Graduate Film Project
My Groundwork
On this page you can view all of my groundwork relating to my graduate film project.
Research Question & Methodology
"Is it possible to co-opt imagery that was intended for one purpose so that in its reconfiguration takes on new meaning, which both points to its source but also wholly represents a new expression?"
This project represents a departure from a standard linear filmmaking approach. In that instead of being linear, (composed of pre-production, production and post production), parts of the project were created simultaneously. In doing so might be best characterized as a bricolage approach.
Using bricolage provides a more flexible approach to production, which is divorced from the linear requirements. In doing so, it allows me to create tentative experiments, which in being free of the constraints of an overarching purpose - allowed me to try out options according to their best fit according to the changing circumstances of the project. As Matt Rogers explains, bricolage "can be considered a critical, multi-perspectival, multi-theoretical and multi-methodological approach to inquiry" (2012). In the context of my project, this has meant that the process has allowed me to consider all aspects of the project simultaneously - something, which is generally not possible using conventional filmmaking methods.
My methodology combines bricolage and practice as research. "The research consists entirely of the creative practice, with no explicit critical exegesis deemed necessary." (Lyle Skains, 2018) My creative artefact and groundwork will be the answer to my research question. This is because bricolage is a multi-methodological approach to inquiry.
The Idea
The idea for my major project came about when reflecting on my time at university. I thought about what unit I enjoyed most at Bournemouth, and that unit was sound. As my interest in sound developed it became clear to me that I wanted, and still want to have a career in sound.
I looked back on my time in the sound unit and remembered a project that everyone had to work on. That project was to re-create all of the sounds for Chris Marker's La Jetée (1962). The style of La Jetée is unique as it is a film made up of still photographs. I adapted this style and incorporated it into my major project. I now had an idea of where my project was heading towards.
Gathering the Photographs
I had now an idea, but what I needed next were photographs. Lots and lots of photographs. I wanted to stay true to the style of La Jetée, to use 35mm film photography and luckily film photography was a hobby of mine.
I began by developing nine film rolls of 36 exposures, giving me roughly 300 photos. The film stock I used was Kodak Portra 400. Kodak Portra 400, in terms of the aesthetics, feels warm, soulful and nostalgic (Kim, 2017). I wanted my film to share the same aesthetic. It's always a treat looking back through a freshly developed film roll. You never know how they're going to come out, and sometimes you forget the memory from when you took the photo. And this gave me an idea.
The idea of memories and reminiscing would go well with the photographs and fits perfectly with the style. However, I knew 300 photos wouldn't be enough. So I asked my friends if they could send me some of their photographs. I made sure that they would send me photos that were of memories. Photos of people or places and they had to be celluloid. This was important as film has a nostalgic aesthetic to it and nostalgia is one of the main themes in my film.
I have chosen to use photographs and that is an unusual approach. It represents a unique approach to filmmaking. The imagery I had completed already had a purpose, and in order for me to create my film I had to reconfigure its meaning into something new. I needed to tell a story with photographs taken by different people and at separate times and places. This is the reason for my research question. To see if it is possible to co-opt imagery, representing a new expression.
Supervisor Meeting 1 (24/02/21) 1 hour
This was my very first supervisor meeting with Simon Perkins. It lasted just over an hour as we discussed my idea and rough story.
At the time of the meeting I was currently working on my script and I was having some trouble writing it. I told Simon that I was 5 pages into the script and that nothing had happened yet. I was still trying to set up the story. After hearing my problem Simon suggested that I tried a technique called in-media-res which is starting a film in the middle of its story. Adopting this technique would help me to tell the story faster and in a unique way.
Simon also suggested that I should try creating the story boards first then write the script. This was because it proved to be difficult coming up with the script first, then trying to fit the photos in after. This is an example of bricolage methodology.
Overall my first supervisor meeting was really helpful and I was able to get some great advice on how to manage my workflow.
Story Boards
After initializing my idea, I took my supervisor's advice and started working on my storyboards instead of writing the script. Usually when I create a film I would write the script first. However, I had to adapt my workflow to this unique project in order to work efficiently.
I started by selecting all of the photos that I wanted to use and categorised them into themes, locations and settings. This way I was able to group the photographs and place them with in a scene. This was just so I could see what images linked to one another.
