R.E.D. ..... 1st Term 3rd year B.A Hons ...Top-Up

RED (Research, Experimentation and Development)

Schedule

My plan of activities will be to experiment with our group 2 with lighting and sound in Red 1. Form some new ideas from the lessons and lectures I receive and combine the two to develop the theory into practice for Red 2 and further. Utilising research I conduct in PCA’s, University’s and other libraries on the traditions of Film Noir and hallucinating…as my film will involve both.

The ideas for filming will follow the storyboarding and allow a lot of room for improvisation. There will be a series of 4/5 shoots to capture the relevant pieces that I can test lens,-focus pull, tilt-pan, lighting. Filters, camera, movement.b&w, chiaroscuro, actor realism for documentary/fantasy, sound and others.

This will involve three locations including a green screening and I envisage a lot of editing to eventually convey the nature of hallucinating and acting during the trip.

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year overview: Last updated: 12 june 2012

             Tim Francis’s     Year Overview

The type of work I’m interested in developing during the year will be making films on location and experiment with more projection installations. I like the screens used presently in our own studio theatre and would like to replicate something like that. Including investigating a lightweight, easy –mobile type version for outside screenings.
I really like Pipilotta Rist the Swiss film artist for her ideas and installations, revered in the Tate last year after the British Art Show., and the way she can merge videos into one another .
The iconic Bruce Nauman lives a life of activity as an artist and less creating ‘products’ of art, which is very inspiring…. and something I realized I have been doing and will continue to do.
Tacita Dean combines living in Berlin and exhibiting in the UK and her Tate Modern silent film using vertical screens incorporates passers-by and their sound as the audio…this is a method I will try to employ, similar to creating site-specific sounds on entering the exhibition or installations that enhance the experience of whatever I’m showing. Researching this further with other artists as I travel will be a learning and critical learning curve.
I intend to build up a series of do-it-yourself mobile installations screening my own films and live drum and poetry to film performances. Continuing collaborating with like-minded artists/dancers with these performances is a positive rewarding experience to be developed further.
Ideas for my dissertation about apocalyptic-type films and art will involve researching the likes of Francis Danby and his painting ‘The Deluge’ and ‘The Opening Of The Sixth Seal’ and conceive bringing them to life through film and relate the experience. One of his art mentors John (Mad) Martin was also seems to have inspired the megalomaniac cinema of Cecil B de Mille and DW Griffith. Researching the association of historic pieces of art and their inspiration to filmmakers over the years could be a valuable main theme of my dissertation.
These are all challenges that will help me push forward and take me into new intellectual territory that will take me out of my comfort zone and find and unleash new creativity. Which is one area of my practice I would consider weak and this would help develop that.
Increasing on my strengths to initiate and improvise in new locations with new artists and film crews etc. will pay dividends.
After the course I would like to make feature documentaries and to be fully conversant with being a practicing film arts installator. I believe these are both realistic ambitions and continuing to build on the contacts I made at Tribeca Festival will be a good form of networking while working abroad .The friendliness and professional attitude of filmmakers I met from all over the world are a great peer support apparatus. And an avenue for further work experience.
To be able to screen their short films in Plymouth Art Centre Cinema is a good start and I’m looking forward to Prime Cuts Festival that is coming up to learn more about our own English networking opportunities.

03/10/12

The new term's R.E.D. project will allow me to research the old masters and their influences on film makers through the years....e.g. Caravaggio on so many creative movies...and Gustave Dore's bible engravings impact on Cecil B De Mille the list will go on...and apocalyptic type artworks and how they shaped the inspiration for a lot of filmmakers...and my film scenario will include ex prisoners and their creativity unleashed as 5 tribes are left alive in an imagined post-world....and variation on these themes will dominate my year....with a post-graduate future aimied towards art in prisons and as an installation film artist....to be discussed at length with tutors this year....but the foundations have been laid.....tbc

           R.E.D. Initial Proposal
                       (Phase 1)

Name
Tim Francis

Outline of intended film project in terms 2 & 3(50 words)
The association of historic pieces of art and their inspiration to filmmakers over the years will be a valuable main theme of my year-long research , contextual and dissertation.
These are all challenges that will steer me into new intellectual territory that will take me out of my comfort zone .

Intended vocational area(s) of practice (50 words)
To research the old Masters and other artworks. How they are used in interpreting film workshops in prisons and how they influence inspiration for directors in mainstream films. To investigate fully through several reference libraries and interviews and conferences, etc. during this year and develop practically into a post-graduate practice.

Intended Action Research Activities.(150 words Bulletin points)
To learn the aesthetics employed by filmmakers in interpreting old Masters.
To evaluate myself the storytelling capacity in the equivalent of a ‘One- Frame- Image from the painting to use in my practice.
Kubrick, DeMille, Lean, Hitchcock, Jarmusch and others all benefitted form their influence.
This will encompass a range of research from various libraries, workshops, conferences, discussions and interviews etc.
Creating challenges, e.g. by adding extra tasks in this module will develop my own reasoning and taking responsibility for producing thorough work.
This will fit in with the films and dissertation later in the year and post-graduation.
Using a Canon 7D and Kodak play and trying out the Panasonic with converter could be interesting. After Effects in post will prove enlightening.
A good camera operator and lighting crewmember will be advantageous to the whole year’s projects.
Professional actors and original barren settings and an atmospheric soundtrack are needed.

RED 1&2 For Andy James

Throughout the year I will be pursuing how Arts in Prisons can help society and to enable a working platform for myself post-graduation.

I have started the year by attending a 4 day Arts In Prisons Conference and Workshops in Rotterdam in Holland .

This proved extremely rewarding...to work and network with art practitioners from around the world with a common goal of learning to facilitate the teaching of artists to apply workshops in prisons.

I have arranged to be included with the organisers in an ongoing capacity to replicate their modules here in Plymouth on a smaller scale and to eventually establish my practice across Europe.

The PEETA Project: Delivering Skills Through The Arts

International Conference
'UNLOCKING SKILLS FOR A NEW LIFE'

The Arts supporting Employability and Personal Effectiveness
September 27, 28 and 29, 2012 in Rotterdam, the Netherlands

"I had never been able to work with others before but this has taught me to listen and work together, not to just to follow my own ideas" - Dutch prisoner after music-theatre workshop.

Policymakers, artists and scientist worked together during 2 years of European exchanges, intensive workshops and research in 6 countries. This resulted in new ways of learning and new possibilities for art education in prisons and elsewhere and in a new certificate that will help them find their way in society.
We kindly invite you to share, discuss and reflect on the opportunities art education currently offers. During a three day international conference we will present some excellent results and explain what learning through the arts means to people in the margins of society. We will lay out its benefits for employers, the judicial system, policy makers and art-educational institutes.

