Workshop Project Finished Film

Evaluation

Evaluative research report

The first task we were set within Creative Project Realisation was the workshop project in which we were to work as part of a small group to design and build a set. This set would become the setting for a short film sequence, depicting “the uncanny”.

In order to design a set and film sequence which work together to create the uncanny, we first had to fully understand exactly what “uncanny” means. I therefore began by conducting research into the uncanny and the various routes we, as a group could take for our workshop project. Using the Freudian concept of the uncanny where by something, whether it is a situation or a particular object seems familiar yet foreign; I was able to establish how an individual may respond and the unease they may feel when faced with said situation or object. This allowed me to understand the aim of an artist or film-maker and the purpose of an uncanny piece.

I researched various artists and film-makers that favour the uncanny and create pieces for the purpose of provoking a response of unease from the viewer. These artists and film-makers work in differing ways and create vastly different pieces however the overall finished product, so to speak, can be recognised and categorised under the same heading of “the uncanny”; for example, Ron Mueck is an artist whom crafts sculptures of human beings, working carefully on their facial expressions and the realism of the sculpture through detail and texture. Although Mueck works to create a realistic human being and character, the artist also aims to cause a feeling of strangeness for the viewer. In order to do this, Ron Mueck designs the life-like sculptures to a large or small scale. The surreal scale of the figures, combined with the realistic form, characteristics and general detail create confusion for the viewer which in turn, evokes acknowledgment of the uncanny.

Whilst Ron Mueck and other artists such as Sandy Skoglund show how the uncanny can be demonstrated through the use of 3D sculptures which an individual can get close to and perhaps interact with, I wanted to research how the uncanny can be generated within the world of 2D film. I therefore looked at the work of Jan Svankmajer.

Svankmajer’s Jabberwocky (1971) involves the use of well recognisable objects such as toys and the technique of stop motion animation to create a short film. Within the short film, Svankmajer renders the toys somewhat monstrous as they partake in acts of cannibalism; in doing so, Svankmajer is presenting the audience with objects associated with childhood innocence and showing them in a contrasting, unfavourable light. This results in the audience feeling uncomfortable as the film-maker is manipulating their memories and experiences of the objects and providing them with a substitute image of a surreal act.

I found Jan Svankmajer’s ability to provoke the uncanny inspiring and hoped to emulate his work within our workshop project, through taking a recognisable object and manipulating it to produce doubt for the viewer.

Initially, as a group we met to discuss the possible routes established through our research of “the uncanny” and how our ideas could be combined and realised. From this we were able to establish a definite route and create a project proposal which included a tag line, log line and description of the film sequence.

Within our workshop project, we wished to portray an aristocratic man, in a high-class country home setting and to alter the reality of such a scene by replacing the man’s head with that of an animal. Whilst this would add to the uncanny ambience we were aiming for, we needed to establish how visual effects and special effects could be used to reinforce said ambience.

As it was a requirement to use green screen within our sequence, we discussed how this could be incorporated and successfully realised within the “story” we had proposed and set we had imagined. Within our set, we had a picture on the wall; this provided us with the perfect setting for our green screen visual effect. Instead of having a picture frame on a solid wall, we would use a board with a square shape hole and use an ornate picture frame as boarder. We would then position the green screen on the studio wall, behind the set. This would allow us to superimpose a landscape scene within the hole to create the impression of a picture hanging on the wall of the country home, in which the man would appear and walk towards the frame, thus bringing the picture to life. We then planned to show the man climbing out of the frame and into the set we created, before casually taking a seat and waiting for the cycle of the man appearing in the landscape scene to begin again.

We were also required to use special effects which include anything done on set, on the day of the shoot. As our sequence did not include any acts involving blood, it was somewhat difficult at first to come up with a suitable special effect. After some deliberation, I said I would draw the outline of a stag’s head/hunting trophy and cut it out to create a template which we could then hold in front of a light to cast a shadow on the set wall. This would work to foreshadow the events and add to the arguably eerie atmosphere we were creating.

