Whilst watching 'The Magic of Editing', I collated notes that would help build towards my understanding of what the main objective of editing within film is, how editing was established and what my group and I should consider when editing our virus sub-genre teaser trailer.
Originally, individuals would photograph or film whatever interested or amused them. They would hold a shot of something or someone until there was nothing more to film or the film ran out.
Lumier - 'cinema was an invention without a future'
Edwin Porter (One of Thomas Edison's employees) - Established the idea of cutting separate shots to create a story or sequence of events. This process allowed the spectator to be transported to different environments, bridge vast time scales, slow or quicken the speed of action and create relationships with the individuals onscreen. His first production was 'Life of an American fireman' (1903).
Timing is the key to startling audiences or amusing them.
D.W. Griffith understood the psychological importance of editing. His first production was silent film 'Unseen Enemy' (1912) which was released one decade after Porter's discovery of editing clips together. Griffiths production popularise melodramas by allowing the audience to have an insight into the emotional world of the characters.
Griffith's main objective was to make the audience emotionally invested in the story.
The original way of editing film consisted of holding film up to a source of light then checking where the film has been cut by running it through a project to then make the necessary adjustments.
An Editor is the key collaborator to the Director. No other crew member spends as much time with the Director. No other crew member spends as much time with the director then the editor.
The Russian revolution was one of the main catalyst of film editing due to film being the perfect medium to persuade the nation to join the revolution.
Dziga Vertor - a documentary film maker who took his camera into the streets of Moscow, Russia to present to an audience a 'typical day'. His first production was 'Man with a Movie Camera' (1920). This production celebrated revolution as well as the role of the cameraman.
Kuleshov effect allowed the audience to create a third meaning and established the power of montage and juxtaposition; the meaning wasn't in each individual shot, it was amongst the combination of shots. Many orthodox techniques have had an effect on productions that are exhibited nowadays.
To accentuate suspense and action within a scene, the rhythm of shots must be considered. Our ancestors were survivors therefore we can relate to the feeling of being pursued and escaping from danger whether this being someone or something.
F.W. Murnau 'Nosferatu' (1922) played upon the idea of fearing the unknown.
30 December 2014
Virus Victim Make-up - First Attempt
After being presented with a variety of horror make-up techniques, I was given the opportunity to independently attempt to either recreate a look demonstrated by the professional make-up artist (vampire, zombie or virus victim) or establish my own look using the equipment available (i.e. bruise wheel, latex, prosthetics, a range of fake bloods etc.) whilst taking into consideration methods needed in order to create the look (buffering, gluing, pressing, blending etc.). My main objective was to build towards the look of someone whose face shows signs of feeling unwell. In order to achieve this, I had to concentrate on the colouring of the eye area (on top and underneath), the colouring of lips (warm pink/red to cold white/grey), the prominence of the cheekbones to suggest weight loss and the overall complexion of the face to show general ill health.
Up until the tutorial, I had never before attempted this type of special make-up so I was slightly sceptical as to whether my attempt to create the virus victim look would be successful.
On the left is a medium close-up image of Lulu normally without any product on her face. Even though the image is in black and white, you are able to see freckles and the healthy colouring of her lips.
Firstly, I washed my hands! (This is vital as you don't want to spread any bacteria). Then, I tied Lulu’s hair back and used a cotton wool pad and a non-alcoholic toner to clear any excess oils and dirt from Lulu’s face. After her face had dried, I applied a foundation (Shade 1 IVORY) that was one shade lighter then Lulu’s own skin tone in order to neutralise any colour, freckles or blemishes.
I applied a pea sized amount on the back of my hand and used a foundation brush to blend the product onto Lulu’s face. This was to ensure no foundation was wasted as if I were to need any more, I could just empty some from the bottle.I applied a clear lip balm to the lips to ensure that when I applied foundation, Lulu's lips would dry.
Here on the left, is the image of a bruise wheel. I have numbered the bruise wheel in order for easier reference when explaining what shades were used when creating Lulu's final look.
