Sound And Music

As both myself and Abigail decided to include no dialogue into our short film, as an effective technique to build to the suspense and tension, we learnt that this meant any other sound within the film became essential. From diagetic to non-diagetic, all sound in the film had to tell the story for the viewer, and engage them within  the shots. This meant we had to carefully plan before filming, and also analyse anything else that needed to be included after filming and editing.

Diegetic Sound

Also called "literal sound" or "actual sound". The diegetic sound in our Short Film, adds texture and layering to the shots, used to build a dramatic and atmospheric sense within the scenes.
One of the first diegetic sounds featured in the film, was a song being played by the character as they were getting ready in their bedroom. This was a subtle technique used to add to the realism, without the viewer fully concentrating on what they would hear. As all music featured within our film had to be Non-Copyrighted, we decided to ask a local band Court Lane, to include a few of their songs in Pulse. As members of the Band are close friends they were happy to be apart of our film. We therefore played their music in the background as we were filming the scenes, rather than filming then adding it on, to ensure continuity was kept and to make it more realistic of that it was playing as the character was getting ready. 
We used Youtube, to play the songs in the scene. Below is one of the songs featured:

Continuity was something myself and Abigail really wanted to maintain in our film, ensuring that right down to the minor details, the time scale etc were clear and correct. Using the music in the background of one of the first scenes meant we had to concentrate on the music time scale at the same time of filming. Meaning we had to start the music, just where it had ended in the cut before in some parts. Where as in others had to include a second song, to show the time scale, rather than repeating one song for something that would've been over 2 or 3 minutes. Also when doing the 'Waredrobe' shot. As we played the music, just slightly lower in volume, to add to the realism and make the shot more effective in that it fitted perfectly between the two cuts.

I feel an effective Diegetic sound also near the start of the film was the footsteps as the character ran down the stairs, and the slam of the front door as she leaves. I think it subconsciously adds tension building up to the door shutting and signifies the importance of her leaving her safe enviroment, the 'equilibrium' at this point of the film.

Diegetic sound of transport is also a key element within our film. From cars driving past on scenes of the character walking near roads, to the effective Train sounds within any train scenes. Not only do they add to the realism, but I feel some of the Train scenes add more to the shot. For example, in our 'Cut' Shot, used to move from one narrative and time scale to another, the train used has a loud and dramatic noise that catches the viewers attention, and aimed to slightly scare the viewer or make them jump. Emphasising the change of narrative every time.

 

Also in the shot of the train coming onto the platform. Catching both trains at once was a pure shot of luck for myself and Abigail. Having both trains created an effective and original shot, and the diegetic sound of both the trains overpowers any other sound, and again adds to the tension that is constantly built up within the scenes up to the main twist. The noise itself is so realistic it in a sense becomes quite eree, as we wanted the viewer to feel nervous and at the edge of their seats when watching.

In the second narrative scenes, we wanted the sound to be hard hitting and dramatic. Therefore we had to encourage the actress to really emphasise her noises when sobbing or attempting to scream for help. This added to the realism of the situation and the fantastic portrayal of a real life situation of someone being held against their will. We wanted the scenes to essentially be slightly distressing for the viewer to really grab their attention and draw them in by making them feel attached to the character.

To create the scene for the viewer within this narrative we filmed surrounding parts of the setting also. Such as a tap, the characters feet and hands. Adding to the obscurity of the situation. This also meant diegetic sound was featured within each. In the tap shot, we added layering to the diagetic sound by having the character sobbing at the same time as the tap dripping sound, to create a more interesting shot. The hand shot shows the sobbing become quieter reflecting the time scale of the character being held for a long time, and therefore loosing the energy to constantly attempt to scream for help.

 One of the pinnacle scenes within the whole short film is the chase scene. It essentially ties the two narratives together telling the story of how one plot became the other. Therefore it had to stand out. The diegetic sound of heavy breathing, dramatic sounds of distress from the actress and loud footprints, worked alongside each other to create the dramatic side of the scene. Also adding to the tension that had been building up to this point.

Finally, the very last scene within the Short film. This consists of a diegeticpercieve not see. It ends on a dramatic scream by the actress, to end the film on a dramatic high, leaving the obscure story uknown, making the viewer want to watch more.

