Shooting Script

Logistics Paperwork

Proposal

What is your genre?

The genre for our ultra short film will be British Realism, with the sub genre being thriller. We want the audience to constantly sit on edge whilst also really relate to what we are showing them. We feel that the success of the film will stem from the emotional connection the audience has with the charcaters. We feel that our film is perhaps less about the plot line and more about the emotions that each character goes through. Each scene is based on the decisions that our characters make, which perhaps is the ultimate message we aim to pose the question to the audience about why we make certain choices in this world and what purpose do they carry. The film uses many elements of British Realism through its use of drugs, and the ease of obtaining them and further, by exploring the fragile relationship he has with his girlfriend, it shows the grit and struggles of life, which is something our audience would really relate too. 

Who are your characters?

Our characters consist of 1 female and 3 males. The main character will be a white younger male, addicted to drugs with a fragile relationship with his girlfriend. His girlfriend is a white, long brown haired younger woman, who is having an affair with another man, she is on edge with the relationship and can not understand the position she is in. Our drug dealer character will be a black male, slightly older then the other characters, he goes about his business playing as a side character. Lastly we have another male, similar height and build to our main character, which will only appear for one scene. He is the lover which simply knocks on the house door of the girlfriend.

What is your setting?

The setting for our film will be east London, present day, we wanted to film something that we as a production crew knew well, thus being able to reap all of the resources available to us. The genre has more decided our setting for us, we felt that to make a successful British Realism film we would need to make it very relatable for the audience which would be to set the film in present day. We will be using a house to mostly film, we need various locations such as the bedroom, front door, kitchen etc to film the majority of the indoor scenes. In terms of any filming from the outside we only need to use Seven kings park for the flashback scene, and the high road for when our character starts to walk.

What is your storyline?

The plot for our film will be a mans journey and struggle through drug addiction, and his fragile relationship with his girlfriend. He must decide who he will walk too, whether it will be his drug dealer or his girlfriend, however he does not know that she is cheating on him. We start the film with a fast paced montage, where we see our main character on drugs and the high he feels. He will then wake up on the side of the road, where he receives 2 texts one from his girlfriend and the other from his dealer. We will then use a motivated cut to go into a flashback scene of when he was happy in his relationship. As we see him walking down the road with his final destination unknown, there will be some crosscutting, between his girlfriend getting ready to go out and the dealer selling to other people. A man who we think is the main character then knocks on a door that his girlfriend opens, but it is not the main character as we reveal she is cheating on him. Instead he chose the pathway to more drugs as we enter the encounter scene, between him and his dealer. The film ends with a split screen on one side we have his girlfriend, crying distraught about her life decisions, and on the other side we have himself doing drugs and ruining his life. Whilst we will start the film at a fast pace the majority of the film will be a slow pace. This enables us to dwell on the emotions that our characters go through. Our main concept concentrates more on the decisions a person makes and why. Not only do we aim to portray the ease of drugs but also the little world/bubble that they have created for themselves, which is something that every viewer can relate too. 

What is your narrative ?

Our narrative will be a more non-linear format, whilst it does tell a story it wont be a standard sequenced film. We dont want to create confusion for the audience with the complexity of our film, but equally we want events to be scattered and we want to constantly show something new to the audience. Our hope is that this will keep them on edge and they can really connect emotionally with the characters created. We chose to have a flashback scene specifically to keep the film more non-linear, we felt that by scattering memories and keeping the film very ambiguous meant that the audience would be compelled by the emotional ties they have with the characters, to ultimately create a successful film. 

How will your film incorporate all the Section A techniques?

The opening of our film will consist of a fast paced montage, denoting the mind and acts of our main character under the influence of drugs. We want to really incorporate a fast paced editing rhythm within the montage to enhance the effect of drug use to the audience. The slow paced rhythms will happen when we release the characters real struggles, as he walks ambiguously to either the drug dealer or his girlfriend is when a very slow pace will happen. In terms of transitions, of course there will be cuts that run throughout, but we aim to use a variety of transitions eg fades and dissolves during the flashback scene. We aim to use the 180 degree rule, shot-reverse-shot and cutaways in one of our last scenes, the encounter scene. Here our main character will be sitting with the drug dealer in his room, talking and taking drugs.  

