Pre-Production: Schedules

Production Title: Sense of Place (Looking for Solitude)
Director: Dominic Barnes
Producer: Megan Crawford
Actors: Megan Crawford and Michael Rowland

SHOOTING SCHEDULE

DATE       TIMES       SCENE         LOCATION NAME        CAST         

21/11    17:00-17:30           4                 My bedroom                    Me      

DESCRIPTION

This is a shot set up on a                                                                                                                     tripod involving my hands                                                                                                                     forming the shape of a bird.                                                                                                                     My lamp will be set up to the                                                                                                                   right of the camera and I want                                                                                                                     the whole of my hands and                                                                                                                     wrists to be seen. This will be a                                                                                                               cross cut in between shots 1 and 2.

30/11    20:00-21:00           1                Tramline-Station               M.R        

DESCRIPTION
This is a slow zoom out,                                                                                                                             lasting a minute in length,                                                                                                                       beginning on a mug, slowly                                                                                                                     revealing a man with his back                                                                                                                     turned to us, with a tram riding                                                                                                                   past to end the shot.

4/12      10:00-17:30           2              Cleethorpes beach              Me      

DESCRIPTION
This shot consists of another                                                                                                                        long, slow zoom out from a                                                                                                                       section of Cleethorpes beach.                                                                                                                 We intend to find a point on the                                                                                                                 beach for which the camera can                                                                                                                  focus on. From that, we hope to                                                                                                             achieve a shot that is nicely framed                                                                                                           and as it slowly zooms out, it                                                                                                               reveals someone with their back                                                                                                              to the camera looking out to sea.                                                                                                           We want to leave all day for this                                                                                                           because we will also be recording the                                                                                                       sounds of the sea/other necessary                                                                                                              beach sounds. 

7/12   11:00-15:00             3              Ecclesall Woods               N/A    

DESCRIPTION
   This shot will either consist of                                                                                                              
 a slow zoom out from a fire in                                                                                                                 the woods, or a slow zoom out                                                                                                                  from the same mug that is in the                                                                                                                first shot. We will be filming both                                                                                                             and in the editing process we will                                                                                                              experiment and see which one is                                                                                                           more fitting. We want the fire to have                                                                                                      
 a sense of abandonment, no one                                                                                                           will be sat by it.

7/12   10:00-11:00             5                 Park Hill                         N/A    

DESCRIPTION

This shot will be similar to shot                                                                                                               number four as it will just be used                                                                                                               as a cross cut between shots 2                                                                                                                 and 3. We will be getting a                                                                                                                   static shot of a pair of old                                                                                                                     trainers hanging from a wire or                                                                                                                 tree in Park Hill.

Within the time constraints I have set, we will be allowing twenty minutes to set up the equipment and twenty minutes to put it away, which leaves plenty of time to get a wide variety of shots from different angles etc. just so we make sure we have the perfect one.

Pre-Production:Equipment List

Our equipment for both our audio and visual experimental project will consist of;

• Canon XF100 (for the three location shots)
• Canon 550D (for the cross-cut shots)
• Tripod.
• Zoom mic.
• Spare batteries for the cameras and the zoom.
• Mac (for editing).

Pre-Production: Contingency Plans

1. Shooting on the tramlines at night time with a volunteer actor. (1st shot)

Potential Problems:

• The weather is bad (rain/snow etc.)

Resolution: Film it on another evening. As the tramlines are close to our accommodation, which means it won't be an inconvenience to change the plans last minute, especially because our actor lives with us too.

• We aren't permitted to film on the tramlines.

Resolution: To find another similar location, such as the train station. If we are not allowed to film on either of these, then we will resort to our previous storyboards of someone on a public bench, with a slow zoom out from the bottle of alcohol.

     2. Shooting at Cleethorpes. (2nd shot)

Potential Problems:

• The weather is bad (rain/snow etc.)