Once we had created the storyboard, the next stage was to build the set using the skills learnt in the workshop and the set building guide provided. The illustrated guide shows how to position the boards and use A-frames and weights to secure them in a safe manner. As a group, we set up three boards, supported by A-frames and clamps. We decided to use clamps as our actor would be climbing through the board and we needed to ensure they were secure, to avoid any mishaps and injury.

During a timetabled session, we erected the set and began applying the wallpaper and paint purchased. When purchasing the wallpaper and paint, we carefully considered how the texture and colour would affect the scene we were hoping to create. We decided that woodchip textured wallpaper would add to the old fashioned feel of the space whilst the deep purple paint would allow the picture frame and props to stand out. As well as purchasing wallpaper and paint, we were required to find props to dress our sets. I therefore created a shopping list of all we would need and began searching for the objects listed. Many of the objects, we sourced from others and the storeroom within the studio except from a candlestick holder, I found at a second-hand vintage shop.  

During the second timetabled session in the studio, we began to dress our set with the sourced and purchased props. In addition to this, we used lino flooring and covered a chair with fabric and cushions to reduce the possibility of losing any sense of a realistic space through the revealing of a studio floor or classroom chair. As we worked effectively as a group and carefully planned our set building and set dressing timetabled sessions, we completed the requirements within plenty of time. We therefore decided that rather than trying to source the correct size and shape picture frame, we would utilise left-over ornate wallpaper from another group and paint it gold before cutting out each individual swirl and flower. Emma and I did this within our own time and had the pieces ready to glue onto the wooden frame during the timetabled session. I am pleased that we decided to do this as I feel it shows our dedication to the project and adds a personal touch to our set.

For the shoot, we sourced a stag head and an actor and I created a shot list and schedule. As we had very limited time to shoot each shot, I attempted to encourage the cinematography group to use the schedule I provided, however due to delays in setting up the equipment we had to prioritise certain shots which rendered my schedule redundant. However, we were able to shoot enough footage which when combined with the footage shot in the green screen studio would work to create our short film sequence.

To create the sequence, we used After Effects. Within After Effects, we were able to use techniques taught during the edit session to remove the green screen and replace the empty space with the landscape scene and shot of the stag walking towards the frame and climbing out. I found the process easy to follow and felt confident in my abilities to superimpose the stag into the landscape scene. It was therefore decided that I would work on the scene in which the stag appears on the pathway within the wood and walks towards the frame before climbing out, into the set. Daryl would produce the end scene whilst Emma would create the establishing shot and piece together the finished short film sequence. I believe separating the shots and completing one each allowed us each to use After Effects and show our own individual skills whilst the final sequence shows how we also worked together as a group to realise our uncanny piece.

Overall I am extremely pleased with our workshop project, I believe we have adhered to the brief and created an effective film sequence which can be categorised under the heading “the uncanny”. I feel confident that we have successfully shown how we can use both visual and special effects to manipulate a sequence and provoke a certain response from the audience. I also believe that as an individual, I have contributed well within the group both ideas wise and practically as I created the storyboard, shot list and schedule and worked on the art direction which is arguably the essence of the sequence. However, if I were to begin the project again, I would ensure that the equipment was set up within a short period of time on the day of the shoot which would mean we could use a schedule to ensure all desired shots were captured. This would give us more to work with in post-production and a longer sequence could be created.

Whilst producing our workshop project, I was also working on my personal project for which we were required to plan and design an installation or short film sequence which encompasses visual and special effects. I began by researching how special effects can be used to foreshadow events and help tell a story, I therefore looked at Telling Mark (2004, Guy Ducker) in which a scar is shown on an actor’s face. This immediately sparks the interest of the viewer and one begins guessing the events leading up to the injury.

As I had a strong idea which I was content with and I was confident I could research and establish how to realise, I created a basic spider diagram illustrating the subject matter and props which would be needed to dress the set, along with which effects could be used to tell the story. To further express my vision and support my idea, I created two moodboards, one showing the mood and tone of the desired piece and the other showing the design of the space.

