Conventional film language and experimental forms of cinematic editing are fundamental to the relationship between film, an audience, and the ways in which the message embedded in an audio-visual piece is received.
Post-production continuity and discontinuity editing are globally acknowledged by various production editors as essential tools in the creation of successful visual displays, whether it be cinematic, or a more casual and conversational form of production, such as vlogging.
The construction of my final project for this assessment task was a very drawn out process, with the creation of my own storyboard and careful analysis of global screen media techniques to create an aesthetic continuity piece to convey a strong message regarding “Where I’m From.”
To begin the assessment, I revisited my previous remosocopes, soundscape, and poem I had composed to recreate a sense of where I was raised, how I was raised, and by who. From this, I created a new poem and a basic storyboard for the vision in my head.
My remosocopes were a mixture of standard cut shots with a very warm undertone. I wanted to carry these warm tones into my final project to recapture the slow-moving, dream-like state of a small town.
My soundscape was an extremely busy and overwhelming piece, and I wanted to avoid this by sticking to a simplistic form of narration and piano chords. The juxtaposition between the piano chords, poem and visuals are included to highlight the melancholy tone of remembrance and reflection of prominent female figures in my life. The incorporation of three different figures within the video is representative of myself, my sister and my mother, and our female household which was overrun with “long hair, flowers, and holding hands…” Also known as, “Where I’m From.”
Unlike my first assessment, I wanted to include effects (such as cross dissolve transitions) to highlight the change in narrator and scene, as well as create a more visually interesting piece to communicate that “dreamy” and “reflective” feeling.
This was inspired by the continuity editing, film techniques, composition and narration seen in Beyoncé’s Love Drought music video. I wanted to capture the simple cut techniques and varying camera angles used in the scenes which experiment with light, faces and bodies, which I think I did very effectively.
Moreover, only three scenes contained differing editing techniques to the standard cut. For example, the overlapped, opaque shots of the dress, the “cloning” effect (which I struggled to perfect), and the rotating, opaque dream sequence are intentionally grouped together to depict the climax of the poem and enhance words such as “implode.”
Shot size, composition and camera movement were also a large part of this assessment. Close-ups, side face and top face extreme close-ups, establishing shots, still shots and moving shots were all incorporated to provide a slow-moving sense of time. Quick “standard” cuts were used to highlight the fast-paced audio and occasionally the melancholy change of piano chords.
Camera angles were also utilised to convey meaning within the video. For example, the birds-eye view of the dream sequence is to focus on the uncertain feeling I have come to know with the changing of homes over the years, as vocalised in the poem.