Resolution: To change the style of the shot seen as we will only be making one trip to Cleethorpes. Instead of involving the sun, we would involve grey skies. If anything, it is preferable to have bad weather because I believe it fits in with our general them of loneliness and isolation.

• If the tide is out.

Resolution: We will have to work around this. We can either wait for it to come back in, but depending on whether we will have time, we will just shoot on the sand or the pier. As long as there is a general beach setting for the audience to relate to our soundscape, then the scene is still being set.

• If the camera battery runs out.

Resolution: Pack plenty of spares just in case.

       3. Filming in the forest.

Potential Problems:

• Rain/wet weather.

Resolution: We will have to reschedule and make sure we regularly check the weather reports in preparation. We won't be able to film if the weather is wet because we will be filming a fire, therefore the ground must be dry.

• Not being allowed to make a fire.

Resolution: Make sure we have plenty of options and ask a variety of places if we would be allowed to film a fire, therefore we will be prepared. We won't be leaving it until last minute.

Pre-Production: Shot List

First Shot

Location: Tram lines.

Duration: 60 seconds (roughly)

Description:

Begins as an extreme close up of a mug. It slowly zooms out to reveal a potentially homeless man with his back to the camera, lying on the side of the tramlines, the only light coming from a street lamp (providing a deep orange glow to the scene). The sound throughout builds up, beginning with the singular sound of an echoing harmonica. Towards the end of the minute, this sound increased as more of the shot is revealed.

Second Shot
Location: Seaside - Cleethorpes.
Duration: 60 seconds (roughly)
Description:

The sounds of the previous minute merge in with the sounds of the sea, to form a brief crescendo. Once the sound reaches an intense volume, it becomes eerily calm, to then be replaced by the sounds of Dom singing Don't Give Up by Peter Gabriel and Kate Bush. Waves can be heard in the distance along with the shrill sounds of a bird (edited to sound similar to an alarm). On the video it begins with an extreme close up of a post standing up on the beach. When it zooms out, a girl is sat with her back to the camera, looking out to sea. When the shot is fully zoomed out, the sea is revealed along with passing birds .

Third Shot
Location: Near Park Hill
Duration: 60 seconds (roughly)
Description:

Originally this shot was going to be set in the forest, with an extreme close up of a battered pair of hanging trainers, and as it zooms out, it would reveal a fire underneath. However, we experienced problems with permission to film a fire in a wooded area, so on a walk, we discovered a chair that was falling apart and decided to our third and final shot zooming out from this. The sound would involve my low humming along with a simple, repetitive tune on my guitar.

Fourth Shot
Location: My room
Duration: 3 seconds
Description:

This shot is a cross cut between minute one and minute two. It is set in a black room, with a harsh light on a pair of hands forming a bird shape and the movements of a bird.

Fifth Shot
Location: An evening sky
Duration: 3 seconds
Description:

We would like to capture the sky as the sun begins to set, so we can use it as a cross cut between minute two and three.

Pre-Production: Call Sheet

Title: Looking For Solitude

Locations: Tramline directly behind the train station, Cleethorpes Beach and Ecclesall Woods.

Dates: 30/11 (tramline), 3/12 (Cleethorpes) and 7/12 (Ecclesall Woods)

Weather: Clear night (tramline), Grey skies and foggy (Cleethorpes) and clear but windy (Ecclesall Woods).

Call Sheet Number: 07834276195

Crew Details:

Megan Crawford
83 Broad Street, Pinnacles.
07834276195
megan-crawford1@hotmail.co.uk

Dominic Barnes
83 Broad Street, Pinnacles.
07741405121

Cast Details:

Megan Crawford
83 Broad Street, Pinnacles.
07834276195
megan-crawford1@hotmail.co.uk

Michael Rowland
83 Broad Street, Pinnacles.
07792494619

Location Details:

Tramline shot:
Sheffield Railway Station
Sheaf Square, Sheffield S1 2BP

Cleethorpes shot:
Cleethorpes, North East Lincolnshire













Woods shot:
Ecclesall Woods,
Whirlowdale Road, Sheffield















Health and Safety Notes:

1. Environment

None of our environments will be busy when we intend to film there. The most dangerous area would be the tramlines, however, nobody will actually be on the tramlines themselves, just across the platform so we will make sure all the correct safety procedures apply.

