Sigmund Freud: ID, Ego and Super Ego

Freud Id, Ego and Superego. (Kendra Cherry, 2019)

  

Sigmund Freud: ID, Ego and Super Ego

Freud's theory on ID, Ego and Super Ego tries to explain the different elements of the human personality through 3 main elements, the ID, the Ego and the Super Ego. "Each component not only adds its own unique contribution to personality, but all three elements interact in ways that have a powerful influence on each individual. Each of these three elements of personality emerges at different points in life."(Kendra Cherry, 2019).

The ID is the only element that is present from birth and is the most instinctual, this element seeks for pleasure without thought for any consequences, this is what babies rely on and it is not until they grow that they begin to understand their actions. It stays present throughout life but due to the other elements of Freud's theory is controlled and managed. "Although people eventually learn to control the id, this part of personality remains the same infantile, primal force all throughout life. It is the development of the ego and the superego that allows people to control the id's basic instincts and act in ways that are both realistic and socially acceptable." (Kendra Cherry, 2019).

The Ego is the second element of Freud's theory that is based off of the ID, the purpose of this element is to keep the Id in check and to make sure that the needs of the id are met but kept towards a socially expectable standard "It’s geared towards problem-solving and reality-testing, enabling the person to maintain self-control. However, just like the id, the ego is interested in seeking pleasure, it just wants to do so in a realistic way. It’s not interested in right and wrong, but in how to maximize pleasure and minimise pain without getting into trouble" (Cynthia Vinney, 2019)

The Superego is the third element of Freud's theory and it is based off of achieving social 'Perfection' and trying to meet society needs. The Superego tries to reject all the completely negative thoughts of the Id such as overly sexual or violent ideas. It is suggested that the Superego is created based off of the early parenting of the child, with the superego following the ideas presented by the parents. "In this way the Superego acts like an inner parent, meaning that the desired behavior is being manifested in the child’s normal behavior and the bans are being respected and understood without the need of the parents telling the child what to do." (Martin, 2019)

Scene Analysis

During the parking lot scene between Tyler and the Narrator, the characters link to different elements of Freud’s Id, ego and super ego theory. This scene opens up with mid shots of the two characters and incorporates a shot reverse shot to jump between the two while they’re talking, at this time in the scene Tyler is trying to persuade the Narrator to hit him, the Narrator seems adamant to at first but with enough persistence from Tyler’s part he eventually gives in to Tyler’s request.  This interaction between the two characters can link back to Freud’s Id, ego and super ego theory, with Tyler representing the Id through his impulsive and persistent nature throughout the scene, not caring for the consequences of his actions while just seeking out what he wants, this follows the theorized characteristics of the id, “it is the childlike, selfish and hedonistic part of your personality, which focuses on the self ” (Lawton, 2015).  While Tyler represents the Id in this scene, the Narrator represents the ego, being influenced by the Id and not being able to resist the urges it presents to him. This is shown throughout this scene through the Narrator trying to resist Tyler’s request to punch him. Again linking to Freud’s id, ego and super ego theory the Narrator is at first adamant to give in to Tyler’s requests but ends up only delaying Tyler’s wishes as he ends up giving into him much like the Ego is said to always end up giving into the Id, “In many cases, the id's impulses can be satisfied through a process of delayed gratification--the ego will eventually allow the behavior, but only in the appropriate time and place.” (Cherry, 2013). Before giving into Tyler the Narrator is looking around and places his bottle on the floor out of the way, this can visually represent the Ego looking first for ways to reduce the negatives of the Ids desire. Other visual significance in this scene comes from Tyler’s restless nature while being turned down from the Narrator such as jumping on the spot and his sporadic movement, this can signify the Id’s restless nature as it seeks pleasure but is being stopped by the ego in control causing the Id to keep on trying until the ego can not stop it any longer. Although the super ego cannot be portrayed through a character in this scene its presence can still be interpreted through technical elements and mise en scene. At the start of the scene both characters are holding glass bottles, when Tyler comes up with the idea to let the Narrator hit him he puts his bottles down which can be inferred as him leaving the Superego and the traditional ideas of society behind, this can be seen through the mise en scene of the scene as Tyler has his back towards the said bottles I am referring to as the super ego.  This idea is also supported through the Narrator as he at first is holding the bottle while denying Tyler’s requests but before he gives in he puts it to the side of him. This sequence can portray the ego following the super ego an rejecting the Id until eventually he gives in and rejects the ideas of the super ego to the side while he gives in to the Id and its ideas. Finally after all of this Tyler and the Narrator are sat on the grass but only holding one bottle between them rather than the three they started with. This can also represent how after giving into the Id, the super ego is less present as the ego is now giving into the Id and caring less about morality and what society expects of it. This links again to the characters through Tyler and the Narrators friendship growing closer and closer after their fight.   
 