The Conference
We aim to have some outstanding Dutch and European policy makers, artists and employers shine their light on the arts contribution to desistence, employability and the potential for learning through the arts. Additionally, inspiring speakers are being contacted to be with us at the conference.
The conference language will be English.

(Legal organisers: the international PEETA Team in cooperation with the Custodial Institutions Agency of the Dutch Ministry of Security and Justice)

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4/0CT 2012 2nd Group (Indie) Individual explanation and collaborative evaluational advice/suggestions....

Andy James as our tutor took our group of seven students through our intended project/module and how it would integrate into the next one etc.....involving testing ideas and how best to implement them ...e.g ...John Smith would improvise and develop along the way....Lyne Ramsay would work from still photos ...and Nick Park would use voices from people on animated animals' heads ...or we can question the nature of documentaries ...a conceptual idea could become mainstream.

INDIVIDUAL SUMMARY OF INTENTION FOR YEAR AND FIRST TERM FILM
Andy picked me to start off and I was enthusiastic with my explanation.....which is to incorporate the research of the old Masters paintings and other pieces of art that have influenced subsequent filmmakers....and I went into some detail of examples and veered into the prison art facilitating as a two-way combination of a mass prison escape in one of my third year films (or both) and how the actual representation of various art practitioners I put together for workshops in prisons ..is enabling me my own post-graduate business.
Andy suggested the influence of Concept Art could help me and I agreed....Sam elaborated on consulting 'Massive Black' on this very subject of which the images below have come from that give me ideas of how to portray some post-apocalypse images.

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Sam's ideas..... To garnish ideas from other artists and to work with LIGHTING in some way.To play around and investigate various methods.

Advice from Bev in our group was to read a book.. 'IN SHORT' .....Sam concluded he would work with other people eagerly.

Isaac's ideas ....To arrange a simple setting but to finish with something slick....using writing more than his previous efforts of imitation....low key with more narrative and proper actors (2-3)..influences ..David Lynch ..Von Trier...Fincher.
I suggested that psychological techniques studied and put into practice by police and security forces could be of interest (starting with 'Good Cop-Bad Cop scenario into intricate devices absorbed into this particular interrogation 'art'.

Gary's ideas....Writing in three different styles ...i.e. Script ...Novel and Poetic style.
To end up with a dry/realist type comedy film along the lines of inspiration from 'Royal Family'
I suggested if there was a possibility to combine 2 or 3 of them into one film with plot overlaps etc.

Ben's ideas ......Not much of an idea came to mind in particular ....but to direct a low-budget indie film ...Has been questioning himself to use more story-lines because he's bored with his mum's suggestions. He will like story-boarding and leaving room for serendipity .
Bev suggested Martin Scorcese's first film for inspiration
Sam suggested .....'Just do it' and set yourself a target to do it in one day for practice sake.
I suggested to focus on one particular theme and maybe compromise on his ambition to film an epic...by filming just one scene epically and /or in several ways.
Isaac suggested watching films he didn't like.

Bev's ideas Three experiments ,...creating obstructions and solve them .....to develop her ideas from the outline of a script ...and find the best way to film three different ways....in the combined styles of John Smith , Dogma 95, and New German Cinema...will gauge her 'best' film from feedback from group.
I suggested that maybe all three films would equally be valid and a best label is not necessary needed.

CONCLUSION...

This was the first 'Indie' group sessions for me and I found it a good source of interaction between members and with supportive and inspiration suggestions offered all round....Each person took turns with their ideas of making a film...I was under the illusion that what was needed today was not only that but also to give an impression of how we see our whole year unraveling ,and what to expect post-graduation....I was the only one who offered this ...and only partially had time to explain my ideas for my film....but thought I covered all of it in detail and proved I was on top of it.....which Andy actually agreed and I gained an insight into how best to set my objectives out more clearly...

Everybody offered at least some suggestions to the cohort to help develop their ideas ...This demonstrated a unity within the group that will only grow in time and an exchange of ideas look surely to follow with ease.......

Frieda who took part in the morning session wasn't present in the afternoon so we didn't learn her ideas ....we will probably become aware of them in due time.

05/10/12 Studio Theatre PCA with Andy James

A good opening session of this week's Friday's class was the screening of the original film by Jorgen Leth of Denmark who was the former tutor of Lars Von Trier ...who later set him the inspirational film challenge..."THE FIVE OBSTACLES".
I've seen both films before but it's always good to have a group sensation for collaborative feedback ...and to familiarise myself again with the challenges set by Von Trier and how Jorgen Leth overcomes them , or doesn't exactly....to be revealed next week.......his first task is to shoot in 12 frames in Cuba ...a reworking of his original film....and he said on screen it would be " A good perversion to cultivate" ..

To one of Andy's questions about how the we felt about the original 1967 film by Jorgen Leth
(in black 7 white with the Perfect Human , man and woman) him dancing and shaving etc   face to camera mostly ...her not at all to camera....with considerable voice over..)
....I replied it could have be a post second-world war pastiche....satirical in nature about the German Super Mensch....and if the voice overs were changed there could be a totally different effect with the film.

Hello Andy     Below is the the film I made yesterday...my interpretation of Jorgen Leth’s 1st Obstacle challenge by Lars Von Trier in Cuba...mine is set in Jamaica ...and I filmed the smoke scenes with a simulated spliff yesterday and edited further in Adobe After Effects ..as with the green screen effect for in the Jamaica setting of my alternative interpretation...using the audio from his Cuba film in the first clips and also utilising the voice-overs from the original ‘The Perfect Human’ he made

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THIS IS A PART OF SOME CONCEPT ART FROM THAT SAM(my cohort) and ANDY JAMES (tutor) SUGGESTED (in our ‘Indie’ group.)…
conceptart.org

This has inspired me….I like the way various moods and locations can be captured with shape, colour and delicate brush strokes as suggested…. Because this opens up a totally new avenue …Animation is something I need to study …as some of my visual imagery ideas are well suited to this form …in fact lately…a great deal of the creative storylines and character driven plots I’ve been working on would be perfect for animation…

Oerd van Cuijlenborg "An Abstract Day’ (2009)

An Abstract Day might well be misinterpreted by the family should they just overhear the sexually explicit soundtrack. Dutch animator Oerd van Cuijlenborg's film is described as semi-abstract which, sadly, is a turn-off for some but this is a class piece and sustains interest for its entire five minutes. It follows a day in the life of a couple from awakening to the sound of traffic and kites shrieking past their apartment to the heat of a city, escape to the countryside, thunder storm and evening peace. The director's ability to capture the various moods and locations with shape, colour and the most delicate of brush strokes is remarkable: the rural and urban scenes, the heat and the passion. In fact the screenshot is rather less abstract than the general film but, artist that I am, I felt it suited the design of my blog more than naked flesh with pulses of light and life bouncing about. Unlike some critics, I liked the soundtrack. And I should note that I've entered the summer vacation period where exotic lands beckon so the posts will be sparse.