Although I was familiar with the subject matter, I wanted to research further into BIID as a deeper understanding would guarantee I could effectively represent the disorder within my film sequence. I wished to show a character whom suffers from BIID, at the end of his tether so to speak; a man on the edge that refuses to resign himself to the life others suggest. In order to show this, I needed the character to partake in a truly drastic act, to take matters into his own hands and create the life he desires. Within my personal project therefore, I wanted to use special effects to show the man amputating his own leg using a hedge trimmer.

I researched how to use special effects to create body parts which can then safely be cut into and how to produce fake blood using basic ingredients. I also looked into how sparks can be created in After Effects as this visual effect would help to express to the viewer how sharp and dangerous the tool is which consequently foreshadows the act about to take place.

I believe that researching how special and visual effects can be realised and thus the subject matter represented both realistically, helped me to write a successful description of the film sequence and create a power-point presentation which acts as a visual aid when presenting my personal project to my peers and tutor.

Overall, I feel that within the workshop project, I have shown how I can work as part of a group and how my individual contribution has benefited the group when creating our short film sequence. I believe that we achieved what we intended to, that is, to present the audience with a familiar setting and use props and visual effects to manipulate the reality ever so slightly in order to provoke the uncanny. I also feel that within my personal project, I have successfully shown my ability to design and realise my own ideas whilst presenting an understanding of how visual and special effects can be used and created. 

After Effects Session #3

In our final After Effects session, we set to compiling together our short film sequence.

As previously stated, we decided to edit one shot each and put these together, using extra shots which do not require editing in After Effects (such as the side view of the stag climbing out of the frame) as transitions/cut aways.

I have taken responsibility for the shot in which the stag appears within the woodland scene and begins walking towards the frame. I edited this shot within After Effects in the previous session but was not entirely content with it as the avoid problems of scale, I had the stag fading out and fading back in closer to the frame, as oppose to the stag gradually getting larger in scale as he approaches the frame.

I therefore decided to use the time in the final edit session to re-edit this shot. I wanted to find a way of creating the impression that the stag was walking along the path, towards the frame. However I encountered one major problem, that is, our actor begins to raise his arms and legs much much before I would want him to within the scene.

To solve this problem yet achieve the scene I wished to, I cut a small section of the clip and copied it many times. For each copy of the clip, I adjusted the scale and position of the stag. The stag now appears to be walking towards the frame; although the walk is disjointed, we believe this adds to the uncanny ambience.

 

 

For the last clips, I had to create a mask to avoid shattering the illusion of the stag within the woodland scene, as his legs suddenly appear infront of the frame. As I used the mask tool during the last edit session, I was confident enough to do this and manipulate the mask as the stag begins to climb out of the frame.

 

 

 

Once we had each completed our individual shots, we gave them to Emma to compile in Premiere Pro.

 

 

 





Personal Project Powerpoint Presentation

After Effects Session #2

As a group, we looked through our shots and decided which we want to use for the edit of our uncanny sequence. We then separated and worked on our own versions of the sequence.

I began by importing the first shot into After Effects, followed by the photograph of a woodland scene (sourced by Daryl). I then used key frame-linear colour key-using chroma, to remove the green screen from the shot. As the green screen was not completely erased, I used spill suppressor and matte choker to remove all green. 

I then placed the woodland photograph in the timeline and adjusted the matte choker further to blend the image into it's surroundings. I also used transform-rotate to adjust the photograph's angle to match that of the picture frame.

For the next shot, I used the same techniques to remove the green screen but this time, I also removed the green screen in a scene we shot in the studio in which our stag walks towards the camera. Once I had done this, I could superimpose the stag into the woodland scene. I resized the stag to create the impression it is far away and used the keyframe to mark the point at which I want the stag to "grow larger". This makes it seem as though the stag is walking along the path, towards the viewer.  Here, I encountered a problem, the shot of the stag walking did not last long enough and the feet were cut off towards the end. I therefore used transitions-block dissolve and the keyframe tool again to fade the stag out.