After, I began to apply a small amount of shades 1,2,3,4 and 5 from the bruise wheel provided on the back of my hand with the end of eye shadow brush. Similarly to when I applied foundation to the back of my hand, applying colours from the bruise wheel meant that I could choose to either use each colour separately or to blend to create a new shade. Bruise wheels are great as they offer six different bruise shades that give a nice sheer shine that give a realistic appeal.
I gradually began to build around the eye area using colours 2 and 3, ensuring that no product went into the eye itself. I initially started applying the product with an eye shadow pad then, I went onto blending the product into the skin with my finger.
I used Lulu's natural under eye shadowing to guide me where to apply the darker bruise colouring; I wanted to exaggerate what was already there without making it look just like a face paint (the whole objective with film make-up is to add to the realism of what the spectator sees).
After I finished with the eyes, I began to slightly contour the cheekbones with the remainder of bruise wheel product I had on my finger. Because Lulu is only young, she doesn't yet have full cheekbone structure so I just focussed on darkening the tops of the cheekbone near the ear area and the temples of the head to make them seem more prominent.
Overall, taking into consideration that this was my first time trying to recreate the virus victim look without any guidance, the process took around 15/20 minutes. Now that I have an understanding into how long the process takes, my group and I can allow preparation time for make-up and costume within our filming schedule.
Here is Lulu with make-up applied to her face. I had to take an extreme close-up of Lulu in order to show the finer details such as the colouring under her eyes and the pale complexion of her skin.
On the left is a medium close-up image of Lulu normally without any product on her face. Even though the image is in black and white, you are able to see freckles and the healthy colouring of her lips.
Firstly, I washed my hands! (This is vital as you don't want to spread any bacteria). Then, I tied Lulu’s hair back and used a cotton wool pad and a non-alcoholic toner to clear any excess oils and dirt from Lulu’s face. After her face had dried, I applied a foundation (Shade 1 IVORY) that was one shade lighter then Lulu’s own skin tone in order to neutralise any colour, freckles or blemishes.
I applied a pea sized amount on the back of my hand and used a foundation brush to blend the product onto Lulu’s face. This was to ensure no foundation was wasted as if I were to need any more, I could just empty some from the bottle.I applied a clear lip balm to the lips to ensure that when I applied foundation, Lulu's lips would dry.
Here on the left, is the image of a bruise wheel. I have numbered the bruise wheel in order for easier reference when explaining what shades were used when creating Lulu's final look.
After, I began to apply a small amount of shades 1,2,3,4 and 5 from the bruise wheel provided on the back of my hand with the end of eye shadow brush. Similarly to when I applied foundation to the back of my hand, applying colours from the bruise wheel meant that I could choose to either use each colour separately or to blend to create a new shade. Bruise wheels are great as they offer six different bruise shades that give a nice sheer shine that give a realistic appeal.
I gradually began to build around the eye area using colours 2 and 3, ensuring that no product went into the eye itself. I initially started applying the product with an eye shadow pad then, I went onto blending the product into the skin with my finger.
I used Lulu's natural under eye shadowing to guide me where to apply the darker bruise colouring; I wanted to exaggerate what was already there without making it look just like a face paint (the whole objective with film make-up is to add to the realism of what the spectator sees).
Overall, taking into consideration that this was my first time trying to recreate the virus victim look without any guidance, the process took around 15/20 minutes. Now that I have an understanding into how long the process takes, my group and I can allow preparation time for make-up and costume within our filming schedule.
Here is Lulu with make-up applied to her face. I had to take an extreme close-up of Lulu in order to show the finer details such as the colouring under her eyes and the pale complexion of her skin.
28 December 2014
Horror Genre Film Soundtrack Analysis
'28 Days Later' - 'In the house - In a heartbeat'
Release Date - 17th June 2003
Track length - 4 minutes 19 seconds
Artist - John Murphy
'In the house - In a heartbeat' is an instrumental track by composer John Murphy which was released on June 17 2003 as part of Danny Boyle's Virus sub-genre film '28 Days Later' soundtrack. This track was featured over the climatic confrontation of the film and recurs in several scenes in the sequel '28 Weeks Later'. What I like about this particular soundtrack is the use of overlapping string instruments with ambient guitar chords. John Murphy's composition of the song slowly builds from an isolated single guitar chord to the introduction of a different instrument every moment onwards; this heightens the sense of threat faced by the protagonist. Moreover, the repetition of guitar chords is similar to the pace of a ticking clock therefore, as the pace quickens it could be interpreted that time is running out for the chance of survival. This ultimately evokes the same emotions felt by Jim (protagonist) for the audience as well.