Hello Andy ...here is the updated Blog link to illustrate my thinking so far and an assessment of today’s group (Indie) discussion... (04/10/12)

http://timo3rdyear.blogspot.co.uk/2012/10/i-deas-for-r.html

…........and here is the result of our lighting test on the 05/10/12 with comments as analysis in log reflection form with the video clips of what I consider the actions to learn from and take forward..This helped me understand in more depth the complexities in working in a group...by assigning us together without specific crew roles was designed for us to be thrown in the deep end...and this worked ...communication was at first slow and sometimes people wouldn’t access new ideas readily and ‘labelled ‘ them not simple enough...so the creative risk-taking initiative was lost...because of not being able to release their comfort blanket .hence the group didn’t perform to their utmost ability...but nevertheless enjoyed learning the actual task of the actress ‘Finding’ her light and quite successfully we filmed some good examples....and the management , and taking control of an actress’s role ..in the Dir’s context was achieved and will be taken further in the R.E.D. module..
Over all the exercise gave me ideas to take into my own practice ..for lighting ..being able to use multi-senses to note where you are in the light , as an actor, to notice things,objects on the edge of your periphery vision for instant marking -the-spot referencing ..and being able to move from side to side to realise when the light shines on different parts of one’ face ….bringing a hand up , and noticing the change of direct light on to it ..also if the light shone on the nose( and was picked up by the eye) all these things can combine with learning your lines ..and the narrative in the dialogue is key to your particular piece in the light....and spending time with the lighting technician before shooting to run through all this is good preparation....the professional use of “Blocking” on a stage to know when not to turn side on to the audience can apply to the light in filming and the choreography of your fellow actors will determine your mark (with practice)..
….. and for directing i learned hoe to take an actor aside to help them dilute the vision into bite-size chunks...for them to grasp the theme and install their own interpretation (either direct improvisation) or reasoned assumption or Emotional Method Acting as per Stanislavski

https://vimeo.com/home/myvideos

…...and this is the link to the group’s experiments (Bev,Gary and myself carried out yesterday 11/10/12...we varied our image building with a cross section of improvised materials... We especially liked the idea of the overhead projector …..eventually I suggested to the group about the theme of African Drumming as sound and African sunsets and sand -scape's glimmering sunshine to be ‘manufactured ‘ by our collaboration with the 2nd years later....and they think it’s a good idea....we will develop it further today (Fri 12/10/12)

We had a very productive session working out our theme a bit more deeply and investigating the aspect of ‘Shadow Puppetry/Images to perform our brief in room 1.22 next Thursday...The addition of Simon and Kan to our group fulfills the roles and decided to be …

Tim..............Dir-Actors
Gary............Dir-D.O.P.
Bish(op,T.)...A.D.
Bev.............Log/Journal
Simon.........Log/Journal
Kan.............Log/Journal

I took some print outs of African warrior and animal silhouettes to share the concept of the vision....this helped immediately as everyone offered a myriad of ideas ...and we finally narrowed it down to the shadow puppet scenario with building a miniature set to simulate a day in Africa...from Sunrise to Sunset with using water effects to simulate the shimmering of sand in the desert or general African landscape...and other effects ...using pins from ‘Staples’ securing to puppet shapes to enforce movement....and to try for the waterfall effect of what was know as Victoria Falls (Mosi-oa-Tunya) The Smoke That Thunders.....of which we will try to create ...some in abstract , poetic form will emerge ….and to take my African musical instruments with me to the actual shoot to use and performing the actual drumming myself to tie in the rhythm of the piece live and to maybe use recorded sounds also and with my friend Abi ‘s(Zimbabwe) professional Story telling audio as ambient live sound and voice in post.

The 2nd years will benefit from a dedicated pre-workshop package with floor lay-out and lighting plan ..and general summary of theme as a task and for each of their crew roles to take to immediately...the A.D. will have a check and run through with them prior to the actual set-up and test and final shoot

ttps://vimeo.com/51271912

    LIGHTING EXPERIMENT (2ND/3RD YEARS) 15/10/12
This was a productive workshop. …Just us 3rd years preparing cutout African animals and warriors etc. and arranging them for the Light Projector to create images on the wall.
We speculated and came to an agreement with how best to use our intended moving image sequences (put into practice by the 2nd years this Thursday)…. with the use of Dado lights to create a kind of shimmering sun effect. And to try for a glistening water effect.
I’ll be bringing in an African drum to play for ambience and also for the 2nd years to work in a rhythmic style. Also I’m bringing some percussion and other African music instruments/artifacts to create an African feel.
This session today let us develop our ideas a bit more and work together with some foresight into our plan on the day.
We worked well as a group in our designated roles and I filmed some of the workshop.. to email as a link on Vimeo within Google Drive for our A.D. Tom Bishop to give to them as part of the information pack just prior to the assignment.
I emailed Tom Bishop as our A.D. in the 3rd/2nd year lighting group with the link below to administer to the 2nd years just before our 11 am start on Thursday 18/10/12 in room 1.22.(as per module brief)
Also I’m installing the film on each of the Macs in in Workstore in room 1.22 ..entitled Isaiah.....for whichever option works better on the day for the 2nd years to access the info quickly.

https://vimeo.com/51546675

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This is the story board I made for the benefit mostly of the 2nd years as we 3rd years are aware of our plan..which I emailed to our A.D. for their information pack along with the video I made of our 3rd year initial workshop for lighting experiments.
We can all learn of how the task is prepared and thought out and how best we can test it and take it further on the day and take note of the failings if there are any...and also reflect on how we can use some of this experience in our larger R.E.D. project.

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This is the link for the Kodak play filming of the my directorial role with the 'actors' and showing how well we all combined and shared ideas between 2nd and 3rd years on the lighting/sound test in 1.22 0n the 18/10/12 …

https://vimeo.com/52074602

The communication was flowing between all contributors and a professional attitude was evident throughout...

...there are a number of things I wll take with me into my R.E.D modle and further...eg, :- the use of light to empasise mood and perspective...and this inspired me to use shadows in a film noir setting for my apocalyptic film theme with a painting weaved into my storyline ..depicting the use of hallucinogenics by various artists (masters and modern) in reality and fantasy.