How will your film incorporate at least two of the Section B techniques? 

We will be using jump cuts during the scene where our main character will be walking almost endlessly down a road that will take him to either his dealer or his girlfriend. Through this scene we will use crosscutting and parallel editing techniques to show his girlfriend getting ready for what seems like a date night and to also show his drug dealer constantly on the phone, and selling to various people. We will further use a motivated cut during the first scene of the film, where our main character is going through his phone, we see him looking at his phone, then cut to the phone and then cut into a flashback scene where we see him and his girlfriend happy. Furthermore, we will cut to a soundtrack during the crosscutting scenes, they wont be particularly fast cuts to the beat but rather we want to have a slower song that can distinguish the cuts between the two scenes.

Purpose of Editing case study: The Good, The Bad, The Ugly.

Storytelling 

Storytelling is the idea that through editing a sequence of information can be unraveled to the audience in a certain style.

One way in which a story can be told is through the technique of providing and withholding information within the scene. At (7:53) here we can see a 2 shot between Clint Eastwood and Eli Wallach, where Eastwood takes the gun and fires it knowing that it was never loaded. This example of withholding information to the audience allows for the development of drama to unfold, the very fact that the gun was never loaded meant that he was a sitting duck in the stand off, thus leaving the audience in awe of Clint Eastwoods character because he had a plan all along. As the drama unfolds the audience feel as if they have all the information with a building anxiety whilst watching, but the withhold of information allows for a greater appreciation here on after.
Storytelling can further be exhibited through the use of rhythm and almost cutting to the beat within the film. At (2:34) we see the camera cut to a mid shot of Lee Van Cleef on the beat of the music. Whilst the camera doesnt cut on every beat of the music it does cut in a more rhythmic sense, which does build to the big crescendo at the end. Cutting to the beat and cutting with a rhythmic sense, for storytelling, does create this relationship between the characters and genre of film. It not only creates the atmosphere and builds magnitude for the scene but it also carries this subtle humor through the scene that only a Western can do.


prov&with



cutting to beat

Combining shots into a sequence

Through some editing techniques combining shots into a sequence is a way of adding a certain flow and style to the scenes. The development of the sequence will ultimately reveal events and engage the audience.

We can see this purpose used through the continuity of the scene, which can be seen at (1:11) this is where the character asks why, but the camera does not dwell on him instead it cuts and almost snaps off him and on to Clint Eastwood. At (1:15) the camera has now cut to show Clint Eastwood, but his time in frame is much longer, the camera holds on for a couple of seconds before cutting to another shot. This ultimately puts the emphasis on the 'good guy' and snaps off the 'bad guy' to distinguish the intentions of both characters. Furthermore, by using this technique it twists the audience's judgment of both characters, whilst this is scene is much later in the film it still continues to manipulate our thoughts even though its late on.
Another way of combining shots into a sequence is through the use of the match on action, which can be seen at (2:10.) Here we see an over the shoulder shot of the two characters as Clint Eastwood is putting the rock down, the camera then cuts to a close up of his hand putting the rock down, ending with the camera zooming into an extreme close up. This match on action technique adds a certain intensity to the scene, it emphasises the unknown and ultimately creates an ambiguity to the shot. Whats different about the match on action in this scene is the way in which the camera zooms. As it is rare for a camera to zoom, in this instance, it carries a more underlying satirical tone, to what is a very intense scene. For the audience it just takes the edge off and continues this unique western style which is serious but also is a little, 'tacky.'


 Continuity
 


Match on Action

Creating Pace

Creating pace is a way of communicating an emotion more explicitly, it will enhance the audiences feelings through the scene.

One way that creating pace can be achieved is through the editing rhythm in certain parts of the scene. At (3:06) here we see the character pull out his gun very slowly staring at the other character as he puts it in his holster. He stands there for a long time and waits for the other character to walk away. This deliberate slow paced emphasis during this part of the scene allows the audience to feel the intensity rising. It almost marks the start of the building crescendo, the slow paced action allows the audience to really take in more detail and almost feel the stare out that the two characters are having.
Another way in which pace is created is through a more montage style towards the end of the scene. At (6:37) we see a series of fast paced cuts, that constantly show the three characters faces and their hands that are moving closer towards their guns. The montage is the final stages of this huge rushing, crescendo at the end. The audience are feeling this huge mass of intensity, leaving them on edge as we wait for the someone to shoot. Whilst this montage only lasts a few seconds, from an audience perspective it feels like minutes and thus leaving them with this ever growing anxiety.