Reference List
Cherry, K., (2019) Freud's ID, Ego and Super Ego [Online]
Available from:
https://www.verywellmind.com/the-id-ego-and-superego-2795951

Vinney, C., (2019) Freud: Id, Ego, and Superego Explained [Online]
Available from:
https://www.thoughtco.com/id-ego-and-superego-4582342

Martin., (2019) Understanding Siegmund Freud’s Id, Ego and Superego [Online]
Available from:
https://www.cleverism.com/understanding-siegmund-freuds-id-ego-and-superego/

Fincher, D., (1999) Fight club

MovieClips (2015) "Fight Club (1/5) Movie CLIP - I Want You to Hit Me (1999) HD" [Online]
Available from:
https://www.youtube.com/watch?v=CR5Jp_ag2M8

Health and Safety

Health and Safety
When filming health and safety is key in creating a safe and efficient working environment, not only can accidents caused by poor health and safety be life-threatening but also hinder production and can lead to lawsuits. The senior staff is usually held responsible for any accidents so it will usually be them that insist on a strict health and safety rules however everyone on set should set out to make the workspace safe, "The line of responsibility runs from the Producer to the Production Manager and 1st Assistant Director and finally on to all crew members who have a duty of care which is recognized by law. If someone can see the potential for an accident and does nothing to try to prevent it, they can be held responsible in some way, probably along with their senior colleagues." (Moving Image Education 2019).

"'Hazard' refers to the potential for harm. while 'Risk' is the chance of that harm actually happening. Though some hazards might seem very obvious, people might still need to have them pointed out." (Moving Image Education2019). When first setting up a filming set, whether a static location (like a studio) or a portable one (like an outdoor shooting location) it is important to run a 3 step risk assessment: Identifying all risks, evaluate the risks, and then controlling the risk. Recording this process will make it clearer for your members of staff to identify risks and to understand the set in place procedure on how to avoid them. Onset communication is key to avoiding injury, weather its to tell a crew member of a group of wires on the floor or to tell them of a damaged piece of set that could cause harm.

Dolly Track in use. (Jason Hellerman 2019)

Some examples of common hazards that can occur on set are: tripping hazards, lifting hazards, and working from extreme heights. Another key risk that is common on film sets is moving camera shots where a cameraman is moving with the camera, during this process the cameraman could trip as they wouldn't be looking where they are going and could cause serious damage to themselves and the equipment, "When a camera operator or cast member is walking during a shot, make sure they are comfortable with their route and there is nothing that could cause problems (a camera operator who needs to walk backward for a shot should have an assistant to guide them and/or check their route)" (Moving Image Education 2019). An example of a way this could be avoided or at least on how to reduce the risk of this is through a dolly track, this track will allow the camera to move in these shots without risk of the cameraman hurting themselves, setting up a clear track that the camera can move on smoothly without bumping into anything/anyone.