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Here is the link to our 2nd/3rd years actual finished 2 minute film of our lighting /sound test. (18/10/12)

https://vimeo.com/51807254

It turned out to be a very good entertaining piece....and the best thing I learned from it was the ability to cultivate a good film shoot is to have everyone on board to help morale and enthusiasm and an actual love of what we are trying to achieve.

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This is the link to a lot of the 2nd/3rd year lighting/sound collaboration on the 18/10/12 filmed by the Kodak Play to help identify what our whole team can take with them into the future.

https://vimeo.com/52077491

There is a lot of cohesion and energy flowing throughout the exercise and this is something to replicate.

Improvisation and experimenting is rampant and produced with confidence.

The second part of the lighting test is conclusive with the blending and change of colour filters to heighten mood and action on screen.

The live drum and percussion excelled what we had previously expected...with other volunteers in the cohort learning to play to the actual images ...for timing and pathos...and they enjoyed it....

The thing I would change if we did it again or taken to the next level would be to make sure a hundred percent of the crew were on board with the collaboration...just two people not taking part and sniggering on the side is not condusive to a professional and progressive shoot.

Also I would try to have the percussion players practice together beforehand....but if as this project dictated then not knowing what was going to happen is also a good test of focusing improvisations into relevant scenes etc.

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Below are sketches I made during our lecture with Andy James ….This had a big effect on me....especially the perspective point of view...I learned more in 10/20 minutes of Andy drawing us some examples of perspective with the table etc....than I ever learned in art classes for years.....so simple and effective....

Directly below is also professional reviews of John Smith’s film ‘BLIGHT’....This is the 2nd time I watched it and I relished the chance to discuss it’s merits …..I will definitely be taking his way of mixing images and sounds and using them in fact and fiction for my R.E.D. module film.

Taxi Driver’s original storyboarding was simple and to the point to help Scorcese’s cinematographer understand his aim.
I also am fascinated how he was in turn inspired by ‘The Searchers’ and in fact Taxi Driver was his version or at least in essence.

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And all these perspective sketches have helped me realise ..not just camera angles ..but how to construct a set to accommodate optimum shooting angles and the positioning of characters and how to use them in ’blocking’ techniques .

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GROUP 2 Lighting/Sound Tests (18/10/12)

‘HUT UP’

Here is the Production Pack

Info for Andy James from Tim Francis for the Lighting/Sound Tests 2nd/3rd year collaboration 18/10/12
(Coinciding with ‘Black History Month’)

https://vimeo.com/51807254 this is the link to our 2nd/3rd year 2min final film screening

https://vimeo.com/52143686 This is the link to the extra film I made inspired from our group film

https://vimeo.com/52182676 This is the link to the ‘making of’ and documentation of the lighting/sound test with the extra two screenings at the end

https://vimeo.com/52183735 This is the link to a further 6 min film I made inspired by the group film.

And all these perspective sketches have helped me realise ..not just camera angles ..but how to construct a set to accommodate optimum shooting angles and the positioning of characters and how to use them in ’blocking’ techniques ….....................

Reflective Log LIGHTING TEST 2ND/3RD YEAR COLLABORATION

Date
time,
scene………………………..
18/10/12

What occurred?
…………………………………
WE HAD 3 PEOPLE ON REFLECTIVE LOG…SINCE BEV WAS INVOLVED FROM THE BEGINNING AND SHE WAS A FULL TIME PERSON WITH THE PROJECT…IT SEEMED APPROPIATE FOR HER TO BE THE MAIN OVERVIEW LOGGGER….
KAN AND ALIX AND SIMON WERE TO BE THE OTHER LOGGERS SEPARATED INTO ONE FOR THE 2ND YEARS ANALYSIS AND ONE FOR THE 3RD YEARS,,,AND THE OTHER FOR AN APPRAISAL AND DOCUMENTATION OF HOW THE COMBINATION WORKED FOR THE SCREEN….ON THE DAY SIMON TURNED UP WITH A STILLS CAMERA TO RECORD SO 2 OF THE OTHERS WERE SPLIT BETWEEN THE PERCUSSION AND LOGGING WHICH WORKED FINE

What I thought about it?
What have I learnt? ………………………………………………………..TAKE THIS CONCEPT INTO THE R.E.D MODULE AND FURTHER INTO MY PRACTICE POST-GRADUATION.

THE EXPERIENCE OF WORKING IN A CREW GIVES ME THE IMPETUS TO CONTINUE ..EITHER WHERE THERE IS FUNDING OR VOLUNTEERS ARE EMPLOYED.AND I LEARNED HOW TO BE AT EASE WITH OTHER COHORTS…IN MY PARTICULAR ROLE HERE AS DIRECTOR OF ACTORS….I LEARNED THAT IT WOULD BE BETTER TO TAKE ANY NEW CONTRIBUTORS TO A COHORT ASIDE FOR A PEP-TALK OR EXCHANGE OF IDEAS ..AWAY FROM THE SHARP-END OF THINGS.TO LET THE 2ND YEARS HERE HAVE A CREATIVE FREE HAND WAS GOOD …THE OTHER THING FROM THE SESSION IS THE SOUND ELEMENT AND THE SECOND LIGHTING ..IF THEY OR SOMETHING SIMILAR WERE TO BE UTILISED THEN WHEREVER POSSIBLE TO PRACTICE BEFOREHAND OR SET ASIDE AGAIN SOME ONE-TO –ONE FOR GUIDANCE ..THEN A QUICK RUN THROUGH AS A GROUP.

What would you do differently?
What can I do with it?
How I can follow it up, share it, apply it now or in the future etc………………………………........ THE SNAGS WEREN’T MANY …BUT HAVING FULL 100 PERCENT INPUT BY ALL MEMBERS OF A CREW IS IMPERITIVE….SO THE ABILITY TO TRANSFER THE LIVE ENTHUSIASTIC ATMOSPHERE THROUGH INTO THE WHOLE CREW AND ONTO THE SET WITH ACTORS IS A BIG PLUS.TO ENCOURAGE AND DELIVER OPPORTUNITIES FOR THE VARIOUS ROLES TO CONFORM TO THE SCHEDULE ..BUT TO BE ALLOWED FREEDOM TO INTERPRET THE DIRECTIONS CREATIVELY.THE ACTUAL LIGHTING TESTS HAVE INSPIRED ME TO DEVELOP A FILM NOIR TYPE SCENARIO IN THE STORYLINE AND ALSO WATCHING THE CUT-OUT FIGURES HELPED ME VISUALISE A GREEN SCREEN OF ONE ACTOR TO BE USED IN AN HALLUCIOGENIC SETTING OR SIMILAR…TO DO WITH THE APOCOLIPTIC IDEA OF THE MASTERS OR MODERN PAINTERS INFLUENCED BY THE VARIOUS DRUGS.