Throughout our film we portray a 'documentary', 'home-video' effect. Used as a key technique to engage the audience into falling into our plot, becoming attached to the character and becoming distressed at the situation. This is also reflected through one of our final cut shots between the last scene and the credits. We wanted the 'Broken screen' effect to also include the conventional sound that comes with it. However we didn't have a broken television so therefore had to think outside the box of how we could get the sound. In the end after experimenting with a few ideas, we used a radio, set it between two stations and used the 'fuzzy' sound from that, whilst filming the out of tune television screen. Another example of using the best of our resources to create the scenes we envisioned and planned.

Non-Diegetic Sound

Also called "non-literal sound" or "commentary sound''. Non-diegetic
One of the first Non-diegetic sounds featured within the short film is included in our 'EXPOSED Prodcutions' Ident. After researching into Ident's, our results revealed that most Idents include music or some sort of sound effects, so therefore to stick to the conventions of Idents we decided to add music over the top using the editing package. We used a song called 'Bump in the Night', off the sound website: http://incompetech.com/m/c/royalty-free/ This was again because we couldn't use Copyrighted music. We chose this song as not only does it fit within our chosen genre, but it fitted perfectly with every beat in sync with every letter falling into shot. Creating an effective and professional look.
The royality free website allowed us to use the non-copyrighted music.

“Royalty Free Music Library is proud to offer one of the largest offerings of online broadcast-quality royalty free music anywhere on the web. Download royalty free music from 3 of the top royalty free catalogs online.”

Link to the song:Bump in the Night

 

The second non-diegetic sound our short film includes is in the second part of our ident, the name of the short film, 'Pulse'. As we chose the name pulse we wanted the music to reflect this. Therefore we found a sound clip on Youtube, of a heart rate monitor, of which we found suitable to play in the scene. We played the music in the background on a laptop, whilst we filmed the 'Pulse' part. We had to take a few takes of this to get the timing of the heart rate in sync with when we blew the candles out as it turned to black, for a dramatic, spooky effect. The sound clip:

After finishing all the editing of the film, and watching it through for the first time, we decided that it was missing something else. We analysed our film and decided that even more tension could be built up through non-diegetic sound. We manipulated one of our longest duration shots by layering it with music. We trolled through dozens of songs before deciding on 'The Hive'. Again from 'Royalty Free Music', for no Copyright music. As we felt it had the best introduction, that would subtly emphasise the atmospheric shot, creating a eree and spooky tone. Of which dramatically cuts off at the same time as the cut to the next shot. The contrast between the peaceful and scenic shot works fantastic as it is complimented by the completely opposite eree music. Again myself and Abigail found ourselves in the right place at the right time with the group of birds passing at the exact moment as the train, truly completing the shot.
Link to song:The Hive

To add continuity within the film, we decided to therefore use the same song in our credits. This was to tie in all the music used, as within research of some films, clips of a song are used within the film, of which then feature as the final song in credits.

Film Rating

What is a film rating?

A motion picture rating system is designated to classify films with regard to suitability for audiences in terms of issues such as sex, violence, substance abuse, profanity, impudence or other types of mature content. A particular issued rating can be called a certification, classification, certificate or rating.
This is designed to help parents decide whether a movie is suitable for their children. Yet, the effectiveness of these designations is widely disputed. Also, in some jurisdictions a rating may impose on movie theaters the legal obligation of refusing the entrance of children or minors to the movie. Furthermore, where movie theaters do not have this legal obligation, they may enforce restrictions on their own. Ratings are often given in lieu of censorship. Movie theaters often have time restrictions on what time kids can come in with their parent.

BBFC

The British Board of Film Classification (BBFC), originally British Board of Film Censors, is a non-governmental organisation, funded by the film industry and responsible for the national classification and censorship of films within the United Kingdom. It has a statutory requirement to classify videos, DVDs and some video games under the Video recordings Act 20.

As a highly expert and experienced regulator, our mission is to:

• protect  the public, and especially children, from content which might raise harm risks

• empower the public, especially parents, to make informed viewing choices

• recognise and respect adult freedom of choice within the law

• respond to and reflect changing social attitudes towards media content through proactive public consultation and research

• provide a cost-effective, efficient classification service within our statutory remit

• work in partnership with the industry to develop innovative service models to provide content advice which support emerging media delivery systems

• provide an effective service to enforcement agencies 

Guidelines

Suitable for all

It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.