      2.  Weather

We will ensure that all equipment has waterproof covering, in case of bad weather. The weather will not be extremely hot at this time of year, however it could get very cold, especially in the shoots we do in December, therefore, we will make sure that plenty of clothing is provided for the cast and crew.

      3.  Equipment

We will not be requiring any specialist equipment such as lighting or cranes. The only equipment we will be using is the Canon XF100, a tripod and the zoom mic. We will remember to bring spare batteries to all of our locations.

Expenses:

The only expenses in the whole of our recording will be the price of both mine and Dom's train tickets to Cleethorpes, which comes to £14 each, along with buying food when we're there so £24 each.

Initial Ideas - Developing Through Storyboards etc.

 Our experimental project only really consists of four shots; which is one of the reasons why we consider it to be experimental. It would also fit under the "Structural" category or experimental film as all of the films involve the same technique.

To begin with, it focusses on a coffee mug which could potentially have the title of our project on it; "Looking for Solitude". It slowly begins to zoom out  to reveal more of the frame. The sound is repetitive and slow to begin with, and as the camera progressively zooms out, more of the frame will be revealed as will more of the sounds.

In our initial plans, we were going to have our first location as the train station, so as it slowly zooms out, more of this would come into view. However, since then we have changed it to the Park Hill area of Sheffield, where it is possible to see the city lights of the centre at night; which means that our three location choices cover three wide landscapes...the city, the sea and the forest. For the purpose of this blog (initial ideas), I will continue to explain our idea for the train station.

As the shot continues to zoom outwards, the audience come to realise that there is nobody sat with the coffee. It's alone. There is a singular chair by it. At this point, the sound begins to build up. A haunting, yet spiritual echo of a male singing voice becomes louder.

The pace of the zoom itself does not change but within the shot, movement occurs. A male walks across the screen in a seemingly business-like manner. He puts down his briefcase and crouches on the floor in an animalistic manner. As this happens, a shrill whistling sound can be heard, becoming louder towards the end of the first minute. The voice can still be heard, along with the continuous tapping and echoes. As the shot continues to reveal more people acting like animals (putting their bags down to join in the activity) the slow zoom-out becomes an over-the-shoulder shot, whereas before it was just a wide establishing. We are now following an onlooker. The sounds of the sea can be heard in the distance.

The boy (or girl) turns their head around to reveal them wearing face paint like that of a cat. They stare directly into the camera and take a long drag of their cigarette. The sounds of the sea, the shrill whistling and the singing build up into a crescendo, leading onto the second shot and the second minute of our experimental film.

The second shot begins with an extreme close up of an authentic whistle; as it slowly begins to zoom out once more. The sounds of crashing waves can be heard along with the high pitched cry of a bird. The crescendo begins to lesson after around ten seconds of our powerful mix of sounds. The sound begins to focus on specific sea sounds. On my storyboards, it appears to be from a birds-eye view angle of the scenario, however, it would be taken from the same level as the sand.

The sounds of the waves become almost silent (distant) as the shot continues. There is even a few seconds of silence. Coming into view in the right hand side of the shot is a girl's face with her eyes closed. The sound of the male singing voice begins once more, in a higher octave. As the male voice dominates the soundscape, the waves begin in the background once more, when the sound of a crying bird pierces the melancholic singing. This sound is then put on repeat, beginning to sound like an alarm. The sea comes into view on the left hand side.This is the first sign of movement in the shot thus far, however, towards the end of the shot, the audience can just make out a pair of hands in the corner of the screen grasping at the sand (in desperation?). The sounds of the bird's cry is uncomfortable to listen to in comparison to the first minute of sound.