GROUP 2 Lighting/Sound Tests (18/10/12)

‘HUT UP’

Here is the Production Pack

LIGHTING EXPERIMENT (2ND/3RD TEARS) 15/10/12
Tim Francis..Dir. Actors
This was a productive workshop. …Just us 3rd years preparing cutout African animals and warriors etc. and arranging them for the Light Projector to create images on the wall.
We speculated and came to an agreement with how best to use our intended moving image sequences (put into practice by the 2nd years this Thursday)…. with the use of Dado lights to create a kind of shimmering sun effect. And to try for a glistening water effect.
I’ll be bringing in an African drum to play for ambiance and also for the 2nd years to work in a rhythmic style. Also I’m bringing some percussion and other African music instruments/artifacts to create an African feel.
This session today let us develop our ideas a bit more and work together with some foresight into our plan on the day.
We worked well as a group in our designated roles and I filmed some of the workshop.. to email as a link on Vimeo within Google Drive for our A.D. Tom Bishop to give to them as part of the information pack just prior to the assignment.

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NOTES AND SKETCHES AND EXTRA VOICE-OVER IDEAS

Reflections
The lighting, lenses and performance tasks in the studio theatre enabled us all to break off in groups and improvise the learning outcomes, setting ourselves mini-challenges to overcome. This proved beneficial to realise that in a real world scenario this happens a lot and being prepared and experienced is vital.
We will all reveal our findings to each other’s groups and this accentuates the adage that ”the best way to learn something is to teach it”
I learned that even if I’m so sure of the best way to proceed within a group in with my ideas…that this can be modified completely into listening to the other viewpoints and while I may consider them ineffectual or the wrong direction, for example…there is still new findings or solutions to be capitalised on from their experiments and conclusions.
There are many aspects that arose from our tasks that can be further investigated …such as the ‘Method’ way of enacting a scene with all the emotional memory connotations…trying out various focal lengths and lens changes with the aid of lighting techniques to accompany the performance and even emphasise it.

I really like the conceptart.org site suggested in our group class by Sam(cohort) and Andy James (tutor)…I have registered and the animation way of storytelling is something I could do with practicing with …and generally learning about.

THIS IS A PART OF SOME CONCEPT ART FROM THAT SAM(my cohort) and ANDY JAMES (tutor) SUGGESTED (in our ‘Indie’ group.)…
conceptart.org

This has inspired me….I like the way various moods and locations can be captured with shape, colour and delicate brush strokes as suggested…. Because this opens up a totally new avenue …Animation is something I need to study …as some of my visual imagery ideas are well suited to this form …in fact lately…a great deal of the creative storylines and character driven plots I’ve been working on would be perfect for animation…

Oerd van Cuijlenborg "An Abstract Day’ (2009)

An Abstract Day might well be misinterpreted by the family should they just overhear the sexually explicit soundtrack. Dutch animator Oerd van Cuijlenborg's film is described as semi-abstract which, sadly, is a turn-off for some but this is a class piece and sustains interest for its entire five minutes. It follows a day in the life of a couple from awakening to the sound of traffic and kites shrieking past their apartment to the heat of a city, escape to the countryside, thunder storm and evening peace. The director's ability to capture the various moods and locations with shape, colour and the most delicate of brush strokes is remarkable: the rural and urban scenes, the heat and the passion. In fact the screenshot is rather less abstract than the general film but, artist that I am, I felt it suited the design of my blog more than naked flesh with pulses of light and life bouncing about. Unlike some critics, I liked the soundtrack. And I should note that I've entered the summer vacation period where exotic lands beckon so the posts will be sparse.

Hello Andy ...here is the updated Blog link to illustrate my thinking so far and an assessment of today’s group (Indie) discussion... (04/10/12)

http://timo3rdyear.blogspot.co.uk/2012/10/i-deas-for-r.html

…........and here is the result of our lighting test on the 05/10/12 with comments as analysis in log reflection form with the video clips of what I consider the actions to learn from and take forward..This helped me understand in more depth the complexities in working in a group...by assigning us together without specific crew roles was designed for us to be thrown in the deep end...and this worked ...communication was at first slow and sometimes people wouldn’t access new ideas readily and ‘labelled ‘ them not simple enough...so the creative risk-taking initiative was lost...because of not being able to release their comfort blanket .hence the group didn’t perform to their utmost ability...but nevertheless enjoyed learning the actual task of the actress ‘Finding’ her light and quite successfully we filmed some good examples....and the management , and taking control of an actress’s role ..in the Dir’s context was achieved and will be taken further in the R.E.D. module..
Over all the exercise gave me ideas to take into my own practice ..for lighting ..being able to use multi-senses to note where you are in the light , as an actor, to notice things,objects on the edge of your periphery vision for instant marking -the-spot referencing ..and being able to move from side to side to realise when the light shines on different parts of one’ face ….bringing a hand up , and noticing the change of direct light on to it ..also if the light shone on the nose( and was picked up by the eye) all these things can combine with learning your lines ..and the narrative in the dialogue is key to your particular piece in the light....and spending time with the lighting technician before shooting to run through all this is good preparation....the professional use of “Blocking” on a stage to know when not to turn side on to the audience can apply to the light in filming and the choreography of your fellow actors will determine your mark (with practice)..
….. and for directing i learned hoe to take an actor aside to help them dilute the vision into bite-size chunks...for them to grasp the theme and install their own interpretation (either direct improvisation) or reasoned assumption or Emotional Method Acting as per Stanislavski

https://vimeo.com/home/myvideos

…...and this is the link to the group’s experiments (Bev,Gary and myself carried out yesterday 11/10/12...we varied our image building with a cross section of improvised materials... We especially liked the idea of the overhead projector …..eventually I suggested to the group about the theme of African Drumming as sound and African sunsets and sand -scape's glimmering sunshine to be ‘manufactured ‘ by our collaboration with the 2nd years later....and they think it’s a good idea....we will develop it further today (Fri 12/10/12)

We had a very productive session working out our theme a bit more deeply and investigating the aspect of ‘Shadow Puppetry/Images to perform our brief in room 1.22 next Thursday...The addition of Simon and Kan to our group fulfills the roles and decided to be …

Tim..............Dir-Actors
Gary............Dir-D.O.P.
Bish(op,T.)...A.D.
Bev.............Log/Journal
Simon.........Log/Journal
Kan.............Log/Journal

I took some print outs of African warrior and animal silhouettes to share the concept of the vision....this helped immediately as everyone offered a myriad of ideas ...and we finally narrowed it down to the shadow puppet scenario with building a miniature set to simulate a day in Africa...from Sunrise to Sunset with using water effects to simulate the shimmering of sand in the desert or general African landscape...and other effects ...using pins from ‘Staples’ securing to puppet shapes to enforce movement....and to try for the waterfall effect of what was know as Victoria Falls (Mosi-oa-Tunya) The Smoke That Thunders.....of which we will try to create ...some in abstract , poetic form will emerge ….and to take my African musical instruments with me to the actual shoot to use and performing the actual drumming myself to tie in the rhythm of the piece live and to maybe use recorded sounds also and with my friend Abi ‘s(Zimbabwe) professional Story telling audio as ambient live sound and voice in post.