You could call this a collage process, how I have re-interpreted the context of each photograph. Because a collage is "a versatile art form that accommodates multiple texts and visuals in a single work" (Vaughan, 2005). I have transformed hundreds of images into a single film, linking back to the multi-perspectival approach of bricolage.
Script
Editing the Photographs
Finishing my story boards helped me to get a general idea of where the story was heading. However, now I needed to develop that general idea into one audiences would understand and relate to.
After some mind mapping I came up with the story of a dying person reflecting on their past. I decided on this as it metaphorically relates to my experience during this past year with Covid-19 and lockdown. And (although thankfully I am not dying), it is this past year which allowed me to stop and reflect on my memories. I want a meaning to my film, a meaning that people can relate to and take something from. I felt as if we've all had a moment to stop and reflect on ourselves this past year. I wanted to capture that moment within my film. I just needed to find a way of telling it.
The concept of the phone call seemed like a really useful approach to narrating the film. I began writing the start of the conversation from answering the phone. However, I realised I was 5 pages in and nothing had happened. I was still trying to set up the story, and this was a problem. I asked my supervisor what they thought I could do to get the story moving faster. They said to me I should try an in medias res technique by starting half way through the conversation. In media res "describes a story that begins in the middle, at a crucial point in the action" (Hellerman, 2019). Some examples include Fight Club (1999) and The Hangover (2009).
This worked perfectly because it kept the audience guessing. Why are we seeing these photographs? Whose memories are these? I knew from the beginning that the film would be slow and quiet. By having the audience figure out the story themselves meant they would be more invested and engaged.
After a few drafts I was confident with my script. I now moved on to the editing.
After writing the script it was now time to bring the project to life. I used Adobe Premiere Pro to edit as this is the software I have the most experience in.
Already having the storyboards made it much easier to edit the photos into scenes. Each scene had its own individual project and timeline. This made it easier for me to keep track of the imported media, as I was working with over 500 photographs.
The story boards worked as a guide to show what kind of photos should be placed into each scene. It was a process of trial and error to see which photos worked well in the scene, and which photos didn't.
Once I was happy with the photographs the next thing I had to focus on was cropping and panning. Not all of the photos were in the same resolution. I had to make a decision on what part of the photo do I want to show. This was particularly difficult with portrait photographs as I needed to crop about a third of the image. I thought about having a different resolution for the film as a whole, however I changed my mind as I wanted the film to be as cinematic as possible. I was happy with a resolution of 1920x1080.
Finally, I had to work on the pacing of each photograph. At this moment of the production I had to guess how long the photos would stay on the screen for as I didn't have any sound at this point. So I aimed to have each scene around a minute long. This wasn't really an issue as I could always come back to the project and adjust the pacing accordingly.
This is another example of bricolage methodology. The editing process involved me having to come back multiple times to each scene and changing parts in order for the dialogue and sound to match the imagery. Now I could have done the sound first however, I needed to see what sounds I needed to record for the ambience and foley.
Foley List
Having the edit done allowed me to look through to see exactly what sort of sounds I needed for each scene. I created a foley list on Microsoft Excel noting down the scene, action, sound and file. This made it really easy to look back and find the sound once they were all recorded.
To make sure I was noting down the right sounds, I would pause the scene on each photograph and scan the frame from top to bottom, looking out for anything that could make a sound. After doing this I noticed the majority of my sounds were just ambience. At first this worried me as I thought there would be more sounds to be recorded than just ambience. However, after doing some research, I realised that ambience is more complex than I thought it was. I discovered that it can be made up out of all kinds of different sounds, and this excited me.
After finishing the foley list I was excited to get on with the recording session. I just had to figure out how I would go about recording the sounds but more importantly what would I used to record.
Foley Session
I had great fun recording the sounds for my foley session. It really brought to light how much I enjoy audio and recording.
Leading up the session I didn't know what I was going to use to record the sounds. At first I thought about using my phone however, my phone microphone didn't have a wide enough frequency range. It was difficult to pick up certain frequencies and the frequencies that it did pick up were heavily compressed. So in the end I bit the bullet and invested in a Zoom H4n Pro field recorder. It cost me £170 but in the end it was worth it.