Reference List
Moving Image Education ., (2019) Health and Safety [Online]
Available from:
https://movingimageeducation.org/create-films/production/the-production-department/health-and-safety

Jason Hellerman .,(2019) What is a dolly shot [Online]
Available from:
https://nofilmschool.com/what-is-a-dolly-shot

New Wave Film

Brief
For my short film I will be implementing elements of New Wave Cinema using the knowledge I have learnt so far while also researching new techniques. I will take a lot of techniques from American, French and British New Wave. My new wave film will be based on the contrasting differences between nature and mankind with the short film cutting between shots of industrialisation and busy man made areas like main roads or retail, while also cutting back to the quieter shots of wildlife and nature. Some elements of new wave films that will be in my short film will be incoherent editing, with shots being cut at random times or times that would disrupt the natural flow of shot before, for example, if i have a shot of a deer running it might be interrupted mid shot with another of a busy road. "Non-linear and fragmented editing became another major and exciting contribution. For decades, each Shot A led logically into Shot B, leaving no gaps in the information to keep the audience from being confused. Now, in these French films, logic became a secondary concern. "Alyssa Maio(2015). Another element of new wave cinema that i will include into my short film will be these of a hand held camera and the lack of a tripod, throughout most of my film i won't be using a tripod to film as i am going to have to be moving around a lot, this will mimic a lot of French new wave films that incorporated this technique into their production. "The smaller, lightweight cameras were often "freed" from the tripod and handheld, giving a new life and energy to their films." Alyssa Maio(2015).

The Parallels of Nature 

Evaluation

During the production process of this film I struggled to get out and shoot footage of busy life so I improvised and used footage that was easier to gather around the college area. In keeping in line with the new wave theme I incorporated many techniques such as the shaky hand held camera, This was used as i was constantly on the move when filming the wildlife and i decided not to use a warp stabiliser as to keep the new wave element of the technique. The film shows the parallels between the animal world and human world with shots mimicking each other as i have one shot of people running then it cuts to a shot of the animals running.

Reference

Alyssa Maio.,(2015) What is French New Wave? Background and Revolutionary Techniques[Online]

Available from:

https://www.studiobinder.com/blog/what-is-french-new-wave/

American New Wave Cinema Essay

A contextual study of American New Wave Cinema

Throughout this unit I studied the American new wave cinema movement from 1967 to 1979 where America was facing many social issues that affected how films were produced and the ideas that were conveyed within them. An example of a social issue that was being conveyed at the time in cinema was the Vietnam War (1 Nov 1955 – 30 Apr 1975). Due to its controversy within the American public this topic appears in a lot of new wave cinema as a lot of independent directors used their movies to convey their thoughts on the topic. “Over the course of the 1960s the counter culture, youth activism, and civil rights movements generated widespread rejection of standard Hollywood fare at the time. For decades there had been standards, censorship, and deeply held beliefs about what mainstream American film had to look like.” (Jordan 2018).  Another element of American new wave cinema is its tendency to fixate on character action and scenes with intense thematic resonance where dialogue frequently feels unnecessary, and gives way to scenes of violence or other typical conventions of mainstream cinema. Throughout this essay I will be looking at my chosen films and identifying where these elements are present with its effect it has on cinema and its connection to the time it is set.

The first film I looked at when studying this unit was Arthur Penns Bonnie and Clyde (1967) and when researching this film I looked at what made this an example of American new wave and how this differed from standard cinema at the time, “The film showed blood and gore explicitly and the audiences enjoyed each violent scene. However, despite such strides in portraying the lives of violent criminals realistically, the film uses the subtleties of the French New Wave liberally and the connection between the two movements are palpable.” (Narelle 2017). An element of New Wave Cinema that appears throughout this film is its over the top use of violence (At least compared to the time of the release) with the final scene of the film being an example of this in which both characters are gunned down in clear view of the audience. In this scene a lot of quick cuts are used in order to build pace before any violence actually happens, when the gun fire actually begins the shots cut from Bonnie being shot and Clyde being shot with both showing clear pain during the scene and blood being easily visible from their wounds, this would have been very ground breaking for the time as not much violence would be shown in cinema before hand. “If the New Wave was a case of the French critics deconstructing the methods and iconography of American cinema in order to fashion something new and exciting, 1967’s Bonnie and Clyde was arguably the moment where these forward-thinking revisions truly found their way back to the States. Despite its obvious European predecessors, Penn’s rural tale of Depression-era carnage and courtship feels distinctly, passionately American, and its influence can be felt not just in the bold era of home grown cinema that followed but also in more recent purveyors of artful savagery.” (David Pountain 2017).