I wanted the stag to fade back in but be much further along the path. I therefore decided to used another shot of the stag shot within our set, where it begins to climb out of the frame. I used the mask tool to cut out the mid-shot of the stag and again superimposed it into the woodland photograph.

I used the cut away to the side as a transition into the next shot as this removes the issue of trying to cross dissolve and match two similar images of the stag climbing out of the frame. This shot shows the stag begin to climb out of the frame but cuts to a wide angle of the entire set. 

I again, removed the green screen which was placed behind our set and replaced it with the woodland photograph. The wide angle shot shows the stag climbing out of the frame, dusting himself off, sitting down and smoking his pipe before turning his head slightly to the side. It was at this point that we wanted a doppelgänger of the stag to appear in woodland scene, thus creating the impression that there is an ongoing cycle within this uncanny world we have created. 

I found that using the same techniques as in previous shots, that is, cutting out the stag from another scene and superimposing it into this scene, I could fade the doppelgänger into the picture frame.

I then rendered each edited shot, using the process shown in the previous After Effects session.

I then imported each scene into Premiere and created the sequence in the correct order and accompanied by a soundtrack. You can see this video below, however I have encountered some technical difficulties and the last scene is not shown. However I believe it demonstrates my efforts and abilities when using After Effects and how I have taken the information given in timetabled sessions and used it to create differing uncanny scenes. 

For our final sequence, we have decided to work on one shot/scene each and then put them together in Premiere. This would then eliminate the issue of only one person doing all of the editing work in After Effects and would portray our individual contribution as well as our ability to create a film sequence as a group.

After Effects Session

Once I had imported the test clip into After Effects and placed it on to the timeline, I used Linear Colour Key to select all of the green in the image which in this case, was the green screen. I then used Spill Suppressor to "tidy up" the image.

I then used Matte Choker to adjust the Choke and Grey Level Softness. This helped to blend the edges of the stag into the environment. Thus giving a more natural appearance. Please note this image was taken before Matte Choker was applied.

This image shows how the adjustments I made in Matte Choker enhanced the imagery.

Finally, I imported a second clip and added it to the timeline, underneath the existing clip. This image (of the Peak District) can be seen where the green screen was and where I have removed and manipulated the background. It now looks as though the stag is part of a painting or photograph on the wall.

After this introduction to After Effects, I feel confident that I can apply the skills learnt to our workshop project and create an Uncanny piece. I would achieve this by replacing the green screen behind the picture frame with a picture we have sourced from the internet and superimpose the image we shot in the green-screen studio, of the stag-man walking towards and climbing out from the picture frame.

Personal Project Achieving Effects

Achieving special and visual effects

Special FX

The first special effect used will be as the man begins to amputate his leg. The viewer will see the hedge trimmer blade cut through the flesh and muscle. In order to achieve this, foam and liquid latex would be manipulated around a log and covered by trousers matching those the actor is wearing, to create an imitation thigh. At the front of the “thigh” between the wood and foam would be an uncooked chicken breast.

Using scissors, a laceration would be made in the foam and trousers which would be undetectable to the viewer. This would allow fake blood (made using a mixture of corn syrup, water and red and green food colouring) to be pumped from a container such as a foot pump, through a tube which has been fed into the “thigh” from off-camera.

The act of amputation would require a close up shot of a hedge trimmer, cutting through the trouser material, the liquid latex and foam (coloured to emulate skin and flesh) as the “blood” is pumped into/ out of the “thigh”. The hedge trimmer would then reach the chicken breast which when cut into will resemble the thigh muscle being severed.

As the amputation is taking place, blood is splattered onto the CD player and leaflets. The same recipe for the fake blood would be required here and using paint brushes and basters, the blood would be manually splashed onto the objects.  

Once the act of amputation is complete, the viewer sees the lifeless leg from the foot to the knee, on the floor. To create this, a prosthetic leg would be used, covered with liquid latex and painted to match the actor’s skin tone and appearance of his foot.