The 2nd years will benefit from a dedicated pre-workshop package with floor lay-out and lighting plan ..and general summary of theme as a task and for each of their crew roles to take to immediately...the A.D. will have a check and run through with them prior to the actual set-up and test and final shoot

ttps://vimeo.com/51271912

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	REFLECTIVE	LOG/JOURNAL
DATE	WHAT OCCURRED	WHAT I THOUGHTABOUT IT..WHAT I LEARNED	WHAT I WOULD DO DIFFERENTLY. WHAT CAN I DO WITH IT..HOW CAN I FOLLOW IT UP, SHARE IT. APPLY IT NOW AND FUTURE.

27/09/12	RED Assignment given	I thought it was a great concept. I learned that our study this year was going to be about envisaging. analysing and implementing ideas and evaluating the progress..to be objective and to include the mistakes into my practice after learning from them and take the learning outcomes into future projects	I would have highlighted my expected learning outcomes early to compare notes of eventually what happened. I can follow it up by being aware of these steps to document everything at every time available. In fact , in the future ..to make time for the documentation of thoughts more , because they are equally important.
04/ 10/12	Formed groups (I’m in 2) We were given an explanation of how our module would progress from RED Stage 1 into RED Stage 2	This was a good way to share ideas and get some feedback. I learned how we would have the opportunity to experiment and test ideas in Red 1 and analyse the results to take (and further spin-offs into Stage 2 and beyond)	I would have enquired more of my peers of their ideas. I will ask them more of how they plan to accomplish it.I will share mutual ideas more and to liaise to collaborate more now and in future. I can show my tutor and peers the result for feedback.

05/10/12	Five Obstacles (Jorgen Leth) screened	I thought this was brilliant, and because I had seen it before, I was more attentive to the concept of it and how difficult it must have been. I learned that I’m right to keep challenging myself for filming ideas, just as this challenge was given by Lars Von Trier	I would have more questions of the professional relationship between Leth and Von Trier. I can take the idea of the dancing scene and apply it to myself but in Jamaica. I will try filming myself dance in front of green screen. I will apply it by filming myself with the smoking aspect for Jamaica in response to the renewed Cuba cigar film by Leth and combining the two with parts of the original and secondary ‘The Perfect Human’ audio as voiceovers. This concept of voice over use is definitely something to take into Red 2 and very much so into future projects.
05/10/12	Light experiment Studio Theatre	I thought this was a good way to get stuck in and work something out of the mild confusion that was designed for us to navigate. Actors need to use all their senses to be aware of the light…eg on their face/eyes/nose. Director’s role- to engage with lighting technician prior to shoot more …and also how taking actor aside to clarify intention of shoot is a good idea. The use of ‘Blocking’ by the actors can help tremendously with utilizing thee light to best advantage. That sometimes, going for the risky shot could pay off dividends.	I would have suggested that as we were thrown in the deep-end as such to organize ourselves ….it would be more incisive to ring round and diplomatically thrash out distinctive roles there and then to progress quicker…. I can use the experience of working with the actor more into Red 2 with more understanding. I can take the use of aiming the light at the eyes for effect into my film (as per Apocalypse Now with Brando) in a Film-Noir type scenario. I can share this with other students who have similar ideas. ..And definitely use it in future on inside and outside locations
11/10/12	Group 2 Lighting tests/experiment (Overhead Projector)	I thought this was a good chance to use an African theme (It was Black History Month) And I was up for The Equalities & Diversity Officer for student union again and this would be a great chance to use African Drumming as a live percussive sound to aid the ‘actors’ cut-out figures of warriors and animals etc. to be operated by the 2^nd years in our collaboration. I learned that we worked better together when everyone had a job to do and could get on with it quietly and efficiently. Also, that our use of an over-head projector would open up the possibilities of improvisation on the day. We tested this aspect and I learned how to envisage scenes in the surmised 2^nd/3^rdyear collaboration brief ..then to capitalize on the storyline of depicting sunrise to sunset	To have everyone in the group attend the tests/experiments and to answer emails would have been more professional….I can allow for this in future projects and try to communicate with the other crew-members in different ways i.e. telephone , prompting meetings etc. I can follow up the use of the colour filters in my intended film and how to convey emotion with lighting gels. Sharing the concept of experimenting in a fun way with a crew in the future is a good way to progress. The idea of using live percussion is definitely something to pursue more in the future.
18/10/12	Lighting test/experiment 2^nd/3^rd year collaboration. ‘HUT UP’	I thought this turned out brilliantly. So much enthusiasm and a real tangible drama/tension type feeling permeated in a positive way. I learned as my role as Director that having a good morale and clear and concise roles for everyone _but room to improvise and create as a collective) was essential. Also that the use of perspective and how to manipulate light can really alter and signify emotional scenes quite a lot. That the integration of newer crewmembers can be accommodated with a shared creative drive and enthusiasm for the project.	I would have made more time for the percussion improvisations to blend a bot more, with a bit of a practice away from the shoot. I would make sure that we tested the lighting aspects a bit more rigorously with a range of water effects for shimmering explored. I can follow this with using the shadow effect that I imagined from the experiment in my film-noir Stage 2 for RED. I can share this with the new crew for it and apply it to the use of shadows on the wall behind the subjects and the use of a chiaroscuro effect of black & white contrasts.
19/10/12	Lecture Andy James John Smith’s ‘Blight’….and Perspective	I thought this was great and so informative in such a short space of time. I learned so much about perspective in drawings in 15 minutes than in a lot of ‘art’ lessons. And learned that the use of actually drawing a scene or character really does help with understanding camera positioning and perspective in general. I watched ‘Blight’ for the third time…and I could watch it again….This evoked so much admiration….especially for the period it was set in reminded me so much of my local landscape…and how even today we can use all our local society’s architecture destruction/new construction to show ‘progression’ as a metaphor in film .	I would make more time for more drawing practice as this is very beneficial. I can use the actual diegetic sound of a shoot more and to a greater influence in the finished work …and the use of emphatic silence speaks volumes …also using the local sounds in a musical fashion complimenting the score of the piece. With perspective drawing I can always use that now and in the future sharing ideas easy with colleagues or prospective clients
02/11/12	Discussion with prospective actors and layout of location	I thought this was a good meeting and explained my concept for the film as a type of noir and documentary type piece on the use of Magic Mushrooms I learned that creating enthusiasm seems always the best policy to engage a constructive crew	I would change my way of communicating my ideas with a few examples visually of other works that conjure up my vision easier for the crew. I will follow this up at every opportunity with having a stock-pile of visual clues on my hard drive for each project and sharing it with all concerned. And in the future to maybe send it ahead digitally so they have a better idea and time to digest information.
03/10/12	Film Shoot in , and outside Warehouse	I thought this was a really interesting experience. The ‘actors’ and lighting member all drank ‘Magic’ Mushroom tea and I was to document it and to direct them to act out the drama scenes of stalking and an attack with a knife on the ‘lovers’. I learned that trying to capture a darkish type action with the brevity of humorous acting scenes was a winning combination and waiting patiently for a creative element to be sparked is advantageous. Also that having a chance to experiment quite freely with our location and relatively few time constraints led to a free-flow of ideas and capture time was left open.	I would change only the amount of equipment I used …I would have more lights and another Canon 7d camera to roam with while the other was in a set place. I can use this very effectively in post , the shadows were good and the feeling of an unusual activity came across well that I could share with them before the next series of shoots. I can take this experience with me into the future also for the understanding that some reality type scenarios can match up with fantasy scenes admirably.
10/11/12	2^nd Shoot in different location (Art Squat)	I thought this was a very good shoot with everything going to plan ….I had shown the two actors the storyboards earlier and the general plan of capturing them full on with the painting behind and then some over the shoulder shots. I learned that there is no amount of total pre-preparation that should be attempted. As I could have done with more props on set for their ‘monster hallucinations- type effect …I also learned that the coaxing of acting in non-professionals can have a beneficial effect with their performance and to try and not prolong different takes for scenes when they show signs of restlessness	I would change the idea of using coloured filters to using gels instead…and maybe rig up a better sound apparatus than just the zoom recorder (with directional/boom mics etc.) as the rain on the roof played havoc with the audio. I can definitely use this in post to weave as flashbacks. I can further the hallucination aspect from Glynn viewing the Gallery owner (Aaron) within After Effects for a distorted facial expression etc. Also to film Glynn in college in front of a green screen to enable him to be ‘tripping’ in front of the painting.
12/11/12	Film shoot 3 (Aaron)	I thought that capturing Aaron separately with some close-ups and looming in and out simultaneously would be good. I learned that the use of communicating ideas sometimes by personal demonstration can help things progress smoothly	Changing he shooting angle to one of a Dutch-Tilt may have aided a more eerie type facial expression I wanted to convey. I can use this quite well in post with the effect of Aaron’s face becoming a nightmare for Glynn’s character from the Green Screen. Taking it further with maybe Glynn shooting Aaron’s enlarged features in painting or using a knife and fists etc. The use of Green Screening and multi-layering of composites is something I like to use for abstract portrayals and I can see this being used more effectively in the future within various projects.
14/10/12	Film shoot 4 (Green Screen)	I thought this would be the best way of trying to emphasize Glynn’s ‘tripping’ potential. I arranged and demonstrated for him the type of movements to act out with and without the replica gun and knife.	Changing his perception of what was required would have been easier with a few videos or photographs (of similar actions I perceived,)to look at previously I can use this very effectively in post for the overall hallucination –type effect. Sharing the images with him and the others in case I need to film some more similar scenes. Taking this experience of Green Screening and the managing of mutual time schedules and room hire availability is something that I can always implement.
15-28^th/11/12	Editing ‘Trip Noir’	I thought this would be a challenge …and it is ..Very much… I learned that what I envisage beforehand when actually filming is not always going to come out exactly that way…but also there are unexpected images and sounds that come out of it too. I also learned that , like in life , collecting and saving every bit of information is not always the best scenario…and to make sure that hard-drives are cared for better and to be aware of other alternatives of software are investigated…and that to keep on the good side of working colleagues is a good principle to have.	I would change the amount of editing down to a more manageable size…weigh up the time constraints against material to be captured beforehand and continue to challenge myself creatively but not so much with unnecessary work over-load. I can use it to measure myself against and when presenting it to the class and tutor…make sure I take great notice of advice of what to change or accent further etc.. This can be replicated many times in the future to have work independently reviewed by friends/strangers/professionals etc. before hand-in or to a client.