‘The Crazies’ - ‘Mad World’
Release Date - 23rd February 2010
Track Length - 3 minutes 21 seconds
Artist - Gary Jules
'Mad World’ made a popular resurgence when it was re-released in a much slower and sombre minimalist tempo by composers Michael Andrews and Gary Jules for the soundtrack to the movie ‘Donnie Darko’ (2001). This version reached number 1 in the UK in December 2003. It was later in 2010 that ‘Mad World’ was used as the soundtrack to Eisner’s virus sub-genre film ‘The Crazies’.
‘Contagion’ Official Soundtrack
Release Date - Unknown
Track Length - 3 minutes 2 seconds
Artist – Cliff Martinez
‘Contagion’ Official Soundtrack
Release Date - Unknown
Track Length - 3 minutes 2 seconds
Artist – Cliff Martinez
Cliff Martinez composed the film’s soundtrack which was his first score since director’s Soderburgh previous film ‘Solaris’ (2002). Given that the pacing of the music was one of Soderburgh’s biggest concerns, Martinez needed to maintain a brisk pace throughout the soundtrack, whilst also conveying fear and hope within the music. Martinez commented during the creation of the film’s soundtrack that ‘(I) tried to use the music to conjure up the sense of tragedy and loss’. What I like about this soundtrack is the atmospheric and abrasive synthesiser sound. ' They're calling my flight' uses piano and synth effect which helps to generate tension through what is know as a music loop. A loop is a repeating section of sound material; short sections of sound can be repeated to create ostinato patterns. Ostinato can be defined as a motif or phase that persistently repeats the same pitch. The use of repetition relates to the film events; for example, when health services in the film feel as though they have the virus under control, a new case is reported and the process of eliminating the virus begins all over again.
‘I Am Legend’ Official Soundtrack
Release Date - Unknown
Track Length - 2 minutes 55 seconds
Artist – James Newton Howard
‘I am Legend’ Official Soundtrack was released on 15th January 2008 and composed by James Newton Howard.
12 December 2014
7 December 2014
Potential Institution - Vertigo Films
Vertigo Films is a UK Film and Distribution company founded
in 2002 by Allan Niblo and James Richardson. The following year Rupert Preston
and Nick Love joined and became partners. The company’s mission is to create
and distribute commercially driven independent cinema and since inception it
has produced 28 films and distributed a further 35. Vertigo also owns a
successful post production company in Berlin, The Post Republic and is a
partner in sales company Protagonist Pictures along with Film 4 and Ingenious.Previous Horror genre Vertigo Films include -
'The Facility'
Release Date - 6th May 2013
This production revolved around seven complete strangers who all begin a clinical trial for an experimental new drug 'Pro-9'. But as the untested drug enters their bodies, unexpected side effects start to take over and several of the medical research volunteers are placed into an uncomfortable murderous rage.
'Retreat'
Release Date - 14th October 2011
Martin (Cillian Murphy) and Kate (Thandie Newton) are taking an relaxed and isolated break on an uninhabited island until a blood soaked stranger (Jamie Bell) stumbles through their door informing them about an apocalyptic virus sweeping across Europe.
Potential Institutions - Hammer Films, Vertigo Films, Blum House and Twisted Pictures
Founded in November 1934, Hammer is one of the oldest film production companies in the world. Hammer specialises in the production of film within the Horror genre and has helped to define the genre's success in Britain over 80 years with classics such as Dracula, The Curse of Frankenstein and The Mummy, which spawned numerous sequels. Hammer has a back catalogue of nearly 300 titles (since 1934 to 2014)
1930's
Hammer Productions was established on November 5th 1934. In the pre-war period Hammer's output ranged from comedy 'The Public Life of Henry the Ninth' and slave drama 'The Song of Freedom'. Due to the outbreak of World War II, and with its executives seeing active service, production ground to a halt.