The Zoom field recorder has a very wide frequency spectrum meaning it could pick up those low end bass frequencies with ease. Not only that but it also records in stereo which was perfect for recording ambience as it's able to capture sounds from every direction, creating a more immersive track.
I also invested in a dead cat wind screen to protect the microphone from picking up the wind. This was essential as most of my recordings were outside capturing nature.
All of the locations that I went to during my session were within the Bournemouth area. Some locations were far away so I used my bike to travel from each location. It was a long day but by the end of it I had recorded the majority of the sounds that I wanted. A few of the I had to re-record on different days due to technical problems.
Having the foley list with me when recording help massively as I was able to note down the file name on the field recorder next to the sound description on the list. This made keeping track of the sounds much easier. It also meant I could quickly find the track and listen back to it.
Recording the Dialogue
Before I could record the dialogue I had to think how could I get good quality audio without breaking the Covid-19 rules. My script only has two characters, a male and a female. I decided that I would be the male actor as this would make recording much more convenient and safe. I also have some acting experience from when I was younger, so I believed that I would make a good job of it. I used a Blue snowball condenser microphone plugged into Adobe Audition so that I could quickly listen back to my recorded dialogue. It also meant that I could edit the audio straight after recording, meaning for a faster workflow.
As for the female character I asked my friend Abi Stevens if she would be able to record the lines of dialogue on her phone and send them to me. I wasn't worried about the overall quality of the audio as the conversation takes place over the phone. So in fact the audio sounded more authentic. I sent Abi the script and by the end of the day I had all the lines of dialogue ready to edit.
Editing the Sound
The software I used was Adobe Audition. I initially wanted to use Pro Tools however, I couldn't get access to the software. However, I have more experience on Audition and I am confident on how to use it. Not only that but the fact I could export projects from Audition to Premier Pro made for a quick and easy work flow.
I began the edit by equalising all of the recorded dialogue. This was to cut out all of the low and high end frequencies. I then reduced and increased certain mid-range frequencies using a parametric equaliser. I then finished editing the dialogue by adding some subtle compression. Compression is when you compress a wide range of frequencies into a narrower range. This is what phones do in order to get maximum usage from phone lines. As my conversation takes place over the phone it was necessary to do this.
I created a pre-set on the filter so that the EQ would sound consistent. However, because of the different microphones used for each character, I ended up creating a completely different pre-set for the female character's EQ. I had to do this due to the different dynamic range of each microphone although this wasn't much of a problem.
After editing the dialogue, I now had to lay down all of the tracks. The tone of my film is quiet, slow and somewhat ambient. I wanted the sounds design to emphasise the same tone and feeling. Laying down the recorded ambience from the foley session really bought the scene to life. I wanted the sound design to be as natural as possible because what we are hearing are past memories. So it was important to me that I stayed true to a natural sound.
I added a lot of subtle splices of sound to add depth to the scene but quiet enough for it not to be distracting. Again, same with Primer, I edited by scene allowing for my projects not to be overwhelmed by files. After a few drafts I was happy with where the tracks were.
Supervisor Meeting 2 (21/04/21) 1 hour
This was my second supervisor meeting with Simon. This meeting was just under two months from the last, meaning a lot has happened with my project since then.
In this meeting I showed Simon some of the draft edits and he gave me some feedback on how I could edit some of the photographs. Simon suggested to think more about the placement of each photograph. He said that because the photos are film, I would be able to crop in without losing much quality. This gave me new insight of how I could compose the photographs. Simon also suggested adding some very slow pans and zoom to give some subtle movement to the still photos.
We also discussed my audio recordings and how well it went as well as planning how I would go about producing the music. I told Simon how I've been making patches on my synth throughout the production and recording them through my audio interface.
Overall Simon was pleased to see that I had been busy working away at my film and that he was excited to hear the music.
Producing the Music
All of the music in my film is original and was produced by me, with help from one of my friends on the 'beach' track. It was a fun process and was the most exciting part of the production.
The process of creating the music was constant throughout my production. The way I produce music is through experimenting as much as possible. This is where I generate my ideas. I was creating music since the beginning of the production, so that by the time the film was done I had multiple tracks to choose and expand on. This is another example of bricolage.