Above the knee, scar wax would be applied to the prosthetic, moulded into shape and made uneven at the edge which ensures the “wound” does not have a straight cut but rather resembles a raw wound. The fake blood would then be painted onto the wax and trousers, as well as in a pool around the prosthetic.

Visual FX

The sparks seen when the hedge trimmer is switched on would be created in After Effects. The process would be as follows:

·         Composition-New composition

·         Layer-New-Solid-Black

·         Effect-Singulation-Particle World

·         Birth rate-0

·         Down a frame

·         Birth rate-0.1

·         Down 4 frames

·         Birth rate-0

·         Longevity-0.3

·         Producer-Radius Y-0, Radius Z-0, Radius X-0.58

·         Physics-Gravity 0.3

·         Particle-Colour-Orange

·         Select layer

·         Effect-Glow

·         On top (Panel to the right)

·         Glow radius-30

·         Import film scene of man turning hedge trimmer on

·         Add sparks

The scene would then show the man holding the hedge trimmer and switching it on, as he does so, the sparks fly from the blades and disperse. 

Visual Effect Research

As stated in my personal project description, I wanted to create sparks flying from the hedge trimmer and believed this to be possible through visual effects and the use of After Effects. I therefore researched how to make and apply computer generated sparks to the film scene. 

I found this tutorial extremely useful as it takes you through the process on After Effects, step by step. I was able to include this in the description of how I would realise and achieve the effects I have mentioned within my proposal. 

Personal Project Description

   Description of sequence

Darkness, nothing can be seen, nothing can be heard. The feeling of unease builds until the tension is broken by a loud mechanical sound. A screeching noise ensues as a panel of light slowly moves from the bottom of the screen.

The black screen continues to recede and we see the legs of a workbench. Paint pots are stacked in a triangular fashion next to the workbench and drops of deep red paint fall slowly, creating a crimson pool on the concrete floor. The sound of each drip of paint echoes.

The enveloping light, uncovers the remainder of the workbench and tools can be seen, hanging from hooks, nailed into the brick wall.

The black screen finally gives way to the light. The soft notes of a piano piece, Claire De Lune begin as more of the space is revealed. A silhouetted figure appears from the right and walks slowly into the room, towards the workbench. A man’s bare foot, steps into the pool of red paint. The man continues unwavering, leaving a trail of deep red footprints behind him on the floor.

The man turns and we see his profile, he looks haggard and dishevelled, with a greying beard consuming his face. The man closes his eyes, raises his arm and in one fluid motion, spins on the spot slowly and in time to the music, he takes two steps before spinning again with both arms spread wide. This move leads him to the tools hanging on the wall, above the workbench.

We follow the man’s hand as it moves slowly from the right, hovering above the selection of tools. The hand passes over a spanner, a drill and a hammer before lingering at a hand saw. The man drops his hand.

We see the man moving cardboard boxes from a pile in the corner of the room and throwing screwdrivers and car manuals across the floor before pausing as a hedge trimmer is revealed. The man smiles to himself and reaches for the power-tool.

The music becomes distorted as the CD skips; we are presented with the image of a dusty CD player, placed on an unsteady stool.

We are faced with an image of the man, brandishing the hedge trimmer leaning against a table, legs extended in-front of him. He raises the power-tool as he switches it on, sparks illuminate his hardened face.

The man positions the hedge trimmer against his thigh, above his knee and begins to amputate his leg; a gaping wound allows us to see the bone.

The stool and CD player begin to shake as the sound of the power-tool and bone breaking reverberates throughout the room. Blood dashes the CD player as it moves closer to the edge of the stool before falling to the ground. As it crashes to the hard concrete floor, the overpowering sound of the hedge trimmer ceases. The CD player has landed next to a pile of books and papers. At the top of the small pile there is a leaflet entitled “Coping with Body Integrity Identity Disorder”; it is covered in blood splatters.