Another example of how Bonnie and Clyde subverted mainstream cinema and indulged new wave cinema techniques was through the sexualisation of its characters. Before this film nudity and sexual topics where not really included in mainstream cinema. In the opening scene Bonnie is shown naked, this subverts standard cinema at the time because this is our first introduction to the character and it establishes the directors stance on standard values in Hollywood cinema, with him not being afraid go against the norm, telling this to the audience within the first few minutes of the film. Nudity is also used as a hidden meaning throughout this film, “Here, sexuality is used as a tool to express the sense of escapism achieved through crime, and as a means in itself to perforate the mundane.” (Joel S. Kempson 2015).  This is apparent through Bonnie’s attraction to Clyde in the first place because of the boredom she shows before meeting him for example, in the opening scene where she is shown banging on the bed in frustration with her normal life. “The opening gives a sense of Bonnies imprisoned sensuality and certainly Bonnies abrupt movements indicate frustration, a feeling of being trapped” (Robert Kolker 2000).  Therefore the link between sexuality and freedom in this film is portrayed through Bonnies character and how she has more sex with Clyde and falls deeper in love with him, the more they go against society and commit these crimes, thus linking back to my comment of sexuality linking to escapism within this film as she is escaping from society and reality the deeper she gets in this film. This is a strong element of new wave cinema as not only is a high amount of sexuality present in this film (which goes against mainstream Hollywood at the time) but it also contains deeper social messages that new wave films like to incorporate.

Throughout this unit, one of the films I have studied was Martin Scorsese’s “Taxi Driver”. In this film Robert De Niro’s character, Travis Bickle is a Vietnam War veteran who is struggling to adjust back into normal life. During the opening scene Travis walks into the taxi rank enquiring about a job, Travis and the owner of the business then get into a conversation throughout the interview. This is an element of American New Wave Cinema through the unnecessary feel of this dialogue as if the characters were having a conversation in real life. During this conversation exposition about our protagonist is revealed such as his struggle with insomnia and also his previous military record. In implementing this information through casual dialogue it makes the exposition seem less forced and instead let the passing of key plot points seem natural. The brief mentioning of these two topics can link to the social contexts of the time when soldiers where first coming home from Vietnam but were struggling to adjust back to society while also battling mental health issues that were usually taboo or just not recognised at the time such as the insomnia that he mentions or other mental health issues such as PTSD that affected a lot of soldiers that returned home after the war. Therefore in subtly mentioning these topics Scorsese is commenting on the social issues that were troubling the time such as the lack of help for returning soldiers and the ignorance of their mental health through only having the characters mention these topics in passing mention, rather than speaking about it in detail that maybe it should deserve. This is an element of new wave cinema through Scorsese using his film to comment on the social issues in a platform that will reach a lot of people.

In another scene in Taxi Driver, Travis Bickle is talking to himself in a mirror; this scene stands out more than others in the film due to the repetitive nature of the shots and his conversation with himself. It is in this scene where the audience gets another glimpse at Bickles psyche “The scene conveys many things: his anger at the world, his reckless abandon, his sense of self-importance, and deep down, an anger at himself he can’t consciously reveal. Soon enough, the self-esteem boasting self-refrains begin to seem like the ravings of a madman, and then bitter, brittle cries for help from someone who only conceptualizes help through the masculine, violent male lens.” (The Long Take 2019), while in the process incorporating new wave techniques such as the repetition of the shots, this new wave technique is used here to link to Bickles mental state with the text being from his perspective and this lapse in narrative could be an example of how he is struggling to cope since the Vietnam war, as mentioned in my previous paragraph. Therefore in this scene Scorsese uses the new wave technique of repeating shots while also briefly breaking the continuity of the film through the lapse of narrative, to help convey his messages of mental health and the mistreatment of returning soldiers from Vietnam as Bickle in this film is shown to be struggling to readjust back to normal life but is never offered any help.