Editing Rhythm



Montage

The Development of Editing

Before Editing

Film began as a single 45 second shot, there was no editing eg, transitions or any other shot to follow. The first use of film was shot on a Cinematographe, an all in one camera which also could be used as a projector and developer. The film had no sound, no colour and was shot in a 4:3 ratio, although very square. 

The first pioneers to create a moving image and film was the Lumiere brothers, they shot the first film called, 'la sortie de l'usine lumiere a lyon' which translates to workers leaving the Lumiere factory produced in 1895. The Lumiere bros however, did not produce the first ever cinematographe, which in actual fact was Leon Guillaume Bouly 1892, instead the Lumiere bros patented the film perforations (holes in the film.) This in turn allowed the film to move through the camera, and thus allowed to create the first film. The film itself is single shot of the Lumieres factory employees leaving, there is no story, no acting or story telling, but rather it is a shot of realism, the camera is set up and they just recorded something very simple. The Lumiere's further produced another film called, 'L'arrivee d'un train en gara de la ciotat'. This film showcased a train that was pulling into the station and framed on the left hand side, whilst by the end of the film people were getting off and on.
Whilst this film was not particularly successful, it was the start of something. It was the start of a moving image that could also be projected on a screen for viewing.

Another pioneer for the start of film would be George Albert Smith, he was perhaps a little more advanced then the lumiere Bros as he used the already made equipment to project a story on screen. His first pieces of work including The Miller & The Sweep, was a short 0:35 second single shot film. It was a comedy stemming from his wife's work in pantomime. His most notable work though came later in 1899 called Santa Claus, this was a longer film at 1 minute 16 and has been said that its the earliest example of crosscutting, which also used a number of special effects created. Smith was a pioneer because he did something different with film, whilst it was not his main profession, he was able to produce something that carried meaning. His work told a story and this was the first time that this could have been done through film and not literature. 

In-camera Editing

In-camera editing essentially was a stop and start technique, it was a cinematographic edit which meant filming in a sequence. The basis of this technique is that everything is strictly shot in the exact order, this would mean that the physical process of cutting the film and editing is eliminated. Whilst this would save time it doesn't account for any mistakes in the process of filming.

Robert W. Paul was the first pioneer to use this technique, his film in 1898 Come along, Do! ran for 1 minute and was the first time that we saw multiple shots in one film. The first shot denotes a simple long shot, much like films before this one, and used a man and his wife sitting outside having a drink before they go into a museum. However, only 38 seconds of the film has survived and the second shot that follows has been lost, this is why we can only see it in stills. However, it still does show the progression of film, the very fact that it did have a second shot meant that we could see a clear example of continuity and a linear format to filming. Robert W. Paul was also the first person to feature reverse cranking, which meant that the film in the camera could be exposed multiple times and create a super exposure. This technique was first used in his film, Scrooge or Marley's Ghosts, which was the oldest film adaptation of a Christmas carol. His pioneering techniques meant that a further story could be developed, it allowed for a continuity sequence and thus an improvement on George Albert Smiths work. This process was particularly easier for editiors, they no longer had to cut and stick the film together multiple times, instead as everything was already strictly shot they just had to stick everything together. 

Following the Action

Following the action was a technique where the camera would cut multiple times throughout the film and 'follow the action.' The technique meant that there was clear examples of continuity editing as well as cutting between two actions. The technical aspects were much harder then anything that had been done before in terms of the camera language and editing.

