Whilst on set, I knew that I wanted to mirror my character’s movement as the camera moves through past him (a great deal of visuals including reflection have been seen within my researched pieces)
This will be the second shot that links to the previous TV shot, this involves removing the green using ‘Keylight’ in After Effects, then a great deal of masking to place the shot into the moving TV set.
For the audio, I do not particularly want to put any old copyright free track over the top of the visuals, as sound is a huge element that makes the ‘American Beauty’ dream sequences so successful.
I have contacted the music department and asked for students that would like to collaborate with me and create a piece of sound to compliment my visuals.
I am currently In contact with a music tech student that has some great ideas for the dream sequence, I will send him a draft edit asap to see what he can create, we can then feed off one another
These are the final visuals captured!
I’ve included a few red elements to experiment with the selective colors seen in ‘Schindler’s List’ and referring to the ‘American Beauty’ rose.
I have a great deal of editing to do, removing the green in Premiere Pro/ After Effects and masking/ cutting the shots together.
Whilst on shoot, I ensured I captured the shots I needed to represent the ideas I have been developing;
Here you can see the opening shot of the TV, adapted from “Romeo and Juliet” with an inward dolly to transition into the next shot.
As we move towards the TV set, I will mask the next shot into the screen so that the shot seamlessly continues as it cuts, as seen in “My Recurring Dream”
The images and objects have no links to one another, as designed in the surrealist film “Un Chien Andalou” whereby Bunuel and Dali constructed a dis-jointed narrative.
I also used a picture frame as a metaphor portraying a window into the character’s unconscious imaginings.
Some of the shots I have filmed in reverse so that I can time-reverse in post production, as seen in “My Recurring Dream” which I thought looked amazing and adds an element of unpredictably to the basis of dreaming.
I have also included some of the transitions I have been experimenting with in order to keep the visuals flowing together, for example, the character covers the lens with his hand to introduce the following scene. Also illustrating the eye contact effect upon the audience
Unfortunately, Friday’s shoot did not go to plan!
The camera I had rented was not charged and I had made some of the shots too complicated to create using a simple wheeled dolly.
I have re arranged to shoot tomorrow, Ive fully charged the 5d and organised to use a dolly with track for smoother results.
Today I am changing my ideas slightly to better suite the smooth/ dream-like appearance that I am hoping to achieve.
Following the completion of my storyboard, I have arranged a two hour shoot in the green screen room.
My male character is Dan Morris and Rob Potter has kindly stepped in to head with studio setup!
I have booked out a Canon 5d Mark 3 and a dolly and prepared the actor for tomorrow!
I am looking forward to finally filming the sequence and If anything needs to be altered/ re-shot I could have another 2/3 weeks to resolve and edit.
IDEAS TO SHOOT
After a discussion surrounding dreams with my fellow Media Arts practitioners, a few notions were expressed.
Firstly, one of my peers mentioned that he recently had a dream whereby his hands slowly disappeared followed by a strange light headed sensation.
Hands are very expressive within our waking life and help us to describe and direct others, to loose them would be very limiting and increase vulnerability, I want to use this idea in my dream sequence and try to represent the idea with visuals as best as I can.
Secondly, everyone agreed that objects/ people/places can be represented in a completely different form yet we are still aware of the original form through other senses.
For instance, somebody that you know could be represented with a completely different face yet we are still aware of the original person, the same goes for locations and objects. I want to express this within my sequence also, by repeating an image that has been slowly altered between each shot.
During my dream sequence I am going to include a shot similar to this, whereby the character is apprehensively peaking through a hole, illuminating a small circle of light upon their face.
I feel this creates a feeling that the character has no control over the projections of their subconscious, appearing trapped within the unknown, the abundance of darkness also increases the vulnerability, not being able to see what is around them.
As they peak closer into the hole I will remove audio too, loosing two senses for further effect/ tension.
When the character looks directly at the camera, it has an effect on the viewer, almost breaking the 4th wall and creating a more direct link between viewer and character, it becomes more personal and generates a feeling that the subject exists within reality, not merely on screen.
I will consider this use of eye contact with the screen within the final piece, I do like the idea of connecting with the viewer on a number of levels.
Canon 5d Mark 3 – 50fps
Track/ Dolly for smooth “dream-like” camera work
I would like to use fog within the green screen studio if possible.
I want to use the green screen to create eerie backgrounds.
A girl being chased through her dream by a shadowy figure.
I am going to experiment with interesting transitions into the dream sequence too, such as a shot going into the face then moving backwards seamlessly into another location.
I keeping with my Dissertation, I explored a great deal of the theories relating to dream states.
Freud has an abundance of ideas in accordance to the subconscious mind. An idea I wish to take from Freud is the appearance of unconscious desires that are unrealized within waking life, this may aid my character/ narrative develpment
RitchieHuntMedi316 