Friday, 18 December 2015

Hdip Creative Multimedia Course: Multimedia Digital Video

K00132542 Fiona Kiely

Film Four
Project #4: CeA/R/T  Promotional Piece
Date of Submission: December 18th, 2015

Position 1: Director: Lorna O’Donnell
Position 2: PM: Production Manager: Richard Young
Position 3: DP Director of Photography: Fiona Kiely
Positon 4: Sound: Avril Maher

Late November
The brief called for our group to look at the different roles each artist makes up as part of the Ceart Art Collective. The Ceart collective is made up of Barbara Geraty, Edel Hogan, Mary Moran and Lorraine Callanan. Our goal as a group was to produce a short movie to best showcase the work of each artist who are part of this group so the movie would be cohesive and flow as an advertising piece. The goal of the artists is to use this to obtain new shows in new counties in Ireland in the future. To establish a relationship our teacher, Lorraine Callanan a member of Ceart brought in all footage and still images of the artists and gave us a background on each set of works being presented and some great footage of a recent installation in a church on Culture Night of September 2015.

After we obtained our introduction and brief, our team members discussed the overall film idea. Our instructor said we could work as part of a team or individually but that the final film should be cohesive.

Date: Wednesday December 3rd
I chose to focus on the artist Edel Hogan and her body of work. I started looking at her images in particular, the pitchfork on the repeated slick glass slabs in Premier Pro. Edel’s work is very much about the found objects from the land, objects that belonged to people and giving them new life. I spent time learning how to zoom and pan in Premeire Pro as some of the images had a linear quality to them. Generally I was getting a feel for the artist and getting inspiration from how Edel presents her work.

Date: Wednesday December 9th
The complete group of artist came in to discuss their work with us. This was a great chance to get to know what each artist is trying to achieve within the collective. The other three artists are more concerned with the passing of time and how to express the emotions of change and loss and other feelings. I spoke with Edel and she confirmed that her work is more to do with the object and questions such as:  Where did it come from? Is there a connection with the artifact.Is it a part of the land? Should it be discarded? Celebrated? I asked her direct questions for example – what editorial style does she like? What movies and music does she like? After this I got better idea about her work and Edel as an artist. She expressed she would like the video piece of her flowing more quickly than the program Nationwide. She is also a fan of The Clash so all of these questions were very valuable. I now had a clear idea of how Edel should be presented within the entire piece, to get some movement in between shots of her work.

Date: Thursday December 17th
When we went to edit the final cut we sat down as a group and sat with the director. We wanted the whole movie to have a flow and it was difficult for the director to choose who and in what order.

Edel comes third after Barbara’s work on with the sketches and goose. Mary  come first in the promotional piece. There is a soft yet tense feeling to this part so Edel’s part is a little different. We edited it to be clear about her idea and we tried to highlight the video of her washing her found object with a dissolve and opaque underlay of her talking. It works very well. We loved the image of the skull but could not use it in the end as there were pink areas in two part of the image. We could not photoshop the piece as it was not of a high enough quality. We decided instead to focus on the rich rustic found objects (we still don’t know what it is but it is great), the pitch fork, a rich part of our heritage and the clean simple lines of the empty window frame, looking into another world.

We finished the short movie with Lorriane’s work as the images are strong and there is a great colour range in the pieces. I was interested in all the pieces overall. I enjoyed this project a lot. It is very brave for any artist to speak on film and be recorded regarding one’s work. We discussed this in class and we put no music into the movie, the artist’s speaking themselves is enough and music would only the focus away from their work. 

Wednesday, 2 December 2015

HDip Creative Multimedia. Movie: 'Blame It on the Weatherman'

This project involves taking a predefined script (attached) and constructing the Visual Narrative of the piece. Particular emphasis will be on communicating one character’s POV (THINKER).

Multimedia Digital Video
Movie Title: Blame It on the Weatherman
Time: 2 Minutes (max)
Director: Avril Maher
Production Manager: Lorna O' Donnell
Director of Photography: Richard Young
Sound: Fiona Kiely
Date of Submission: 02/11/2015

Tuesday November 10th
Movie assignment was given and all of the team members: Lorna O’Donnell, Richard Young, Avril Mahar and I went to discuss the movie script and potential persons for the roles. We discussed possible actors for the shoot and contacted persons accordingly. Many of the people I approached that week refused me on the basis that they were working or lived too far away from Limerick Institute of Technology. Originally we were going to shoot the movie on Tuesday October 17th but Avril Maher had difficulty obtaining a free camera from the help desk.   
Wednesday November 11th
We met again to see about getting actors and setting a date for filming.