Parental Guidance

General viewing, but some scenes may be unsuitable for young children.
Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.

Suitable for 12 years and over

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.
The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.

Suitable only for 15 years or over

No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video work.

Suitable only for adults

No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video work.

To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years.

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ videos may not be supplied by mail order.

After researching into the guidelines and rules of the BBFC ratings we decided to classify our film as a 15. This was a mutual decision based on existing 15 rated films, and the content of our film, establishing it would not be suitable as a 12 or 12A. We therefore now are going to create our own certificate to include at the start of our film to make it more conventional and realistic. We also created our own certificate rather than pasting the title of our film into an existing certificate due to this becoming pix-elated and un-professtional looking. Below is an image of the certificate in production of which I made using the Microsoft Office Publisher Programmer.

Producing The Credits

From our research credits were revealed to be a standar convention for all short films. Therfore to add to the realistic and proffetional look of our film we decided to create credits for ours. Below shows how we used the 'Text' application in the editing system, to include our names, the actors, music, and our sound production. Of which we then added the transition 'Fly in' and 'Fly out'. This have the conventional and stereotypical style and 'look' of credits (shown in the example below).

Producing The Ident

After researching into existing Idents and learning the main conventions of them I now feel confident to begin making our Ident. Both myself and Abigail had many idea's for our ident. Including a news paper cut out animation.Where we would cut out 'EXPOSED''s letters and take a photo of the letters every time adding a new letter. Also a 'type writer' animation, where we film the type writer when each letter of the title is entered. (Examples of both shown below-the second example made by using an online generator)

    



However, after researching into existing Idents we didn't feel these idea's would look professional enough. Even though they both linked and complimented our film, by being iconic to a kidnap or mystery, we decided to carry on experimenting with our ideas and develop these to the best of our ability.

We wanted the ident to be simple and eye-catching. With our title as the main feature. We also wanted to use dark colours or black and white to link to conventional colours within the 'thriller' film genre. To begin with we tried to put our title into Microsoft Office-Slideshow, and record the screen as we moved from one slide to another and vise versa. However this didnt look effective and didnt move as fast as we wanted it to, to give a dramatic and striking look.

 We then discovered the 'Credits' option on our Premier Elements Video editing programme, and decided it would be ideal for our ident and what we wanted to make. As it could not only be used in the stereotypical credits way of white font flying from the bottom of the screen to the top, but by varying the transitions, colours and layouts to create an innovative ident.

We firstly experimented alot with the effects on offer and then went on to use 'EXPOSED' Productions in many types of fonts and transitions. Experimenting through them and using the transitions shown in the image below.

We then settled on a bold and striking font for the 'Exposed' part and a more 'normal' and formal font for the 'Productions' section. Also as our film is a thriller, and wanting to portray 'Exposed' as the main element we did want to make the ident look 'too busy'. We therefore decided on a plain black background with white font to stand out and contrast, with iconic colours of the 'thriller' genre (iconography).

We wanted each letter to appear once at a time, and this was possible by using the 'Fly in' effect. We really liked this and was happy with the ident so far. We then inserted a 'Fade In' effect on the 'Productions' text. We want it to come in just after the few few letters of EXPOSED to both finish at the same point. To finish on a second still shot of 'EXPOSED Productions', so the audience can read it and associate back to it.

                                         

Next, after our research revealed all Idents to have music alongside them, which becomes just as iconic as the ident itself we decided to also include music. As we couldn't use copyrighted songs within our work we went on to http://incompetech.com/m/c/royalty-free/ a non-copyright free download website. We then looked through many songs, however decided on one called 'Bump in the Night'. This was because we felt this song had a Strong powering beat, with a subtle eree tone to it linking to our film. Also each beat coincidentally linked in to the beat of every letter falling, complimenting it to create an effective Ident.

Here is a link to our song: Bump in the Night

 We downloaded the song and opened it into our editing programme (Premier Elements), and inserting it into the sound section on the timeline, and finally cutting it to the length of the Ident. Ensuring the song didn't carry on playing when the film had started. This can be seen on the timeline in the image below, with the recording in one row, and the sound clip lining up in the audio row.

