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!

Personal Project Storyboard