Another film I studied throughout this unit was Apocalypse Now (Francis Coppola), which is set during the Vietnam War. In the opening scene of the film, the protagonist Captain Willard (Martin Sheen) talking about his struggle to adjust back to normal life. In this scene the Captain is performing a dance routine we see throughout the film from characters with questionable sanity such as the natives in the third act. This can link to the characters mental state in this scene, as this is set after the final act, with him mimicking those characters actions. This can link to the real world in which soldiers who returned from the war struggled to readjust with society with mental health issues such as PTSD (as mentioned in my earlier paragraph on taxi driver), this was a big talking point when it came towards American New Wave cinema as people like these new wave directors believed these issues weren’t being spoken about in society enough so used their films to speak out about the topic. Therefore through dropping subtle hints about the protagonist’s mental health the director is allowing the audience to see the affect that the war had on its soldiers in a new wave style and by making the soldiers mental health a talking point in cinema.

Another example of how Apocalypse Now is an example of an American New Wave film is through its use of subtle dialogue and inconsequential conversations. For example throughout the first act the topic of surfing comes into play multiple times, with characters talking about it during times it seems highly irrelevant such as in the helicopter raid on the Vietnamese town. This is an example of American New Wave Cinema through characters talking and having normal conversations that doesn’t affect the plot in any way that is seen in other American New Wave films and also in French New Wave too. This makes the characters seem more human as they are talking in a matter that mimics the real world and how people would speak in real life, with not every conversation requiring purpose and in the films case not forwarding the plot in any way. Therefore in incorporating this into the film, the director gives a sense of real life to the film with these characters expressing themselves outside of the plot, this new wave element of incorporating real life into the text helps the director capture the severity of the film itself and how this happened to real people.

In conclusion these films I have studied have all incorporated new wave techniques that went against standard movie making techniques at the time, but they also incorporated social messages into these techniques such as in taxi driver with the repetition or the unnecessary dialogue in Apocalypse now, “American New Wave films tend to fixate on character action and scenes with intense thematic resonance. Dialogue frequently feels unnecessary, and gives way to scenes of violence and high speed pursuits” (Jordan 2018).  This helped challenge social issues at the time through creating a platform for the people to speak in which before no one really spoke out about issues such as the aftermath of the Vietnam War. "These films were centred on complex themes with morally ambiguous messages, reflecting the nonconforming generation disillusioned by Vietnam." (Filmmakers Handbook, 2019).

Reference List

Arthur Penn (1967) Bonnie and Clyde

Martin Scorsese  (1976) Taxi Driver

Francis Ford Coppola (1979) Apocalypse Now

Jordan, S., (2018) The New Perspectives in the American new wave [Online]

Available from:

https://facets.org/blog/exclusive/lists/essentials/the-new-perspectives-in-the-american-new-wave/

Narelle., (2017) Bonnie and Clyde – The French New Wave in Hollywood

[Online]

Available from:

https://oss.adm.ntu.edu.sg/narelle001/bonnie-and-clyde-the-french-new-wave-in-hollywood/

David Pount., (2017) How Bonnie and Clyde brought the French New Wave to Hollywood

[Online]

Available from:

https://lwlies.com/articles/bonnie-and-clyde-french-new-wave-hollywood/

Joel S. Kempson., (2015) Living with Evil: Crime and sexuality in Bonnie and Clyde and Chinatown

[Online]

Available from:

http://www.inquiriesjournal.com/articles/1011/living-with-evil-crime-and-sexuality-in-bonnie-and-clyde-and-chinatown

Robert Kolker,. (2000) A cinema of loneliness

The Long Take (2019) American New Wave: Taxi Driver

[Online]

Available from:

https://thelongtake.net/2014/10/10/american-new-wave-taxi-driver/

Jordan, S., (2018) The New Perspectives in the American new wave [Online]

Available from:

https://facets.org/blog/exclusive/lists/essentials/the-new-perspectives-in-the-american-new-wave/

Filmmakers Handbook (2019)  [Online]