1940's
Growing Demand following the Second World War, Hammer Films re-formed and began to produce crime capers and Adventure films.
1950's
1960's
The staggering success of 'The Curse of Frankenstein' was followed by the even greater box office haul of 'Horror of Dracula' just one year later. With these two films alone Hammer had cemented the company name amongst audiences, film critics and censors alike. The monster movie was back, and Hammer jumped at the opportunity to reinvent other characters including 'The Abominable Snowman' (1957) and 'The Mummy' (1959).
1970's
By 1970, British Film Industry was beginning to suffer financially as the arrival of colour television contributed to a sharp decline in box office revenues. The financial climate forced Hammer to seek other approaches of film production. Gothic horror eventually came out of fashion and Hammer couldn't find backers (financers) for film production.
1980's
Although Hammer no longer had involvement within cinema , another outlet for horror production was discovered - television. 'Hammer House of Horror' contained tales of horror with hints of dark humour.
2010's
Hammer marked its return to film with the release of critically acclaimed 'Let Me In' an adaptation of the highly praised Swedish Film 'Lat Den Ratte Komma In'. This production was written and directed by Matt Reeves (Cloverfield) and stars Chloe Grace Moretz ('500 Days of Summer' and 'Kick Ass') and Kodi Smit-McPhee (The Road).In 2011, Hammer released Anitti Jokinen's 'The residents' starring two-time Academy Award winning actress Hilary Swank ('Boys Don't Cry' and 'Million Dollar Baby') and Hammer legend Christopher Lee.
As well as critically lauded 'Wakewood' directed by David Keating starring Timothy Spall. February 2012 saw the theatrical release of Hammer's first ever feature ghost story 'The Woman in Black' directed by James Watkins, adapted by Jane Goldman from Susan Hill's novel.
Vertigo Films is a UK Film and Distribution company founded in 2002 by Allan Niblo and James Richardson. The following year Rupert Preston and Nick Love joined and became partners. The company’s mission is to create and distribute commercially driven independent cinema and since inception it has produced 28 films and distributed a further 35. Vertigo also owns a successful post production company in Berlin, The Post Republic and is a partner in sales company Protagonist Pictures along with Film 4 and Ingenious.
Previous Horror genre Vertigo Films include -
'Retreat'
Hammer Productions was established on November 5th 1934. In the pre-war period Hammer's output ranged from comedy 'The Public Life of Henry the Ninth' and slave drama 'The Song of Freedom'. Due to the outbreak of World War II, and with its executives seeing active service, production ground to a halt.
1940's
Growing Demand following the Second World War, Hammer Films re-formed and began to produce crime capers and Adventure films.
1950's
Hammer was producing a steady supply of support drama and documentaries intended to play alongside feature films in cinemas. In 1951, Hammer began to co-produce their films with the United States of America and fellow producer Robert Lippert; this enabled the company to develop a business relationship with a North American market and cast American stars/crew. Hammer largely focused on crime thrillers and films noir.
'The Quatermass Xperiment' (1955) changed the course of Hammer's film output almost overnight. A commercial and critical hit, the film posed the question what might happen if an alien virus really was brought back to Earth?. Audiences flocked to witness the ensuing chaos and gruesome special effects.
Following the success of 'The Quatermass Xperiment', Hammer began to focus from the struggling crime thriller pictures of the early fifties to horror. The company made history with its first full colour creature feature 'The Curse of Frankenstein' (1957). Blood, gore, extravagant costumes and sets were presented in vibrant colour, enraging censors, but delighting audiences in equal measure.
'The Quatermass Xperiment' (1955) changed the course of Hammer's film output almost overnight. A commercial and critical hit, the film posed the question what might happen if an alien virus really was brought back to Earth?. Audiences flocked to witness the ensuing chaos and gruesome special effects.