George Albert Smiths later work though showed a development in editing techniques and the camera language in film. As seen through a telescope (1900) was a film that especially pioneered in the technical aspects of the film. With a duration of 1 minute the film denotes a man standing in the middle of the frame holding a telescope up, the film then cuts to a circle filter acting as the telescope, as we see a woman's ankle. The film then ends with a cut back to man who sits down feeling satisfied but is then knocked off his chair in a slapstick comical way. This film illustrates the evolution of post production, George Albert Smith was able to not only cut and follow the action multiple times but he was able to add in a filter which had never been done before. The ability to change the frame to a circle and carry on the story was exceptionally pioneering to post production and film.  As seen through a telescope was very similar to another film of G.A Smiths called Grandmas reading glasses, which was also created in the same year, showed clear examples of close-ups which at the time was revolutionary. This film used a magnifying glass to again create this circular frame but it also highlighted the use of a close-up. Both films clearly denote this advancement in film and post production, they pioneer in the camera language that they use and the number of cuts & different filters, to really add another element to the story that they tell. This of course meant that the editors job was more intensive, they now had to cut the film precisely so that the film was able to tell the story in the smoothest way possible. But this advancement in film did mean that, for editiors, they had to be more refined which only improved the technical skills of the profession.  

Multiple points of view

This next pioneering technique was the first use of the 180 degree rule in film as well as seeing some crosscutting. This technique meant that the film had to be much longer, as we saw more or the remnants of film like today.

James Williamson produced a film called, Attack on a mission station. The film denotes these Chinese rebel fighters raiding a missionary family, to which British sailors come and rescue the family by fighting off the rebels. This film was the first time that we saw other camera techniques being used, and other editing techniques being used. This film connotes the first use of the 180 degree rule, adding another element to continuity editing. What perhaps set this film even further apart is the first use of, 'match on action' as the sailors come in to shot and run across the screen, the camera then cuts to them continuing to run. This film is perhaps closer to what we are used to in present day, it has a definitive story being told and whilst there are no close ups or filters used in this film, the story is still able to advance through the technical aspects. Attack on a china station was a huge success when released, it is a shame that over half the footage has been lost today, but it does still show clear examples of the techniques. The film was inspired by Georges Melies, 'L'affaire Dreyfus' which was an 11 installment series of the Dreyfus affair that had been happening at the time (1899.) Whilst Attack on a china mission station was not the first war based film it was still something so successful in story and technique that it pushed film forward. Attack on a mission station incorporated a number of technical skills that had never been seen before in a film, it meant that editors really had to be precise about where they cut and how they produced the scene. Editors had never had to cut a film were there was a 180 degree rule or crosscutting had been used before, which mean they really had to learn more in depth of how to construct a scene. 

Shot Variation

Shot variation was an editing technique that allowed for different transitions eg, dissolves, fades. It was the ability to cut between different frame sizes, and have a wider range of shots in one film to produce certain emotions.

DW Griffiths produced the famous, 'The birth of a nation' a film based on the the civil war and the battle between races after. The film was the first to really have length to it with a run time of 133 minutes, and for some people where film all began as it is considered the first ever feature film. DW Griffiths was especially innovative in this film explicitly showcasing very different techniques that had never been done before including, flashbacks, crosscutting, and close-ups. Whilst George Albert Smith had already used close-ups in his work, this was the first time that they carried a specific meaning. These close-ups were meant to evoke certain emotions within the audience and really engage the audience with what was precisely happening in that scene. Whilst the content of this film was radical and shocking to everyone, the technical aspects of this film carried brilliance. DW Griffiths was able to create something that others had been trying to do for years, he managed to turn film into a business, which was ultimately what Lumiere Bros attempted, George Albert Smith attempted to do aswell. Whilst they were pioneers in the industry they were never able to really produce a sufficient business. Dw Griffiths also produced a film called, 'Intolerance' which was 4 stories that were intertwined and parallel to each other throughout the 3 hour epic. The film was believed to be a response to The birth of a nation which was widely criticized for its racism. The film however was not widely received domestically but again was a technical masterpiece and would be  a major influence later on. For editors as this was the first feature film, it meant that they had a much longer time to frame to keep to. This was also the first ever time that editors had to really keep to a structure of scene after scene, and have a concise beginning, middle and end. 

Manipulation of diegetic time and space

This was the first time in film that we saw montage editing or as it was called, 'rhythmic montage.' It was more different to what we are used to today but the idea was still there. This technique wasn't so much a collage of short clips but rather a highlight reel of sorts. 