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CRITICAL EVALUATION NOTES

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CRITICAL EVALUATION

Research, Experimentation and Development.

My research project has always consisted of a need to find out more about the past Masters of art and their influence on filmmakers. How Caravaggio inspired Scorsese, Jarman and Film Noir in general. Why Rembrandt invokes creativity in Tarkovsky and Greenaway; Gainsborough for Kubrick; Edward Hopper on Terrence Malik and so the list goes so invitingly on. This module has unleashed a wonderful opportunity for me to reach inside the minds of the world’s finest filmmakers, via the soul of the most gifted artists that have ever lived.

I have been reading ‘The Apocalyptic Landscapes’ by Ludwig Meidner and ‘Apocalypse: Beauty and Horror in Contemporary Art’ by Norman Rosenthal. Both highly referred to for German Expressionism and thereby, Horror and Noir. I requested our college library to order ‘Cinema and Painting: How Art Is Used in Film’, a book by Angela Dalle Vacche and it has just arrived. These books help me immeasurably to grasp an insight into the visions of both artist and their homage-guided film counterparts.

I started implementing my development programme with these ideas on a theory basis and searched for more academic literature and reviews to compliment them. The amount of references in this field seems inexhaustible and I relish the knowledge I am gaining from my pursuit.

Practically I have made headway in conceiving a plan for delivering Art into our local Prison/Probation service. I mentioned this in my R.E.D. Initial Proposal and in September I attended a four-day conference and workshop concerning Europe ‘s problems with these issues. Devon and Cornwall’s head of probation and ‘Superact’, a deliverer of similar projects, have agreed to help me initiate this project.

The creation of my own company to facilitate multi-media art workshops will not only help in my own post-graduation career, but will be a really useful social enterprise by helping prevent criminal re-offending. I will be utilizing famous paintings with their corresponding films to engage the offenders and even targeting the youth groups who are most likely to offend. With the old adage that prevention is better than cure. The screening of short films from around the world I have permission to show will be a very good introduction for them. I will be teaching art practitioners on how to present their workshops. In particular using projected images on a variety of surfaces and a mobile cinema will be an area for development. This will include African Drumming workshops, poetry, singing and dancing already commissioned by our Probation Service in February of next year. These ideas were mentioned in my year overview and also connecting me to the experience of shooting films on location. This is something that I enjoy and will take with me into my final Show Reel film and my professional filming life. The increasing use of creating audio/visual installations will be a pleasurable vocation for my more aesthetic ideas.