The third shot is set in a forested area. To begin with, the shot focusses on a pair of old trainers hanging from something unknown. After doing some research on "shoe tossing", I found out that tossing shoes over trees or electrical wires is a sign of a gang marking their territory, or it is even in memory of someone who has died. Friends of family hang them up their as a sign of respect. Nonetheless, it doesn't mean it has to represent this in our piece, it could represent a happy memory.

Throughout this, the sound builds once more (for the second and final time). In the final sequence we wish to create an eerie quality, but still maintaining the spiritual, lonely aspect. We will not be using the male singing voice at this point, but the sounds of my ukulele and me humming; edited of course to fit in with the scenario. The sound will involve chimes and high tinkle noises with an eerie humming, which increases in volume. The sound will be similar to that of a song from Sigur Ros' first album; Hafsol.

At the end of the final shot, we can see a burning fire, but with no one sat by it. We wanted the audience to create their own interpretations.

Our fourth shot will be cross-cutting throughout the whole three minutes. To begin with, I wanted a bird simply flying. However, the more I developed my ideas and conducted experiments with a camera, I thought it would be good to emulate the actions of a bird with my hands in a dark room, with harsh lighting. This will be cross cut in all three of the shots at least twice, longer in each minute.

Since these initial thoughts our ideas have developed much more, and we continue to develop them even now.

Group Roles

The roles we assigned for the soundscape are:

• Me as the sound recorder.
• Dom as the sound editor.

Regardless of these roles we have decided to both experiment with the editing and the recording, but ultimately I will be the sound recorder and Dom will be the sound editor.

In relation to the recording and editing of the images to put with the sound, we would both like to test the slow zoom outs with the camera as I believe this will be a useful skill for us both to practise. In terms of the cross cuts that we are thinking of putting in, we will film one each; I will film my hands emulating the shape of a bird and Dom will film the other one (which we are still unsure of).

We both have the same idea of what we would like the end result to look and sound like so we believe it would be useful for us both to experiment with the recording and editing of the piece.

Musical Influences

Sigur Ros

I have been a massive fan of Sigur Ros' music for years now; his voice sounds so haunting in his songs, which I would quite like to emulate using my partner's singing voice. Sigur Ros' first album has influenced me the most in the experimental project, as he himself often experiments with his music. In particular, the song "Hafsol"helped to provide me with the mental images of our locations and images we have for our sound piece, working with a similar premise of sound.

Sigur Ros does not follow the general conventions of "music"; often creating an ethereal, melancholic quality, however, depending on the mood and tone you wish to set, it can also be perceived as eerie. We would like to incorporate this quality into our piece. Through the different location ideas we have, sounds much like this will add a richness to them that I think can only be heard through haunting vocals.

I would like a sound like this to be played throughout our piece, as an undertone but also increasing in volume and intensity towards the crescendo of sound that we intend to have halfway through the piece.

Peter Gabriel

Peter Gabriel is most well known for his experimental album "So" with the worldwide hit "Sledgehammer". Like Sigur Ros, his vocals have a unique quality to them which we think would work well with our idea and style for our piece. We would like Dom (my partner) to sing one of his songs and with these recordings, we will add our own after effects, such as "Reverb" and "Echo" to create our own spiritual-verging on tribal-but haunting vibe, much influenced by  Sigur Ros' music. With Peter Gabriel, it is not particularly his voice that I find magnetic; it is the culmination of sounds and his ability to create an earth-shattering crescendo in many of his songs, such as "Digging in the Dirt".

Recording Sound

Last Sunday, I took some sound equipment on a voyage of discovery into the world of experimental sound. I took a walk to see if I could find any inspirational or unusual sounds. I found a perfect spot in Norfolk Park; the location spot similar to that of the opening sequence in The Sound Of Music (in my eyes anyway).

