Film Adaptation – Feedback from the Crit and Reflections
Film AdaptationThe Crit
For our Film Adaptation crit, we had lecturers Joe, Andrew, and Olivia present. We screened the 8 films one after the other, and then re-watched each one before receiving feedback on our work.
My group went first with our film ‘Proof of the Pudding’. I was really pleased with the final film, and was content with the feedback as I had learnt a lot from the process and through overseeing other departments as a director. I think it was evident how much work each individual member of crew had put into the project through our short film, and for that reason I was very proud of what we produced as a group.
Special thinks to Ethan, our editor and script supervisor, and Gaby, our boom operator and sound designer and mixer, for their hard work during post-production. Without their dedication and problem-solving in Screen Academy for many long weeks, our film would not have had the character and charming qualities that it did.
Reflections – Proof of the Pudding Feedback
Whilst I benefitted from the feedback from each lecturer present at the crit, I only wish it could’ve been more detailed and more time allocated to specificities as I learn best when examples are given.
Andrew – Cinematography
Shoot with a 6K sensor transposed onto the camera’s sensor, not in the 6K file format. We had an issue with shifting between camera file formats which affected our aspect ratio and RAW file management, but thankfully we were able to resolve these through the support of the crew and staff at Screen Academy.
To prevent the camera getting wet and masking the fact something is over the camera, create a ‘camera wet’. This is essentially a protective, waterproof cover over the camera to prevent delicate internal mechanisms getting water damage. A DIY way to approach this is by cutting a plastic bag to fit the camera.
In closeups, ensure you have a ‘clean’ option for shot coverage – meaning just one actor in the closeup. Our closeups were ‘dirty’, which meant we always had both actors in frame, even if one was out of focus and in the foreground. I learnt that this is distracting for the viewer and can appear awkward if we can see the mouths of both actors. It also demands that both performances be equally great and doesn’t allow room for mistakes.
To create visual contrast and guide the viewer towards the actor’s eyes, use a negative fill (even when shooting outside).
Olivia – Directing + Editing
The synchronisation between the edit and the sound edit is reliant upon what is known as ‘temp sound’ – basically a rough cut of the future sound design to edit to for tempo, tone, etc – being present during the edit process. We should have had our voiceovers and music chosen so that Ethan could confidently hit each comedic beat with these in mind.
As a director you need to pay attention to the delivery of each and every line, and contextualise it within the rest of the film and the performance of other actors.
Prioritise shot coverage over the production schedule. I carelessly cut shots in order to stay exactly on schedule and this made our edit far more complicated than it needed to be. Adequate and proper shot coverage will save your edit.
General
For a period film, prioritise locations and costume design equally.
Self Evaluation and Reflections for Film Adaptation
I learnt a significant amount from this module and through the experience of directing an adaptation film. It was my first time working with actors who weren’t under 30 years old, and coming from commercial/theatre acting backgrounds. Communicating with Alan, Angelique, Kareem, and Rose on-set really boosted my confidence as a director and also allowed me to refine how I communicate my directorial vision. I had the luxury of working with a very organised crew on-set so my stress levels were generally pretty low during our shoots, so I was able to really focus on directing our wonderful actors and communicating with my HODs about shot-setups, production design, etc.
Going forward, I’d like to focus on developing a clearer idea of my vision and ideas for visual aesthetics, learn the acting vocabulary to use when directing actors, and consider the edit and the sound edit at an earlier stage and in more detail/depth than I did for this film during the shoot.
Reflections – Other Groups’ Feedback
Have plenty of fully charged batteries.
Be careful and intentional with music choice.
Be aware of over-cutting the edit.
You don’t always have to reveal props in the plot twist. Give an impression, otherwise you’re revealing poor design or a lack of effort. Know when you haven’t quite succeeded at your original plans.
Create a small colour contrast between the foreground and the background using gels.
Pay careful attention to the sound and whether or not it’s fully synced.
Ambiguity in the dialogue and narrative can go a long way.
Sound design for a period piece can be difficult – you need to only include sounds that fit the period.
Prioritise attention to detail and visual aesthetics.
If you’re going for a film look, be aware of things digital cameras do that film cameras don’t.
Simple, effective visual cues.
Don’t allow your aesthetic to be higher than the quality of your actors.
Film noirs – pay attention to the edit and use of music.
Establish a connection or place clues that subtly allude to future twists and reveals.
Prioritise location scouting in the pre-production phase – especially if you’re doing a period piece like a noir.
Softness of the image using tights over the lens.
Andrew has shot in colour so that when grading he could emphasise certain colours and heighten contrast – film noir.
Colour grading can feel cinematic or documentary-style depending on the settings and stylisation.
Look into television vs film/cinema cinematography.
Consider the geography of the location and how the characters move through the location in relation to the narrative.
You need justification and motivation for decisions.
Each department must be in constant communication and on the same page in terms of tone and style. Without this, it can come across as disjointed and result in a lack of empathy for the protagonist.
Get the boom as close as possible to the actors, even if the location is noisy.
If you set visual rules, stick to them.
Use Canva for covering branding and logos.
Consider aspect ratio as a crucial element of visual style and aesthetics.
Don’t let your actors use whatever accents they want to.
Be wary of using stabilisation as it can be really obvious and take people out of the film.
Use a colour chart so both cameras can see it.
Don’t use fade-to-black as a way of transitioning. Use cutaways, creative transitions, or just cut.
Have the courage to just cut. You don’t need to add in transitions.