Getting suiter

The end is so close! We’re entering the stages of fine cut but I’m feeling pretty nervous about it.

We still can’t decide how to structure the film. We know we don’t want to splice the clips and jump to and from the office and car park scenes but we don’t know if we should put an office scene at the end to make the film loop. We tried experimenting with putting one take of the office scene at the end with no audio BUT it has this really cool spookily eerie music. It then fades into the credits. I actually really enjoyed this ending. I like that it leaves the plot open ended.

Paul recommended that we add more sound effects to our film. I think this would be cool. He talked about putting whooshing noises in certain places to indicate where there might be a threat to Jack. I think this could add a good dimension to the film in that it can create more mystery and confusion.

Paul also talked us out of cutting in and out of black in the final scene. We had decided that because the shots we had taken for the final scene were inconsistent and confusing. We thought that the choppiness of the breaks would create more suspense. We’d actually tried to time it so that each space was roughly the same duration. I think that this could have been an effective way of conveying the feel on the scene, but after having placing the short clips back together, I can see where Paul is coming from. The shortness of these particular clips really add to the urgency of the scene and increases concern for whether Jack will get away. Paired with the music, this section has been elevated in it’s scariness.

With the sounds, we are also trying to make sure that there isn’t any distortion. At the rough cut screening, we got some critiques about the pitch of our music so we will probably have to go through and make sure that nothing is too painful to the ears.

Also! We want to make sure that the music gets louder and faster at the right times, the bits that are most intense. Jordan found a really cool piece of music and we’re currently trying to find the perfect part of the score to add.

I wasn’t able to get rid of the awful, awful noise from the generator on level five of the car park. Between cuts, the sound would change because we were in different positions recording. It was the worst sound we’d encountered through the entire editing process. We decided that because there is no dialogue there, that we’d get rid of the audio for that section. We decided it wouldn’t be necessary to keep his running sounds because as long as we had music, no one would be fussed. I thought this worked really well. It lets the music shine!

C

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