Track 1 - Remember When
I wanted a bitter sweet sound as this is one of the key tones in my film. To capture this tone, I tuned my guitar into an alternative tuning. This is done by 'mid-west emo' bands which share a similar bitter sweet tone. Although the 'mid-west emo' genre is more fast paced and loud. I needed to adapt the sound into a more ambient one. I did this by using a lot of different guitar pedals. I used reverb, delay, bit crusher, muff and looper pedals to create a muddy airy sound.
I started by recording this directly into my audio interface however, the audio interface heavily compressed the sound resulting in a shallow sound. So instead I used my Zoom field recorder to record the sound coming directly from the amp. To create a roomier tone I placed the amp in my bathroom. This resulted in a nice echo which gave the sound more life.
After recording the sound from the amp I edited the track in Ableton Live 10. Adding some light compression and subtle equalisation. After this whole process I had finished my first track, 'Remember When'. I was really happy with it and decided to play it over the first two scenes of the film.
Track 2 - BEACH
I wanted to experiment with a more modulated sound. I have used semi modular synths before but never fully modulated synths.
I asked my housemate if I could use his eurorack to create a track for my film. He agreed and showed me how to use the synths. I soon got the hang of it and quickly created a plucky sound. This was done by using an oscillator module. This was then sent through an effects module adding reverb. I did this because reverb creates a more atmosphere tone.
I then wanted to create a drone sound. To do this I made a simple patch on my Moog monophonic synth patching the low frequency oscillator into the voltage controlled amplifier. This resulted in a wavy modulated drone. This gave the track some depth and richness.
Once I was happy with both of the sounds I mixed them together to create the track 'beach'. I was again really happy with the result of this track as I was able to create a track from something I had never used before.
Track 3 - Winspit
The third track I wanted something a little different. The two previous tracks all involved complicated modulation and were all electronic sounds. Whereas for this track I wanted something simple, an acoustic guitar.
It also fits perfectly with the scene in which the track is featured on. One of the photographs shows a person holding the guitar. So when we see the photo the track goes from diegetic to non-diegetic as the rest of the photos play out.
As for the sound, I used the same tuning from the first track as I wanted include a subtle leitmotif. The style of guitar playing I used is called finger tapping. This is when you hammer onto the string, slide then pull off all with your chord fingers. This creates a unique sound from other guitar songs and I wanted to put in the effort of creating something unique. Even if it is just an acoustic guitar.
Once I had composed the melody I recorded it in my bedroom with my field recorder. Once it was recorded I put it through a tape emulator, creating a slight wobble effect. This gave it some warmth resulting in a more emotional sound.
This was the process of my third track. I was really pleased with the result and was very proud to create something so original.
Track 4 - Outro
This track is the last one in the film so it was important that I got it right.
Throughout my production I had been creating 'patches' on my Moog synth. Creating a patch is when you shape a sound from scratch by using different wave tables, LFO's, filters, timing, the list goes on. The unique thing about modular synthesizers is that every patch is different. There are so many varieties and differences in modular that it's really hard to re-create the same sound. Knowing this I had been shaping sounds and recording them since the beginning of this production.
This allowed me to look back and select patches that I liked, to work on and develop. 'Outro' is one of the old patches I made sometime in early March. When I listened back to it in April I instantly knew it was going to be the last track of the film.
I love the richness of the sound. The depth and texture it has. How it's just simply two notes playing but yet there's so much going on. This track demonstrates the power of modular synthesizers, and is a perfect example why I decided to use modular. It was when working on this track that I knew I truly belonged in sound.
The Mix
The mix was the final stage of the production. I started by mixing all of the scenes together giving me the full edit without the music.
Like most cases I mixed the dialogue to be around -12db meaning it was the loudest sound in the mix. This is necessary as the dialogue is the most important sound and it's where the audience gets the information from.
I then mixed the ambience sitting around -30db. Some of the ambience is made up out of multiple layers so in this case I panned some layers to left and right. This created a more immersive atmosphere.
The same was done with the foley. The sounds of footsteps were panned to match the action on screen. The levels depended on the foley, how close or far away it is.
Finally, I equalised any harsh frequencies resulting in a much clearer mix.
Feedback & Improvements
Now that I had a first draft done, it was time to look back and see what I could improve on. I wanted to show my film to a few of my peers but before I did that I looked through the film myself.