I identified with the paintings that I initially researched and saw in them, and their reviews, an artistry that beckoned me to find out more on the artists’ personal lives. This led me to understand their socially and demographic upbringing and their motivations. At the same time regarding the political and religious climate that was reflected in their art. Furthering this principle endeared me to an appreciation and to contemplate how I can also use their inspiration in my film practice. Ideas came readily and I collaborated with an artist friend who specializes in tradition painting and sculpture to involve his work in my film. This will also play a big part in my final film next year with apocalyptical images integrated into his paintings. The actual theme I used of hallucinating for real then acting as a response would serve as a documentary –type fantasy film. This came about from the idea of combining my love for Film Noir and the aesthetic philosophy of realism on a slightly taboo subject. Watching ‘fear and Loathing in Las Vegas’ with Johnny Depp gave me an idea for manipulating and distorting Aaron’s face/eyes in the slow-motion scene. The lighting tests we experimented as a group gave me the idea to use a chiaroscuro effect as Film Noir contrasting the dark and light with shadows. During our studio theatre ‘improvised ‘ sessions with ‘catching’ the light in her face helped me to conceive a lot of the scenes in ‘Trip Noir’, especially in the warehouse but I tested a lot of light and shadow on the ‘Stalking’ outside mise -on –scene. The perspective lesson with Andy guided me towards using the ‘Dutch-Tilt/Angle’ shots.

The defining moment was John Smith’s ‘Blight’ film which really made me reflect on my own life and how the experience can be used in creating and developing my own film practice with special use of audio voice over with diegetic sound. This would increase ambiguity of shock being displaced for astonishment and atonement from the characters. It also proved to be a confirming alignment and propensity to provide metaphor via social dependency with natural drugs and the direct link with creativity and insight.

On reflection watching to many clips for inspiration was preventing me from clarifying my own inventions. These were informative and contextual but I needed to envisage for myself within this project to test myself. Having limited time to arrange mutual filming schedules to coincide with available space in the Cove Studio detracted me from furthering other ideas of simulating the ‘tripping’ aspect. But I can learn from this for similar constraints in future projects.

I thought of various genre-options for my film but Noir appealed and suited my plan. I checked out if designing a mini-set in the warehouse with my artist colleague was appropriate but settled on creating a life-size area instead. I created the ambiance within the space to allow the ‘actors’ to be natural and have a flowing energy apparent on screen. As opposed to an earlier idea of filming them in a shopping area with random passers-by. The use of colour filters rather than the gels was an action that resulted in some final accepted pieces, and I wonder if the gels would also have proved useful. ‘Focus-pull’ was a preferred method of directing the viewer and applying a certain amount of coolness to the subject through the use of the lens. I theorized about using ‘throwing focus’ to drop focus completely but discarded the idea. I thought about using ‘Bavarian Angle’ shots at 90 degree but ventured for ‘Dutch-Tilt to accentuate the psychological tension building in the ‘Stalking’ scenes.

Interweaving my exploration with the subject matter, namely the hallucinating, in the context of a real and then imagined drama/mystery unfolding was complex and also a simple task. I used a slow tilting-pan with colour filter and Focus-pull simultaneously flowing into a depth-of field shot. These aspects together helped create an effective part of the action with the illusion of an art gallery setting.

The other synthesizing of hand-held camera movement for 360 degree camera shots creatively with the emotional relationship of the ‘lovers was complimented with the diegetic music playing in the actual Mushroom Tea drinking scenes.

Using the camera movement and the character’s movement toward and back form it for the background Green Screen ‘trippy’ feel with the gun shots and diegetic laughter/intense giggling heightened the atmosphere when combined.

Another diegetic sound of the shutter closing was mixed with the Foley sound later of me tampering with chains and mixing them together.

I incorporated the meta-diegetic hallucinated sound for the character to heighten a subjective perception of reality

The use of Oneiric sound (from Greek to dream) was an obvious aid for the dreamlike occurrences and I played around in post with a lot of ideas for this, as well as for all the other audio additions, voice-overs and narration-type effects.

Overall the research process was realistic and exegetically activated with visits to the University library, the museum, a friend’s art library, our own college facilities and interviews with other artists that have also been inspired by the Masters and why? I researched the other films about ‘tripping’ and interviewed several people that have tried to be creative while hallucinating.

I could have maybe improved my research my personally indulging in Mushroom absorption, but that result will never happen now. Another improvement would have been using another camera and I would have liked to have experimented with a dolly for the actual Mushroom drinking shots and for some tracking shots outside with the lovers being stalked. I could have encouraged a bit more action to have taken place and with a bit more sincerity.

Refining the edit with a more traditional viewing concept would also work for easy watching. Because the loose-sort of story could have benefitted from a more sequential storyline for the ‘normal’ viewer, but my intention was to capture the nature of the ‘trip’ in connection with the abstract notion of imagined possibilities, for a trip feel rather than an easy digestible package.

There are a few weaknesses in the project, notably I could have had a better quality scope of footage if I filmed in colour for contrast and density and then used desaturation in post, rather than shooting in monochrome for this project.

I would have benefitted by using professional actors, although this would have been an unusual setting for them to perform.

This turned out to be better than I expected, the experience will prove invaluable in connecting and understanding future actors. The initial task of trying to relate a hallucination in reality with an actual acting experience proved rewarding for everyone concerned. It enabled me to reflect on my own practice to interchange between subjectivity and objectivity and that is something that will be of importance for the future.

+ FEEDBACK

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The feedback from my film screening enabled me to shorten the film by 10% and re-edit a couple of scenes. The advice given also helped me edit further with Speed Grade and I used sepia

and a ‘dream’ colour preset

but discarded the overall cinematic look. Other ideas for my final film that I can take from the feedback are to dispense with QuickTime in favour of VLC to play, for better colour display; and to film with different lenses and crane and dolly shots for maximizing POV shots and increasing isolation for a character such as the scene in High Noon that leaves the sheriff’s character all alone.

PUBLICITY SHEET

Name: Dir. Timo Franc

Title: TRIP NOIR

Format: HD

Running Time: 10mins

Aspect Ratio: 16:9

Year: 2012

This is a documentary-type fantasy film depicting the realism of hallucatory behavior, combined with the actors involved actually tripping whilst performing. Investigating the abstract way of how a social gathering can turn from a happy relaxed party into one of treachery and revenge. All shot in a Noir homage way to contrast the mystery of present day, flashback, and what is real, or not.

timofranc@googlemail.com