In another editing session, we finished our first editing draft of our film.
Sound:
'Darkest Child' - Soundtrack. This begins when the production title fades and the first image of Joel is shown and ends when Joel slams the desk and Lucy disappears. We chose this music because it represents the innocence of childhood with the music box sounding notes but is in a minor key which gives it a horror edge. It also intensifies as the piece continues, which we found effective to create tension.
Wind - We used a loud wind sound in the exterior shots, this is also used to create tension as the wind gets louder as the film goes on until the slam, where it calms. The wind is used as a representation of what Joel is thinking, as he gets increasingly frustrated with his image, the wind gets louder, which makes it feel more busy and suggests the inner workings of his brain, this means the audience is open to interpreritation on whether Lucy is in his mind.
Swing - In the silence after the slam, the shot of an empty swing is shown for an uncomfortable length of time. The only sound is a light wind and the creak of the swing. This sound was a challenge as we had to decanter it from another sound of a door opening. It took time to adjust to make it sound natural.
Thunder - When the film is done and it fades to black, 'The Architect' fades up. As it did, we added a thunder noise to create a pathetic fallacy of danger to come. This also creates the effect that the film isn't finished and gives it a 'cliff hanger' feel.
Transitions:
Only transitions (for the film) are straight cuts. We didn't use transitions between shots as this creates an unprofessional feel to the piece, almost making it seem cheep.
We used one transition of a fade at the end to black. We used this because it showed the continuity of the film and the decent into the thunder.
We found that we need to reshoot some of our footage, for example, the match-of-action of the pencil being picked up and another pan shot as there is a shadow in our other one.
Sound:
'Darkest Child' - Soundtrack. This begins when the production title fades and the first image of Joel is shown and ends when Joel slams the desk and Lucy disappears. We chose this music because it represents the innocence of childhood with the music box sounding notes but is in a minor key which gives it a horror edge. It also intensifies as the piece continues, which we found effective to create tension.
Wind - We used a loud wind sound in the exterior shots, this is also used to create tension as the wind gets louder as the film goes on until the slam, where it calms. The wind is used as a representation of what Joel is thinking, as he gets increasingly frustrated with his image, the wind gets louder, which makes it feel more busy and suggests the inner workings of his brain, this means the audience is open to interpreritation on whether Lucy is in his mind.
Swing - In the silence after the slam, the shot of an empty swing is shown for an uncomfortable length of time. The only sound is a light wind and the creak of the swing. This sound was a challenge as we had to decanter it from another sound of a door opening. It took time to adjust to make it sound natural.
Thunder - When the film is done and it fades to black, 'The Architect' fades up. As it did, we added a thunder noise to create a pathetic fallacy of danger to come. This also creates the effect that the film isn't finished and gives it a 'cliff hanger' feel.
Transitions:
Only transitions (for the film) are straight cuts. We didn't use transitions between shots as this creates an unprofessional feel to the piece, almost making it seem cheep.
We used one transition of a fade at the end to black. We used this because it showed the continuity of the film and the decent into the thunder.
We found that we need to reshoot some of our footage, for example, the match-of-action of the pencil being picked up and another pan shot as there is a shadow in our other one.