The peace and quiet was beautiful and though the microphone I managed to capture the rustling of the trees in the wind, birds in the distance and the crunching of leaves as I walked on them. I began to think about various meanings and possible concepts behind these sounds. The rustling of trees in the wind could signify a movement in time; a new day, or furthermore it could represent a change in a character, a change in the narrative or it could even add a chilling effect to a horror or build tension; endless possibilities behind just one sound. The sound of the birds could also add to those moods. I also believe the sound of birds can portray freedom for example, someone being released from prison and experiencing freedom for the first time in years. If birds were to be heard, then it would be to show freedom and creating a "flying the nest" kind of mood. Conversely, the sound of birds could represent mournfulness or loneliness, such as at a funeral or if someone is potentially lost or just generally feeling lonely.

After recording these sounds, I decided to be more experimental with the sounds I was recording, by making more myself. I did this by pulling out tufts of grass (which made a strangely satisfying velcro sound on playback), scratching on bark (which was horrible to physically experience but resulted in a hideously creepy sound) and standing on an empty can that was previously left on the grass. I also recorded the sound of an ice cream van in the distance which could both be used in a happy scene in which children excitedly run for ice cream or it could be within a dead town and become automatically a sign of danger or despair.

Overall, going out and exploring different sounds has helped me develop my ideas for the experimental piece and has opened up a wide amount of possibilities. From this, I have realised that the next time I explore, I would like to record water as my ultimate aim is to record the sounds of the sea, because through the crash of a wave or a ripple within the sea, so many connotations could lie within

Initial Ideas

Initial Ideas

Beach-Waves-Birds
In the past, in the short films I have made, I have mostly managed to incorporate the sounds of the beach or a scene set on the beach; it has always been a place of peace for me; a place where I can generate my ideas, which is why I like to include it as a location. The sea itself can represent a wide spectrum of emotion, themes and motifs in film, ranging from a calm tide to a raging storm (which can be used to show a disruption in the equilibrium of a narrative).

In my experimental piece, I would also like to include the sounds and images of birds; not necessarily an actual bird, just a symbol of some kind as they often show freedom; the sky is essentially their sense of place, however, they often inhabit similar land areas, instead of using that freedom. Instead of using the actual sounds of a bird, we could emulate the sounds using different instruments, even our voices. And instead of using the actual image of a bird, I thought it would be interesting to cross cut at some point in the piece, to a hand emulating the shape of a bird.

"Sense of Place"- First Session

Sound Recording

The first place we visited as a group was the train station. Me and my partner sat on a table directly next to the coffee shop. I decided to relate the mechanical sound of the coffee shop to a steam train. The whirr of the coffee machine was similar to that of a moving steam train. The mixture of the sounds of the coffee machine mixed with the vague sounds of the meaningless chatter (of people ordering) added to my concept; it sounded like passengers on a moving train. The combination of the people chattering and the fridge were both monotonous.

In addition, there was also a high-pitched screeching noise of the coffee machine working; which was almost impenetrable. This could relate to the sound of the steam-powered train-the whistle being blown.

Class Notes - Chris Watson

In class this week, Chris Watson (a well established sound recordist) was mentioned. He has an experimental piece in the Millennium Gallery in Sheffield. I went on my own and enjoyed it so much that I have been a second time just this week and I intend to go again whilst it's still on. He has used different sounds of Sheffield and edited them together with images that I found really quite lonely, including a football ground, a river and old factories. The location of his sounds are important in his work, and I found that no people were in any of his pictures. The football ground especially looked out of place with nobody there, and yet we could hear the echoes of an audience cheering and chanting. It was almost as though it happened years ago and it has long since been empty and abandoned. All of the photos were in black and white which contributed to this thought process.

The second time I went, I listened out for particular sounds and wrote them down. He influenced me in my development of my idea, focussing on the idea of loneliness (perhaps content on being alone) in a vast world. I want to use vast locations such as the sea or the forest to achieve this.