Following the success of 'The Quatermass Xperiment', Hammer began to focus from the struggling crime thriller pictures of the early fifties to horror. The company made history with its first full colour creature feature 'The Curse of Frankenstein' (1957). Blood, gore, extravagant costumes and sets were presented in vibrant colour, enraging censors, but delighting audiences in equal measure.
'The Quatermass Xperiment' film poster (1955)
1960's
The staggering success of 'The Curse of Frankenstein' was followed by the even greater box office haul of 'Horror of Dracula' just one year later. With these two films alone Hammer had cemented the company name amongst audiences, film critics and censors alike. The monster movie was back, and Hammer jumped at the opportunity to reinvent other characters including 'The Abominable Snowman' (1957) and 'The Mummy' (1959).
1970's
By 1970, British Film Industry was beginning to suffer financially as the arrival of colour television contributed to a sharp decline in box office revenues. The financial climate forced Hammer to seek other approaches of film production. Gothic horror eventually came out of fashion and Hammer couldn't find backers (financers) for film production.
1980's
Although Hammer no longer had involvement within cinema , another outlet for horror production was discovered - television. 'Hammer House of Horror' contained tales of horror with hints of dark humour.
2010's
Hammer marked its return to film with the release of critically acclaimed 'Let Me In' an adaptation of the highly praised Swedish Film 'Lat Den Ratte Komma In'. This production was written and directed by Matt Reeves (Cloverfield) and stars Chloe Grace Moretz ('500 Days of Summer' and 'Kick Ass') and Kodi Smit-McPhee (The Road).In 2011, Hammer released Anitti Jokinen's 'The residents' starring two-time Academy Award winning actress Hilary Swank ('Boys Don't Cry' and 'Million Dollar Baby') and Hammer legend Christopher Lee.
As well as critically lauded 'Wakewood' directed by David Keating starring Timothy Spall. February 2012 saw the theatrical release of Hammer's first ever feature ghost story 'The Woman in Black' directed by James Watkins, adapted by Jane Goldman from Susan Hill's novel.
Vertigo Films is a UK Film and Distribution company founded in 2002 by Allan Niblo and James Richardson. The following year Rupert Preston and Nick Love joined and became partners. The company’s mission is to create and distribute commercially driven independent cinema and since inception it has produced 28 films and distributed a further 35. Vertigo also owns a successful post production company in Berlin, The Post Republic and is a partner in sales company Protagonist Pictures along with Film 4 and Ingenious.
Previous Horror genre Vertigo Films include -
'The Facility'
Release Date - 6th May 2013
This production revolved around seven complete strangers who all begin a clinical trial for an experimental new drug 'Pro-9'. But as the untested drug enters their bodies, unexpected side effects start to take over and several of the medical research volunteers are placed into an uncomfortable murderous rage.
'Retreat'
Release Date - 14th October 2011
Martin (Cillian Murphy) and Kate (Thandie Newton) are taking an relaxed and isolated break on an uninhabited island until a blood soaked stranger (Jamie Bell) stumbles through their door informing them about an apocalyptic virus sweeping across Europe.
2 December 2014
BBFC - Classification of Film
What does the 18 symbol mean?
Films rated 18 are for adults. No-one under 18 is allowed to see an 18 film at the cinema or buy / rent an 18 rated video. No 18 rated works are suitable for children.
Are there any limits on what sort of theme a work can have at 18?
No theme is prohibited at 18. Adults are free to choose their own entertainment provided the material is not illegal or potentially harmful, so it is possible some themes tackled at 18 may be offensive even to some adult viewers.
18 works are for adults and can contain strong issues such as very strong violence, frequent strong language (e.g. 'f***') and / or very strong language (e.g. ‘c***’), strong portrayals of sexual activity, scenes of sexual violence, strong horror, strong blood and gore, real sex (in some circumstances) and discriminatory language and behaviour.
How much strong language can there be in an 18?
There is no limit on the number of uses of strong (e.g. 'f***') or even very strong language (e.g. ‘c***’) which can be passed at 18. Uses could be aggressive, directed, frequent or accompanied by strong violence.
What about discriminatory terms?