Available from:

http://screenprism.com/insights/article/the-filmmakers-handbook-what-is-the-new-hollywood-movement

4 Hour Challenges

Unusual Perspective

In this short film we were tasked with making a short film exploring a different perspective of what would normally be seen, in knowing this I based my film around a persons day to day life of going and sitting at a bench,  when shooting this I decided to follow the protagonist throughout the film using different angles and distances that could be considered unique for this sort of movement, such as extremely long shots from a weird angle or close up shots of the protagonists feet while walking. In editing this short film I learned how to create "bins" in premiere pro and learnt the importance of renaming and organising clips as it makes the editing process a lot simpler, especially if you are coming back and continuing with the edit at a later date, helping you know what shots are what and whether the clip is particularly useful or not.

Wii Music Short Film (Illusions)

For this short film we were tasked with creating a short film that involved visual illusions with the camera. With this in mind we set out to use jump cuts and a stiff camera position to create the illusion of teleportation, we did this to the Wii music to help set a pace and create a light hearted feel to the film. In doing this I learnt how to closely edit a set of clips to help match the audio it is going with while making sure everything seemed coherent. 

About You

In this 4 hour editing task we had to edit clips we had found online to a song set to us at the start of the task,  in doing this we had to find clips that matched the setting and pace of the music video and made sure we edited them inline with the music, making sure that what we saw in the clips matched the pace and beat of the music. Throughout this task I improved upon my previously mentioned skills of editing clips to help match an piece of music making sure both fit well together and the final piece seems coherent.

Essay - Enrolment

Explain how the text has been constructed to create meaning

In the text editing is used to increase the pace of the shot and create meaning. For example, before the group first takes the drug, the scene contains only one shot that does not cut away, however once the drug has been taken this one continuous shot of the group is interrupted with a quick cut towards a panning shot of a building. This shot does not last long before it cuts back to the group, this is repeated while the distance between these cuts is shortened, this creates an increased pace within the scene. From my own knowledge I know that the period in which this move was set the hippie movement was on going, with the group promoting peace through the Vietnam war, this group would often partake in hallucinogenic drug use. The meaning behind doing this could link to the characters heart rate as they are reacting towards the drugs that they have ingested, with the pace of the shot and how it increases quickly after the drug mimicking their heart rate.


Linking back to my previous point, sound is also used to dictate pacing in this scene with a loud clear bell being present throughout all the scene. This non diegetic sound is set at an increased pace which contrasts the slow movements before the drug is taken but maintains this pace throughout the shot even after the drug is ingested and the shot is being cut away to the different imagery I mentioned earlier. In doing this the non-diegetic sound influences the pacing of the scene through contrasting the slow movement of the beginning of the scene and in meeting the pace created by the quick cuts. Therefore, because the non-diegetic sounds contrast the mise-en-scene being shown in the beginning of the shot it creates tension within the audience with them expecting something to happen that would match the pace set with the sound.

History of Editing

History of Editing

Back at the beginning of cinema movies did not incorporate any form of editing, there were many reasons behind this decision with some being the lack of technology and others being the lack of understanding of what the audience would enjoy  "the very earliest filmmakers were afraid to edit film shots together because they assumed that splicing together different shots of different things from different positions would simply confuse audiences." (Cite, 2020). This lack of understanding of the audience hindered progress within cinema through directors underestimating their audiences and therefore wanting to take fewer risks when it comes to their work, in fear of failure.

In the early days of editing, the footage was recorded on physical film and was cut and stuck together where a cut would take place. Robert W. Paul created the film "Come Along, Do!" which was one of the first films to use editing techniques like this before this films would only be made up of one-shot and because of this very little camera movement was used. During this time most editing was done by women due to the similarities in sewing this meant that women played a big part in the early development of film. The reason women were in charge of editing at this time was due to it being seen as a tedious task that people at the time viewed as unimportant so anyone with any experience was hired to fill its role, with women with experience in sewing prioritized when hiring due to the similarities between these jobs. "The finishing of pictures—the cutting and titling, has been, until quite lately, the most neglected branch of motion picture production. Nobody, with one or two conspicuous exceptions, paid any attention to it. It was a case of let Jakey cut the picture and Lizzie, the Typewriter, title it." (Woods, 1917).