Thursday November 12th
As a group we met again to discuss the camera and actor situation. I volunteered and agreed for the role of the old lady and Richard suggested using his two sons for the remaining roles. We also discussed locations how long the shoot would take. Our only issue was getting a camera. It problem persisted for the next week. Avril, the director and Richard, the director of photography spent a lot of time on administrative tasks with the IT help desk.

Thursday November 26th
I was discussing the camera situation with our class tutor, Lorraine Callanan and she had one signed one out in her name and then signed it over to us. We had to get an extension on the film due to no camera being available for required course work.
Frieday November 29th
As a team we argred to meet the next day, Saturday to shoot.
Saturday November 28th
We met in Limerick Institiute of Technology (Moylish Campuss) at 11am. We checked all equipment and I checked the small microphone that attaches to the Panasonic hand movie recorders. The red light was on and I thought it was all in order. We started fiming as soon as we could. We had Richard’s two teenagers there and he promised not to keep them here all day.

As a team we chose the bus stop close to the roundabout near the Moylish campus. We thought that filming on a Saturday morning would be less noisy but it was not so! We had a lot of issues. It was freezing and worse, very windy and this made it seem more cold. A lot of car users also annoyed us by honking as they passed by. Avril and Richard set up the shots and we decided after a few takes that it was too bitter. I was starting to feel feverish. After it started raining Richard made a good decision to move the shoot to the back of the campus to the smoking area where there would be less noise from traffic and less wind. The smoking shelter was ideal – it looked exactly like a bus stop. There was less wind. After we shot the movie we downloaded it in the lab to view and hear our footage. We were surprised but not shocked that all we recorded was wind. The visual footage was really good, especially Richard’s sons. I got help from Lorna, Avril and Richard with the microphone. It turned on for a moment and then there was no red light turning on. We looked in the bag for extra batteries but there were none.
We decided to reshoot the entire sequence and talk directly into the microphone. Filming a second time proved to be easier and it was cold so we wanted to get it finished. After we imported the second batch of raw footage to the lab the sound was disappointingly all wind again! I was laughing and crying! I half expected this after the lecture on sound in class and the warning signs lecture on sound, microphones and secondary sounds and sounds being so easily picked up by microphones.

I was recording the thinker’s part anyway it just ment I had to get all three speaking parts and monologues recorded. I used the open source software audacity to import the audio files. I saved them as .wavs. I tried to save in MP3 format first, to make it easier for the editing phase in Premier Pro but it wouldn’t let me. The .wav was fine I tested it in premier pro to see if we could get the voices in with the movie straight after I obtained the speaking parts. I recorded all the voice parts. I discussed this with the team, we agreed it was a good solution to our problem. 
I played all the .wav files back on Saturday whilst the actors were still here. I got the approval from Avril we tested one out in Premier Pro as a group – we did not want to take any chances. I saved the files on three machines: my own, Lorna’s and Avrils.

We decide to leave the final edit for Monday. It was already after 2pm and unfair to Richard to keep him here anylonger.

Monday December 28th
As a team we sat together to complete  the editing proces. I imported the .wavs anf  turned down the wind noises and the imported .wav files on another track, we then had to sync up the footage and the sound. It was a bit fiddly to synch them all up I did this whole process with Lorna as she is very astute with Premier Pro and it helped to have the team there to ask questions.
In hind sight I should have tested some footage with speaking from the outside first before we shot everything. Honestly, we would have more time so we did what we could with time constraints, limited use of equipment and outside actors. We had fun too I have to say filming, Richards’s sons were amazing throughout the process. They were both extremely professional – they learned their lines and acted their parts perfectly. It was also a way to break from other course work and focus on a project with a social aspect.

Wednesday, 11 November 2015

Hdip Creative Multimedia Course: Multimedia Digital Video

K00132542 Fiona Kiely

Intoduction to Narrative Film Production
Project #2: Moving One or More People Through Space
Movie Title: “A to B”
Time: 1 Minute (min) – 3 Minutes (max)
Date of Submission: November 4th, 2015

Position 1: Director: Richard Young
Position 2: PM: Production Manager: Fiona Kiely
Position 3: DP Director of Photography: Avril Maher
Positon 4: Sound: Lorna O’Donnell

Date: Wednesday October 21st 
Obtained brief, team members and roles were established. Discussed several options and ideas for filming. We all liked the idea of making a piece of work with social issues attached. The team met and discussed ideas regarding the story, locations and equipment.

We went through various scenarios before deciding on our final story of a person going through challenging tasks of the everyday, as a wheelchair user. I helped the director with the shot-list, shooting script and overhead camera set ups. We downloaded Google maps and did a virtual ‘walk through’ of the potential locations to aid in telling our story.