There may be racist, homophobic or other discriminatory language at 18, and the work could explore themes relating to discrimination.Though a work as a whole must not be in breach of any relevant legislation, it is possible for discriminatory language or themes to be the main focus of the work, and for main characters to engage in discriminatory behaviour.
How much sex and nudity is allowed at 18?
There can be strong and detailed portrayals of sex at 18, including full nudity. There are no constraints on nudity in a non-sexual or educational context.Very strong, crude and explicit sex references are permitted at 18.An 18 film or video might also contain depictions of real sex, as long as the film or video is not a sex work.
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed 18. Those containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the R18 category. Material which is unacceptable in a sex work at R18 is also unacceptable in a sex work at 18.
Can there be strong violence?Yes, at 18 violence can be strong and be portrayed with strong detail. There may even be dwelling on the infliction of pain or injury, or scenes of strong sadistic or sexual violence.
The strongest gory images are permitted at this category. What about horror films?
At 18, horror films may contain very strong horror, gore or sustained threat.
Can you see drugs in an 18?
Yes. At 18 drug taking may be shown but the work as a whole must not promote or encourage drug misuse.If adults can watch what they want, what might be cut from an 18 work?In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, the BBFC will not normally override the principle that adults should be free to choose their own entertainment. However, cuts are occasionally made to 18 rated films and DVDs. Intervention is most likely in the following areas: where the material is in breach of the criminal law, or has been created through the commission of a criminal offence where material or treatment appears to us to risks harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals.
This may include portrayals of sexual violence which might, for example, make rape look appealing, reinforce the suggestion that victims enjoy sexual violence or which invite viewer complicity in sexual violence where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in R18 works and, in ‘sex works’, would normally be confined to that category. In the case of video works, which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.
What does the 15 symbol mean?
No-one under 15 is allowed to see a 15 film at the cinema or buy/rent a 15 rated video. 15 rated works are not suitable for children under 15 years of age.
Are there any limits on what sort of theme a work can have at 15?
No theme is prohibited, provided the treatment is appropriate for 15 year olds.
What might I see in a 15 rated film or video?
Strong violence, frequent strong language (e.g. 'f***'), portrayals of sexual activity, strong verbal references to sex, sexual nudity, brief scenes of sexual violence or verbal references to sexual violence, discriminatory language or behaviour and drug taking.
How much strong language is allowed in a 15?
There could potentially be a great deal. At 15 the
re is no upper limit on the number of uses of strong language (e.g. ‘f***’).Occasionally there may be uses of the strongest terms (e.g. 'c***'), depending on the manner in which they are used, who is using the language, its frequency and any special contextual justification. However, continued or aggressive use will not normally be passed 15.
What about discriminatory or offensive terms?
There may be racist, homophobic or other discriminatory language, and the work could explore themes relating to this. However, at 15 the work as a whole must not endorse discriminatory language or behaviour.re is no upper limit on the number of uses of strong language (e.g. ‘f***’).Occasionally there may be uses of the strongest terms (e.g. 'c***'), depending on the manner in which they are used, who is using the language, its frequency and any special contextual justification. However, continued or aggressive use will not normally be passed 15.
What about discriminatory or offensive terms?
Can there be strong violence?Yes, at 15 violence may be strong. It should not dwell on the infliction of pain or injury, however, and the strongest gory images are unlikely to be acceptable. Strong sadistic violence is also unlikely to be acceptable.
What about horror works?
At 15 there can be strong threat and horror as long as there is no sustained focus on sadistic or sexualised threat.
What about horror works?
At 15 there can be strong threat and horror as long as there is no sustained focus on sadistic or sexualised threat.
Can you see drugs in a 15 rated film or video?
At 15 drug taking may be shown but the work as a whole must not promote or encourage drug misuse (for example, through instructional detail).The misuse of easily accessible and highly dangerous substances like aerosols or solvents is unlikely to be acceptable at 15.
What about dangerous behaviour or things teens might copy?e consider the risk of potential harm to impressionable teenagers. For example, dangerous behaviour such as hanging, suicide and self-harming should not dwell on detail which could be copied.Whether the depiction of easily accessible weapons is acceptable will depend on factors such as realism, context and setting.
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