We move slowly to the left and are presented with the man’s paint covered foot, we continue moving following the line of his leg and reach the knee. The knee gives way to an empty space on the floor, dowsed in blood. The sound of shuffling breaks the tension and we see the man, a stump with the remains of the thigh bone exposed, where his leg used to be. He groans and leans on his elbows on the cold floor, puts his head back, closes his eyes and takes a deep breath before donning a content yet unnerving smirk.  

Effects Further Research

As stated in the brief, I am to write approximately 500 words describing how I would realise and achieve the special FX and visual FX mentioned in my proposal. 

I found Video Maker lists a number of useful articles which explain how to create special effects and accompanying sound effects, for example, I have described the sound of bones cracking within my sequence and found an article on Video Maker which informs you of how to create a realistic bone breaking sound,

• Breaking bones. To produce the effect of someone's bones breaking, slowly twist and then beak a handful of uncooked spaghetti. Try different lengths and thicknesses for the perfect effect.

http://www.videomaker.com/article/1104-burning-bleeding-floating-and-flying-simple-low-cost-special-effects

Special Effects

As I wish to create a realistic, recently amputated leg for my personal project, I needed to research special effects and how I could achieve this. I found tutorials on YouTube very useful as they list the products which would be needed to create a wound. 

This video shows how foam and liquid latex can be used to make a convincing addition to the body and also how it can be manipulated to accommodate extra special effects, for example, here the "throat" is being cut to allow for the blood to be pumped from a canister, through a tube and out of the wound. I could use this technique within my personal project by constructing a section of leg from foam and liquid latex which the actor could then begin to cut into (which would mean the special effect of blood would need to be added). I would then cut away to the shadow on the wall of the man with the power-tool, before returning to the amputated leg. 

When we return to the actor, the leg must look as though it has been removed. In order to do this, I must understand how special effect make-up can be used to create a gruesome wound. 

This video explains how wax, cosmetic make-up and fake blood can be used to produce a realistic, recent amputation. This along with the previous video has helped me to establish how my personal project idea can be realised. 

Green Screen Shoot

Ensuring our subject is within the lines on the camera

We set up a green screen on the floor which would allow us to experiment with movements such as crawling on all fours and lying down

Discussing the most suitable position for our actor

As our original actor was unavailable, we borrowed his suit which Daryl agreed to wear and I helped him with the stag head

As it was a different actor, we had to make sure the costume looked right which would aid the continuity and transition from the picture frame. We therefore used a photograph taken on the day of the previous shoot to match up the positioning of the head and scarf.

Me directing our stag

Workshop Project Shoot

Our actor in the stags head which I suggested we position under the jacket and scarf to ensure it looked a part of him as oppose to a mask.

Positioning the actor and lights infront of the green screen, behind the set.

Actor ready to climb through the picture frame.

The cinematography team. 

The green screen Emma and I put up.

Helping our actor put the stags head on.

I made a cut out of a stag head which I then held infront of a dedo-light to create the shadow of a stag on the set wall.

Workshop Project Schedule

As we are so limited for time when shooting our workshop project, I wanted to make a schedule and shot list to ensure we were prioritising the most important shots and spending the correct amount of time setting up each. I believe this will help us to use the time effectively and for the shoot to run as smoothly as possible, with no delays. 

Please click on the image to view on a larger scale. 

Workshop Project Shot List

Stag Head

After much deliberation, we decided that the horse masks available did not give the uncanny effect we desire as they are so obviously plastic masks. We therefore contacted Annie Watson to ask whether we could borrow the stags head used in one of her films. She agreed and we went to collect the head. 

The device needed a bit of TLC as it was bent out of shape and the antlers were loose. I therefore tightened the bolts and used a coke bottle to bend the snout into shape. 

We believe this "mask" will add to the realism we wish to create within our piece and thus evoke feelings of the uncanny within the audience. 

Uncanny Set

Made by Daryl

Dressing The Set

Filling in the gaps in the paint

Sticking the wallpaper flowers to the frame

Painting the inside of the frame gold

Using PVA glue

We used a pillow and fabric to create a vintage style chair

Securing the floor with tape

Adding the props

Emma made a block in order to hang a picture frame

The finished set!