Advancing from this early stage in film editing the Moviola was created to help editors view the film while editing it. It was invented in 1924 by Iwan Serrurier. This advanced the editing process by allowing the user to study the film and know where exactly they want the cut to be, therefore creating smoother transitions to cuts and making the finished product look better. Coming from this the flatbed editor rolls picture and sounds onto separate motorized disks called "Plates" each set of plates moves forward and backward separately while a prism reflects the film image onto a projector screen.
Before Non-Linear editing was around, film was edited through the literal cutting and taping of the film, this was a long a tedious process that limited what the editor could do As each clip must be laid down, you would not be able to go back to make a change without re-editing everything after the change, the only real pro for linear editing is its simplicity. Non-linear editing system or non-destructive editing is a form of editing in which the original content is not modified in the course of editing, it is instead modified in specialized software and is a more modern way of editing that contrasts Linear video editing, non-linear editing allows editors to go back on their edits with ease, a prime example of non-linear editing would be premiere pro or final cut.


Digital forms of editing came about in the 21st century and allowed movie editing to be completed on computers. this was undertaken through a series of different software's throughout the years such as CMX-600, Edit Droid, Avid 1, Final Cut and Premiere Pro, with the latter two being the most modern and up to date styles of editing. The CMX-600 was one of the first digital editors and was created by CBS and Memorex. The machine uses two screens for output, one being used to select options and another to show a preview of that edit. The user uses a pen to input their decisions. Although this was a huge development in the editing process it still had plenty of downfalls such as the huge power consumption and the difficulty of storing the film. More modern editing software like Final Cut and Premiere Pro and are non-linear editing software with premiere pro first being introduced in 1991 on the Mac OS not long after this Final Cut was developed as well, these two editing software's are still going to this day and are continuously updated offering filmmakers an effective way of editing.

Reference List

Cite., (2020)  Movies and Film: Fade In: A Brief History of Editing [Online]
Available from:
https://www.infoplease.com/features/movies-tv-and-music/movies-and-film-fade-brief-history-editing

Frank Woods., (1917)  Moving Picture World [Book]

Exposure

ISO
The ISO is responsible for how much light is allowed to enter the camera. Unlike the aperture and shutter speed it is nearly always desirable to have the lowest ISO possible to reduce the noise within the photo. The standard ISO settings for use within the camera are anything between 100(or the lowest possible) - 800, this allows for a good ratio between lighting and noise. "Similar to shutter speed, it also correlates 1:1 with how much the exposure increases or decreases."(CambridgeInColour, 2019)

To experiment with the different levels of ISO and the noise it creates in my videos I shot short clips throughout day and night with different ISO levels.

Aperture
The Aperture controls how much lighting is allowed into the lens. This is controlled under an F-stop value with more light being allowed into the lens, the F-stop value will decrease respectively. Every time the F-stop value halves, the lighting area quadruples.

A camera's lower F-stop value correlates with a shallower depth of field witch determines what in the shot is in focus whether if its just a face or a full background.

Shutter speed
Shutter speed determines the time each frame is exposed to light with higher the shutter speed, the more light that will be allowed into the photo, where a faster shutter speed means a shorter exposure time to light, therefore creating a darker photo. The shutter speed and lighting correlates at a 1:1 ratio, for example when the exposure time doubles, the lighting in the shot will double.

Shutter speed can be used to freeze or exaggerate the appearance of motion through using a lower shutter speed to create a motion blur or either using a higher speed to freeze the shot and remove all elements of movement. In order to create a sharper image with no motion blur a tripod is recommended to remove all extra movement and therefore creating a smoother shot.


When choosing a shutter speed it should typically be doubled to the frame rate, an example being if you are filming at 24 frames per second, then the recommended shutter speed would be 1/50.  Using a lower shutter speed will create a motion blur as i previously mentioned, while the higher the shutter speed the more crisp the video will be. In the examples below i have experimented with using low, normal and high shutter speed for my frame rate (which is 24fps) to show the effect this has an a video and the amount of motion blur that will occur.

