WIDESCREEN & CROPPING

To make our film Home Away From Here more cinematic, I put the widescreen effect over every shot. To do this I did the following-

I then selected - Filters - Widescreen - Type - 2.35:1

The widescreen effect didn't work on the shots that had been  rotated, as the widescreen effect applied itself to the raw shot rather than the FCP7 window. This is displayed below-

The shot displayed above was rotated because of the 'Dutch' angle it was filmed at. The director decided he wanted this climactic shot to be levelled as to not distract the audience from the experience. The shot itself is the key point in the film in which Jack takes his own life by slitting his throat.

To combat the issue and create a working widescreen effect, I created two rectangle shapes and positioned them perfectly in-line with the rest of the 2.35:1 bars. I used the left and right arrows to switch between shots to ensure the bars were of the same size. They appeared like this in the timeline-

Other certain shots required cropping because a member of crew was in the shot. The show

Unfortunately the level of gain appeared to increase as I cropped the image. The more you crop in on an image, the quality of the shot reduces. This shot was paramount for continuity purposes and the second take was just as bad. The widescreen bars also helped cut out the sound designer from the shot.

This part of the scene was difficult to cut due to the extremely poor levels of acting.

2:50 - 3:00 minutes in our film (displayed below) Jack rushes to the door to stop the woman from locking him in. In the original RAW footage (also shown below), Jack makes almost no attempt in grabbing the door before she closes it, resulting in a comical, pathetic attempt at saving himself. I therefore decided to incorporate a series of jump-cuts in the sequence- by quick-cutting shots of Jack banging on the door in despair, I attempted to create a sense of urgency and tension.



Home Away From Here - RAW Bad Take from Lewis Hague on Vimeo.

NOTE - The RAW footage (above) features sound issues, however it is for visual purposes only.

Home Away From Here from SHU Film & Media Production on Vimeo.


The process of editing this film has indeed been difficult, but I feel confident that I have discovered ways in which to get around/over certain issues such as the ones discussed above. If an editor is faced with an issue, one must think of an inventive way to get over the issue.

'PSYCHO'

The infamous shower scene in Alfred Hitchcock's film Psycho (1960) features an abundance of clever editing and cinematography.

The shower/bedroom scene begins with a fixed, stationary, MCU which allows the audience to analyse Marion's body language/expressions, whilst still allowing the audience to be acquainted with her surroundings. These fixed shots slowly begin create a sense of tension and anxiety for the audience.

We then cut to another fixed CU which is used to draw attention to what Marion is writing on the piece of paper. The camera soon cuts back to the original shot of Marion sitting on the chair, which in-turn allows the audience to once again see her mannerisms. This show also builds up a sense of context and perspective.

The camera then slowly tracks her movement around the room whilst remaining in the fixed position. This appears to be come across as a subtle reassurance to the audience that everything is at ease for now. More tracking shots are used to follow Marion's actions/movements in the bathroom. CU shots of Marion are maintained throughout the scene to highlight her body language/feelings. The audience feels connection between themselves and the main protagonist as we're alone with her in the scene.

The pace of the cuts subtly increase to emphasise that something is about to happen. The lack of non-diagetic sound in the scene also creates an un-settled mood. As Marion turns on the shower, the camera cuts back and forth between Marion's movement and the source of the water. Her actions potentially symbolise the idea of 'cleansing' herself, both spiritually and psychically. CU shots are maintained to display her emotions. Brief, OTS shots also make the audience feel present in the bathroom, as if we are voyeuring into Marion's life.

As Marion continues to clean herself, the camera switches in the opposite direction that allows the audience to see the shower curtain and the obscurity behind it. A shady, dark figure appears and opens the shower curtain, the lighting in the scene creates confusion/enigma as we cannot clearly see the killer's face. Sharp, frantic, snappy cuts are used throughout the fatal killing of Marion Crane. They create a sense of urgency, panic, terror and fear. ECUs, CUs and fixed shots are used to display her reactions to the terror unfolding on-screen.

As Marion falls to the floor whilst tearing off the shower curtain from its rail, the edit jump-cuts for a split-second to the shower, then cuts to the bloody water draining away down the plug-hole; it's as if to say the shower brought her new life, whereas the plughole ironically drains her life away.

The final few shots focus on Marion's eye, 'the key to the soul'. The camera gently moves around, creating an un-settled atmosphere. The final shot focuses on the $40,000 that she stole, this also creates a sense of irony; Marion stole the money for the search of a better life, whereas she consequently and surprisingly loses her life shortly after. The camera tracks away from Marion's face, and tracks in towards the stash of money.

Overall, the use of an editing pace that is slow, combined with frantic, fast cuts later on the scene create an effective scene that really allows the audience to interact and respond with what happens on-screen.

The scene is shown below-


 
https://www.youtube.com/watch?v=8VP5jEAP3K4 (Last accessed 02/06/14)