When I researched into short films, as well as an ident they also featured a further ident of the film's name. In our case 'PULSE'. We therefore wanted  to also extend our ident into this, to create an effective and realistic opening to a short film. For this part, the title of the film and how it is created is the full portrayal of what the audience will be watching for the next 5 minutes, setting the tone and atmosphere. Also again linking to the portrayal of what genre it would be, in our case 'thriller', so therefore needing to be spooky and obscure. We had many idea's for this also, such as using a heart rate monitor to write our the word 'pulse'. However both felt most strongly about using 'PULSE' in red text with it dripping down to give  the effect of blood. A brief draft is shown below.

We wanted to develop this idea by making the writing drip. We considered many ways to do this however painting it out and filming it seemed the best option for quality and time limitations. When producing this we mixed red paint with water, to make it more runny for what we wanted to do. We then painted the word pulse onto card, which we had covered in plain white paper to create a background. We then set the camera on the tripod and got it into the close-up slightly slanted from a directly straight shot and placed it ready. We wanted the lighting to also reflect the dark and spooky atmosphere, so we used the candles from our props, layed them out infront of the writing and decided to blow them out at the end of the ident to pitch black. For a dramatic and effective technique. Linking to things constantly jumping out or aiming to scare a viewer within the thriller genres as they are essentially 'thrill seeker's.
When we were ready to start filming we lit the candles, played the music to go alongside it (see 'Sound and Music' Post), from the laptop, then turned off all the lights in the room and started to record. Next we lifted up the box with the text on and filmed it as it dripped.
As the music changed dramatically, we used that as our point of when to blow out the candles to compliment the music in sync. Below is a few out-takes of this and our final shot.

Production images of making the Ident:
                                           

Here is a video clip of our final Ident. I am very happy with the outcome and think not only does it suit our film but is effective and professional.

Research Into Idents

For our short film we had to create a production company to go alongside it. For this we decided on 'EXPOSED' productions. This was because we felt it was engaging and striking, also being simple enough to be remembered and used in many ways. It also reflected on our film and the type of film it is, in our case, 'thriller'. We did consider many other idea's through using a thesaurus and simple brain storms, such as; Danger, Revealed, Tormented, Twisted and Base Productions, however were both happy with Exposed. As we researched into short films, and thriller short films, all appeared to have some sort of Ident at the start. Therefore to follow codes and conventions, and to make our film look as realistic as possible we have decided to make one. However before we go on to produce and Ident I feel it nesseccary to carry out some brief research and planning into Idents to ensure ours follows conventions, looks realistic and we know what we are going to do before prodcing it.

Ident definition

Station identification (Ident or Channel ID) is the practice of radio or television stations or networks identifying themselves on air, typically by means of a call sign or brand name. This may be to satisfy requirements of licensing authorities, a form of branding or a combination of both. As such it is closely related to production logos used in television and cinema, alike. -Wikipedia

 

Above are some of the most famous Idents within the film industry. All show similarities of that it is based around the production name, is some sort of animation or edit. 

I really like the first one, as the simple colours and quirky animation makes it humorous and effective. It also reflects the type of films Pixar make, as it is innocent humour, linking to their target audience of children, through Walt Disney films.

The second includes a strong and bold Music song. Of which can be automatically associated to their company. Also the logo/name again is the main feature standing out. The gold hints at a prestige reputation.

The fourth starts with a scenic cloud shot, going into the logo/title. Again the starts could link to a prestigious reputation. And the music compliments the animation movements.

The fourth again features the name as the main element. The music again is easily associated to the company, and the 'shine' animation on it makes it look desirable. 

After doing some basic research I now feel confident in making my ident, ensuring the title/logo is the main feature and their is an 'iconic' music that compliments the animation.

Editing

To edit our film we used Premier Elements, a editing programme available from our school system. We chose to use this as it had the best tools for what we needed and was more suitable for a larger film as this rather than, movie-make (what we made our animations on).

 

In the image above, I have circled the process of how we inserted our files into the programme ready to edit. This was easy and quick to do.

Here is a print screen of our 'sceneline' and 'timeline'. The top image is the scene line. We used this when we wanted a clearer look on what is in each scene, using images of the scenes to narrate our film. This was good for when we wanted to ensure we had everything in our film, including images as well as video clips, (something I will mention further on).