Frame rate
Movies are usually displayed at 24fps, since this frame rate is similar to how we see the world, and creates a very cinematic look. Video games or sports events will often have a higher frame rate, as there’s a lot happening at once and a higher frame rate keeps the motion smooth. To get the highest quality video the shutter speed should correlate at around double the FPS.

Pull Focus
at this point I also learned how to use a pull focus effect. I will be able use this technique in short films.

Source List
CambridgeInColour, 2019 [Online]
Available from:
https://www.cambridgeincolour.com/tutorials/camera-exposure.htm

Lighting Techniques

Lighting Techniques

Lighting can affect the camera techniques used throughout moving image, for example using light sources from the front or back of the shots helps in leaving areas of darkness between illumination by the backlight and can create shadows on actors faces such as in the movie schindlers list.

A small documentary would require an easily portable camera and microphone as well as enough portable lighting and spare memory cards. this will be because of the portability of the project a lot of equipment will not be needed but spares on battery's and memory space is paramount as the film makers will be on the move and wont have time to recharge often.

A talking head style interview would require a professional looking background/backdrop for your filming location, plenty of lighting to keep the person talking well lit and in focus and a tripod to keep the camera steady during long takes.

A night shoot could require the filmmaker to bring an excess amount of lighting and maybe reflectors in order to properly light the entire shot or at least what they want lit in the shot, However in doing this it will give your shots a colour cast. "Colour cast is an unwanted color shift in the whole image, which can be caused by reflected light from a nearby object. For example, many photos taken using flourescent lighting tend to have a greenish color cast." (Adobe Help, 2019). Colour casting can usually be edited out in post production to help reflect the natural lighting of a shot.


Before and after colour casting was removed during the post production phase (Adobe Help, 2019).

Rembrant Lighting
Rembrant lighting is a common lighting effect used in photoshoots due to its lack of equipment and professional looking finish, it is particularly used for portrait photoshoots. Rembrant lighting includes one half of the models face in full lighting while the side furthest away from the camera is typically in a light shadow, rembrant lighting usually includes a triangle of light around the shadows sides eye, the size of this triangle determines how perfect the rembrant lighting is, "To be a true Rembrandt lighting setup, the triangle of illuminated light should be no wider than the eye, and no longer than the nose." (Improve Photography, 2019)

Edge Lighting
For edge lighting you will only need a light with a stand or tripod to keep it still. Edge lighting blacks out the model during the shoot creating only a light rim around their figure, this is created by placing the flash behind the model facing at them. In doing this the flash will trigger during the photo creating the rim effect.



Butterfly lighting
Butterfly lighting is created when the lighting is placed dead centre to the models face. in doing this the full face of the model will be light creating a little butterfly shape shadow under the nose, but leaving the rest of the face fully lit.

High Key Lighting
High key lighting is created using large lights opposite the model just like in butterfly lighting and is used to connote positive feelings "High key lighting is a method often used in beauty and makeup commercials and in comedies. A high key look gives you fewer shadows and makes your talent look flawless and elegant. It produces an even amount of light that spreads across an entire scene. It’s also useful for producing food or product imagery when you need the light to be even across the entire scene."(Tanner Shinnick, 2019)

Low Key Lighting
Low key lighting is used within moving image in a darker way, typically being seen in horror films. To create the low key effect a single light is used that is typically located close to the model. This creates contrasting between the model and the dark background.

Source List
Adobe Help (2019) [Online]
Available from:
https://helpx.adobe.com/photoshop-elements/key-concepts/color-cast.html

Improve Photography, (2019) [Online]
Available from:
https://improvephotography.com/19250/rembrandt-lighting-awesome/

Tanner Shinnick ., (2019) What You Need to Know About High Key vs. Low Key Lighting [Online]
Available from:
https://www.premiumbeat.com/blog/high-key-vs-low-key-lighting/