Date: Friday October 23rd
Second meeting about movie and we did a dry run of the script and locations. We pinned down the exact script and double checked availability of equipment and locations again. I agreed to be Christine for the film.

We decided on our “shooting day “for the following Wednesday at 10am. This day was decided mainly because the college would be quieter during reading week. . We agreed on our story and it was my role to type up a shot list and a marked shooting script. We obtained and checked out the camera for a week from the IT Help desk. Before filming we discussed input FPS rates and the aspect ratio of 16:9.

Date:  Wednesday October 28th
All team members were present to film at 10 am with equipment in LIT. On our first take we thought everything was good to go, but we had problems with the SD Card. Richard, the director had to check out another camera and let the IT Help Desk people know of the issue with it. We had less battery time with the new camera so we had to be mindful of this shooting. We had less time to waste.

We began our filming in LIT and got the interior shots first, which proved to be a good idea early in the day. All internal shots look consistent with the lighting in the day time.  

Then we shot on Nicholas Street, the bus stop on the Island Road, Thomond Bridge and across the street from Thomond Stadium.

I agreed to be ‘Chrisitine’ and learn what it is like to be confined to a wheelchair to go about daily things like getting around. It was a real eye opener. It was difficult to use the chair outside and especially going up hill. In truth, I had to watch out for tipping over, running into other people and I had to practice going left and right and reversing. When the crew would say action it took me a second or two to get going. I had to think about not banging my hands and if I would knock someone over if I went too quickly. 

We wanted to highlight the issues that face persons confined to a wheelchair moving through space and different environments. We expressed their frustrations, not only with stairs and steps but with hills, the outside footpaths and other people. We could not include all issues wheelchair users face but we highlighted some. We hope we did it in a respectful and tasteful way. Wheelchair use is an area in our society that needs more attention and facilities for users. I am only speaking from my point of view after four hours in a wheelchair.

After filming we imported the shots, checked the format and made backups and imported to four machines. In all we filmed for about four and a half hours.

Some of the aspects we observed during filming:

  • The 180 rule was observed, Lorna brought it to our attention when we were filming at the bus stop and almost changed shot direction.
  • After filming we imported footage and realized there were shadows and reflections in door panels of crew members in the background. The director had to edit this out.

  • Safety – we decided on the day to omit filming near the pedestrian crossing near LIT. I was responsible for safety and I felt it was important we were aware of issues at all times during the day especially using equipment like a wheelchair and expensive equipment like the camera.

  • Shot of Christne taken our coming out of lift because time restraints and we had more than enough obstacles to highlight issues.

Date:  Monday November 2nd
The movie was edited by Richard and Avril. Lorna and I sat beside them and took notes Lorna was thinking about sounds and possible music and we were discussing this as Richard and Avril were editing. All changes that took place on the day of filming were are marked in the shot list and marked shooting script. Google docs image of map attached also.

Date:  Tuesday November 2nd and Wednesday November 3rd
Finished editing and putting documents together

Shooting Script:


Title: A to B
Dir. Richard Young
Scenes #1 - #9
Shoot Date: 27/10

SCENE: # 1 EXT Nicholas Street – DAY

Angle on Christine leaving house in wheelchair, she pulls door behind her. 

SCENE #2 EXT Island Road Bus Stop – DAY
Christine approaches bus stop. She drops all of her change and decides to wheel herself to college. MCU 

SCENE #3 EXT Bottom of King John’s Castle – DAY
Christine is nearing narrow pathway of bridge. ELS of Christine moving towards narrow pathway. Capture how NARROW pathway is.

SCENE #4: EXT Road on the way to college, across from
Thomond Stadium - DAY
Christine wheels herself up of hill up hill with   effort. MS LOW ANGLE Bottom of wheel.

SCENE #5: INT – Canteen of LIT  - DAY
Goes to get water and can’t reach bottles, (Low Angle)
     Heads away from cafeteria in frustration.

SCENE #6: INT – Hallway, Christine heads for classroom -DAY
     Christine comes around the corner and is heading for door that leads to classroom 1B20.

SCENE #6: INT – Hallway, Christine - DAY
     Christine is at door.
SCENE #7: INT – Stairway to classroom – DAY 
Chrisine cannot get stairs to second floor.

SCENE #8: INT – Second attempt looking for a way to the second floor – DAY
People get in Christine’s way and she is faced with  another staircase. She heads for the lift to the right  of the hallway.

SCENE #9: INT – Lift in LIT – DAY                                   Christine gets in lift to get to classroom.

SCENE #10: INT – Christine exits lift in LIT – DAY                 Christine exits lift and heads for library doors.
Going through the library is the only way to   access classroom 1B20.