After looking back on the first draft myself, I saw a lot that could be changed. These were more technical issues as well as some pacing improvements. After I had improved the first draft I rendered out the second and was ready to show it to my peers.
It was really important that I showed my film to other people than myself. This was because working on the same film for four months straight could lead to me missing obvious mistakes. The first person who I showed it to was my friend Emily. Emily is a great editor and I asked her for feedback mostly relating to the pacing of each photograph.
I sent Emily the link to the film, and arranged a Zoom meeting on the 24th of April. The meeting was a great help and Emily gave me exactly the kind of feedback I was hoping for. As well as some other suggestions such as grading some of the scenes. She suggested that I should grade some of the city scene a bit darker. However, I decided to keep them as they were because despite the city being a change in the main character's life, it was a change that had highlights. Again my film is not about death, it's about life. The scenes we see are all of the memories in which the main character is reflecting upon. However, there were other suggestions from Emily that I followed up on. One example is one of the images in the country side scene. The one image in particular was dark and had themes of horror. I didn't even notice this but after Emily told me about it I could see why she thought it didn't belong in the scene. A great example of how important it is to get feedback from other people.
The final meeting I had was with Will another peer on my course. Will is a great filmmaker and I loved watching his films, so I really respect his opinion. We had the meeting on the 1st of May. By this time I was on my 6th draft. The meeting went really well, Will gave me some good tips but he said that there wasn't anything obvious that I should change. His feedback was more about tweaking a few tiny details like the levels of some sounds and durations of a few photos. These small details I missed because of how long I was working on the film for.
Overall the meetings with Emily and Will were a success and I was able to get some great feedback from them. I felt that I was so fixated on this film that I got tunnel vision and I glanced over a few mistakes. These meetings were to compensate for these mistakes. They were a success.
Supervisor Meeting 3 (18/05/21) 1 hour 30 minutes
This was the last supervisor meeting I had for the project. In this meeting we discussed in detail the research question and methodological approach for my project.
This meeting helped as my project had developed and evolved from my initial research question. Leaving me with a project that did not have a question. We went through my work and discussed my methodological approach towards my production. We reviewed and changed my methodology to that of a bricolage approach.
Simon reviewed my groundwork, leaving annotations of what could be improved. This last meeting was really about refining my project. Making sure everything was right before submitting.
Conclusion
The production for my creative artefact was a unique way of creating a film and has taught me that there are other methods than just the typical linear approach.
I was able to learn experiences and methodologies, evolving into a better filmmaker. I have also been able to refine my skills as a sound designer, which is my intended career.
My graduate project is a great example of my experience and learning at Bournemouth University. And despite the restrictions of Covid-19, I will still able to make the film I wanted and be proud of it.
References
Fight Club, 1999. [film, DVD]. Directed by David Fincher. USA: Fox 2000 Pictures.
Hellerman, J., 2019. Why You Should Pull a ‘Pulp Fiction’ and Start Your Script In the Middle. No Film School [online], July 31st. Available from: https://nofilmschool.com/In-Media-Res-examples [Accessed 18/05/21].
Kim, E., 2017. The Aesthetics of Photography [online]. New York City: Eric Kim. Available from: https://erickimphotography.com/blog/2017/08/14/the-aesthetics-of-photography/ [Accessed 18/05/21].
La Jetée, 1962. [film]. Directed by Chris Marker. France: Argos Films.
R. Lyle Skains (2018) Creative Practice as Research: Discourse on Methodology, Media Practice and Education, 19:1, 82-97,
Rogers, M., 2012. Contextualizing Theories and Practices of Bricolage Research. The Qualitative Report, 17, page 1.
The Hangover, 2009. [film, DVD]. Directed by Todd Phillips. USA: Warner Bros.
Vaughan, K., 2005. Pieced together: Collage as an artist’s method for interdisciplinary research. The International Journal of Qualitative Methods, 4 (1), page 27.
Appendices
Foley Session Risk Assessment
My (Sam King) Voice Recording Risk Assessment
Voice Recording - Abi
Supervisor Meeting 1
Supervisor Meeting 2
Supervisor Meeting 3
Project Proposal
Gantt Chart