Sergei Eisenstein produced a film called Battleship Potemkim, the 5 act film where by the crew of the ship rebel against the officers. Most notably is the 4th act, 'The Odessa Steps' this was where for the first time we saw a montage cut to the beat of some music. During the act where chaos is happening on the stairs we see a number of camera angles being used to focus on various pieces of action, and thus creating a montage of sorts. Whilst there is a music composition that happens throughout this scene, it perhaps is more notable where the soldiers seem like they are marching to the music. Eisenstein used the advances in post production, to overlay the music and create this, 'rhythmic montage' which not only was groundbreaking but he also created meaning to it as well. The ending made  it possible for the audience to feel sympathy for the crew as they had lost that particular battle yet it foreshadowed that they would rise up and ultimately win. Of course its main purpose was to create this intense, gripping scene that could be presented in a more artistic way. For editors the use of rhythmic montage allowed them to condense time within the scene, and gives the scene better aesthetics. Whilst it perhaps gives the editors more structure it does give them a more creative freedom with the mix of sound and visuals.

Film,Video

In 1951 video was first invented, yet it took over 51 years for video to actually be used in the production of professional films. It was only until 2001 where video had a superior definition to film and became easier to use.

Once upon a time in Mexico directed by Robert Rodriguez was the first ever film to be shot of digital video as opposed to film. The sequel to El Mariachi and Desparado it was Antonio Banderas last appearance as El Miriachi a drug lord. The film had a budget of $29 million the first big budget film to use the video format, and to release the film in digital format too. For the industry of film it meant that there was a complete technological convergence and everything became easier. It was easier to edit, easier to distribute etc. The very fact that a film could be edited and distributed all on one single device was revolutionary, and much like DW Griffiths it really pushed film into a completely new direction. Video made an editors job more accessible, with film they had to be very careful because it could easily get damaged or lost. But with video all the footage was stored on the tapes, which meant that management and storage became a lot easier when editing a film. 

Analogue

Analogue editing meant that film could be edited through a machine, which was a completely different way of editing as previously everything had been done by cutting the film reel and sticking it back together. Whist this machine essentially did the same thing it was considerably easier for editors. 

In 1917 Iwan Serrurier a dutch born engineer invented the first moviola which its intended purpose was to project film for peoples homes. This moviola was similar to something that already existed called a victrola, this was a phonograph but was redesigned to look more fitting for a home and less like a whole machine. The moviola was not selling well to the public in america as it cost so much, in 1924 Iwan adapted the moviola machine so that editors could use it, rather then being a projector it became an editing machine. This piece of equipment changed post production, it wasnt so drastic like digital editing but it did change the way editors edited. The whole process became easier and faster, the machine also allowed for different transitions to be used and this allowed for post production to again change its ways. For an editor the moviola didn't necessarily mean their job got easier, but it did give them their own machine and their own space to edit from. Whilst the moviola was a very, 'hands on' machine it allowed editors to have a trust and a confidence in editing, the machine never changed and they could learn and know every part of the machine. 

MOVIOLA 35mm Editing Machines Series 20 from Robino Jones on Vimeo.

Digital

Digital editing or non-linear editing was a non destructive way of editing, there was no physical cut of any film reel, and everything was done on computers, opposing moviolas. 

The first non-linear editing system was the CMX 600 introduced in 1971, however it was low-resolution and only in black and white making this product not fit for professional editing. During the 70's and 80's various editing systems were invented but nothing substantial came until 1985 when Ediflex was invented. Ediflex was used professionally for many years, whilst new systems and software where being invented however most failed. 'Lets kill the lawyers' was the first film that was completely edited on a PC, directed by Ron Senkowski and was based on Shakespeare's Henry VI play. The film was not widely received by anyone and had reviews calling it ,'a bad homemade film.' However the main point of the film is that it was the start of something, much like the Lumiere Bros back in 1895 there was a revolutionary idea with this film. The start is never easy and whilst perhaps it was easier to use older techniques that had been perfected this was a format that would again push post production forward. Digital editing on a PC was and is easy there is no destruction of footage, and content can be edited faster and cheaper and it allows for more special effects to be added. By having multiple software's to edit on, it means that anyone can learn to edit, we no longer need big units to cut up film, but rather all we need now is a computer. The advancement of digital editing packages has meant that editors now have a much easier job altogether, from storing footage to having multiple cuts of some footage, as well as the added advantage of no longer loosing footage that easily anymore. 

Other notable software's such as final cut were invented in 1998, Adobe premiere pro wasn't invented until 2003 whilst Apples Imovie was invented in 1999.