The bottom image is the timeline. We used this when we wanted to see more of the duration of the scenes rather than what was in them. This was also an easy way of recording how much time we had left within our 5 minute limit, and to ensure each scene follows onto the next straight away.

As mentioned above, our film included both images and video clips. For example in our establishing shot of the row of houses, revealing the characters house. We felt like the final pause on the characters house wasn't long enough for the audience to establish this as important, and wasn't enough time for the audience to properly see the house. We therefore took a print screen of the final frame, and inserted it was an image in the next scene for a duration of a few seconds. This created a longer pause on the house, of which a viewer wouldn't even tell the difference or notice what we did.

 To insert our music into the film, we had to first convert the files we downloaded, into files that the editing programme accepted. After we did this we then used the same way as we would video clips, by going 'organise', 'get media' and 'files and folders'.

It was easier to keep track of what music we inserted by using the 'timeline'. This was because it showed us our film in layers, of visual and audio. Of which we could layer music over the video's diagetic sound of replace it for it and vise versa. In the image above I have circled the establishing shot on the timeline. As you can see here we deleted the sound from the video clip. This was because the sound was of noisy cars and passing people of which overpowered the shot and would be distracting for the viewer. It also made the film look unprofessional. We chose not to insert any other sound here and to just leave it as silent, linking to other conventional establishing shots.

In the image above, shows a technique we used alot when editing which was to enhance the size of the scene cutting allowance, meaning we could be more accurate with where we cut the scene to. This meant we could be more precise, ensuring our cut shots were to of high quality to add to the realism of our film.

In the image above shows the audio of our film. This was something we used to measure our sound and ensure it was 'smooth' when cutting between scenes.

Overall I feel using the programme itself was easy and simple, with many options and tools for us to use to enhance our film to how we wanted and of good quality. However we did have a few issues with the system crashing on several occasions, and trying to transfer our film into other files to be put on disk. But we used the programme successfully and are very happy with the outcome.

Producing the Short Film: Fourth Filming Session

As we were editing our film, with the shots we have from our first, second and third filming session, we realised that to be within our limit of 5 minutes we wouldn't be able to finish the story as we initially planned.

 As shown above, in our storyboard we planned for the victim (girl), to go and meet her friends, then introduce one of the characters to have a video camera and show film through that (a typical group of teenagers filming each other). This was to use a third aspect into the film, with the other two being the two dual narratives. Also to end on a 'broken camera' effect of fuzzy black and white. However we didn't do much planning for this after realising we wouldn't have enough time in our film. We therefore had to skip this and go straight to the chase scenes. We were confident with our choice and actually preferred this idea, as it would add to the weird obscurity we wanted to create as to keeping the viewer guessing as to what happens next. Also because it makes the scene more of a dramatic surprise as it will suddenly cut to it.

Linking back to our time scale planning, we had to film this scene at night, as to show continuity of the girl being followed throughout the day. Also because the last scenes we filmed were already dark, so to go back to daylight in the film wouldn't keep continuity. The dark setting will contribute to the 'thriller' theme, creating a nail-biting atmosphere.

We therefore decided to still use our planned local park setting' just in the evening. However when we got there another problem occurred that it was so dark we wouldn't see anything at all through the camera. Even with our torches the light wasn't strong enough to establish what is going on through the camera. We had to use our initiative on the spot, as filming time was precious. We walked around and decided that a near by carpark beside the park would be suitable. The carpark has much stronger lights and created the perfect balance of light for our shot. Below is an example of how dark our first attempts were, and too unclear to use in our film:

We began with some shots of the girl walking in the setting, to set the tone, and to create a build up to the next scene. We then filmed the stalker chasing the girl. This was done by first Myself holding the camera, and running behind Miranda as she ran away, the a shot of the victims feet running, done by Miranda holding the camera herself and filming her feet as she ran. We also wanted to get a shot of her looking back in fear as she ran. The breathing, panicking and footsteps were all emphasised in this scene, we really encouraged the actress to become as frantic as possible. Making the scene highly dramatic and also realistic in that that is how someone would react if the were being followed. We also experimented with the surrounding settings as spur of the moment, recording the actress in a telephone box, of which created a really nice, colourful shot. Below are examples of both:

Overall this was a very successful final filming session. I am really happy that we have cut out some of our planned story (see synopisis), as it makes the whole film more dramatic and mysterious, leaving lots to the viewers imagination.