot of complex techniques to
be used on the videos if I felt it necessary to use them. It is also the device I am most familiar
with.
Proxy media N/A The film is only 2 minutes in length so the computer can handle the high quality versions of
the footage meaning there is no reason to swap it out with low quality footage.
Clip management Named clips placed in named folders I created a folder called HNC, and in that I made another folder called ‘Black Magic Gateau’
and in that folder I made several subfolders for things such as Production, Post-Production
and the Final Cut. In the production folder I then put the clips from my film and ordered them
(naming them clip 1, 2, 3, etc, along the way.
Resolution matching N/A I am only filming on one camera so there is no need to match the resolution as I have no
additional camera to match it to.
Syncing N/A There are no external recording devices used in this film and all audio will be added in post so
there will be no sound to sync with the video.
Pipeline Rough cut, Fine cut then Final cut This helped me get feedback for different elements within the film (cinematography for the
Rough Cut, editing for the Fine Cut, and post production for the final) at different stages
throughout the film.
Specific encoding H264 YouTube 720 HD This is the encoding type that is specifically designed for YouTube so it makes it really easy to
export and upload. It also has good quality given it is 720p.
65. Why I edited and organised my footage the
way I chose to.
One of the reasons I chose to edit on Premiere Pro was because it was the software I was most familiar with. I have used it a lot in the
past and am quite knowledgeable on a lot of the features that are included with the software. Given my film was short but complex in
execution, I wanted a software that I understood so that I could put all of my focus into producing the best film. Another reason
Premiere Pro was the software I chose to edit on was because you can edit footage on Adobe After Effects and it will automatically
place the newly rendered footage from after effects onto the Premiere Pro timeline. This meant I could build my rough and fine cuts
without having to worry about having to replace unedited footage with VFX footage such as the magic spell. I was able to click the
option ‘Replace with After Effects Render’ in Premiere Pro and it took me to After Effects where I included the lightning bolt, after this
the software automatically replaced the unedited footage with the AE render so a lot of work exporting and cropping was done for
me meaning I could focus on other aspects of my film. Finally, I was able to use Adobe’s colour grading tools to make my film look that
extra bit cinematic. Premiere Pro has a great colour grading feature that is easy to understand so was the obvious choice for editing
this aspect of my film. I organised my footage into different folders. I first created a main folder called ‘Black Magic Gateau’ and within
that I made a folder called ‘Footage’. This was so I knew where it was at all times. The footage was also put in chronological order as it
was supposed to go on the timeline and renamed to Shot (1),(2),(3), etc. This made it easy to find the footage I needed and because
of this organisation my timeline was build extremely quickly. Exports of the film were placed in subfolders under the main ‘Black
Magic Gateau’ folder. These subfolders were called ‘Rough Cut’, ‘Fine Cut’ and ‘Final Export’. This meant I could easily find my work at
every stage of production. This pipeline was chosen because it helped me focus on individual elements of my film in separate cuts.
The Rough cut allowed me to make sure I liked the look of the shots and that everything was there, the Fine cut let me edit my
footage together before focusing on other elements of post production such as sound and VFXs. By doing this I could see whether my
footage made sense when cropped down or whether I needed to film additional scenes to bridge gaps in my film. For example, the
scene where the character spots the spoon and then uses it to reach across to the cake was originally edited as a jump cut. I didn't
like this as it didn’t make enough sense to the audience and I spotted this during the fine cut giving me enough time to go back and
film a scene of him picking it up before I had gone on to colour correct and add sound to the film. If I hadn’t have used this 3 step
pipeline I may have missed it and it would have been difficult to add it in once additional features were included such as colour
grading as the new footage wouldn’t have match the old edited footage. The final cut was where music, lighting, VFXs, etc were
edited. This only happened once I knew the footage was there and in the right order so I wouldn’t have to alter anything (such as
sound placement) if I wanted to add some new footage which would have slowed down the process. This pipeline worked like a
conveyor belt and allowed me to perfect elements of my film at every stage before going on to the next part.
68. Rushes Feedback
Feedback Areas for Development
People liked the performance from my main actor,
saying that his facial expressions made the film very
enjoyable.
The lighting and cinematography was also said to be a
very successful part of my film. Especially the scenes
where the character uses the wand for the first time
and the screen lights up blue.
Reduce the length of some of the scenes as they linger
for too long without showing the audience enough
different things to keep them entertained.
The VFX’s need adding to make the scenes where they
are supposed to appear work, but this is a final cut
change.
Remove any mistakes that haven’t yet been taken out
of frame (such as hands appearing where they
shouldn’t be).
71. Fine Cut Feedback
Feedback Areas for Development
People liked the story more now that the excess
footage of the film had been removed. It also appears
to have made more sense to the audience now that
the narrative was more tightly constructed.
The actor is still one of the highlights of the film and I
appears that this fine cut hasn’t remove too much of
what people enjoyed.
The lighting is also still a highlight and I have remove
any errors regarding that (and a stray hand appearing
on frame) were present in the rough cut.
The main criticism appears to be regarding the sound.
My film is without audio at the moment and I think
people would prefer it if there was both some diegetic
and non-diegetic sound present.
I also need to add the key shots and work on including
the VFXs because the film seems empty without them.