SCENE #11: INT -  Library Going through doors – LATE DAY
Can’t get to classroom any other way so goes through doors.
SCENE #11: INT - Classroom student turns on PC – LATE DAY

SET-UP 11: MS of Christine gets to classroom too late –       LATE DAY
Lights go off. It took Christing all day to get to college.

SCENE #2b. EXT - Hill on the way to Bus Stop – DAY
Pick Up shot. Christine wheels herself to bus stop and ends up rolling too quickly downhill.”

Below is the shot list from the day of shooting, again the original was inserted in my report that Richard is using.

Shot List 28/10/2115

Title: A to B
Dir. Richard Young
Scenes #1 - #11
Shoot Date: 27/10

SCENE #5: INT – Canteen of LIT  - DAY
SET-UP 5: Goes to get a soft drink and can’t reach bottles,  Low Angle?
               5)Heads away from water bottles
   5)Leaves canteen

SCENE #6: INT Hallway in LIT – DAY
SET-UP  6a: Camera on Christine turning corner heading for door.
                6: Camera pans on Christine getting to hallway door.

SCENE #7: INT Looks for lift in Stairwell in LIT – DAY
SET-UP 7:  There is no lift here.

SCENE #8: INT Hallway in LIT – DAY
SET-UP  8: Camera on Christine facing another set of stairs. She turns corner and heads for the doors that lead to the lift.
                8: Camera pans on Christine getting to hallway door.
SCENE #9: INT Shows Christine getting into lift.
                 Camera ……       

SCENE #10: INT Shows Christine getting out of lift.
SET-UP 10: Camera pans to her heading for bridge walkway that leads to library             n       on the second floor.

SCENE #11: INT Shows Christine approaching doors that lead to classroom.
 SET-UP #11: 11: Can’t get to classroom any other way so goes through doors.
SCENE #11: INT Classroom student turns on pc
SET-UP #11: Christine realizes its too late and throws her hands in her head in  frustration – it is too late to study.  

SCENE: # 1 EXT Nicholas Street – DAY
SET UP 1: Christine leaving house in wheelchair. Closes door behind her. MCU

SCENE #2 EXT Island Road Bus Stop – DAY
SET UP 2: Alice wheels close to bus stop and drops coins on ground. Christine looks over at bus sign in the distance.

SCENE #3 EXT Bottom of King John’s Castle near Thomond Bridge - DAY
SET –UP 3: Christine is nearing narrow pathway of bridge. ELS of chair moving towards narrow pathway.

SCENE #4: EXT Road on way to college across from Thomond Stadium – DAY SET – UP #4:  MS LOW ANGLE. Shot of hill and getting wheelchair up hill with effort.”

Marked Shooting Script - Page 1 of 2 

                                            Marked Shooting Script - Page 2 of 2 

Shot List from day of shoot – note it changed on day.

Below - Interior Shots Diagrams 

Overhead diagram of canteen scene 5

Overhead diagram of scene 6 

Overhead diagram of scene 7

Overhead diagram of scene 8

Overhead diagram of scene 10 (scene 9 has been omitied at editing time).

Overhead diagram of scene 11 

Overhead diagram of scene 12 

Below - Exterior Shots Diagrams 

Overhead diagram of scene 1

Overhead diagram of scene 2

Overhead diagram of scene 3

Overhead diagram of scene 4

Overhead diagram of scene 5 (this scene was not shot in the end due to safety issues). 

Wednesday, 14 October 2015

Portrait Of A Location

Movie Making Process for Digital Video Assignment 2
Date of Submission: October 14th, 2015

This is our first short movie for the Digital Video module as part of the Hdip in Creatvie Multimedia. The movie is the work of  my team members: Avril Maher, Lorna O'Donnell and Richard Young. Avril was the production manager, Lorna took the role of director of photography and Richard was responsible for the sound sourcing and engineering. I was the director (K00132542 Fiona Kiely) for this first movie and as we do more projects each team member will get a chance to experience each role.  

Brief: Movie of a location to express an emotion
Location of Movie Shoot: Westlands Wetfields, North Circular Road, Limerick City
Physical Constraints: One movement per shot
Time Constraint: 1-2 minutes
There was certain criteria for this first short mainly, it had a time constraint to be one minute minimum to two minutes maximum. There was also a limit on camera movements of one per shot so panning and zooming were permitted but not together.

This was a great start to the movie making process. There was a lot of planning, discussing, photo taking and sketching in the pre-production phase. In the editing phase we concentrated on the software. As we each had different roles it was a great way to properly meet my new classmates and get to know them.

The linked document reports on the movie making process in detail here via Google docs:

This is a link to our first video in the digital video module:
Movie Title: “Serenity”

If you have trouble playing it the link to YouTube is here:

I hope you enjoy and please leave your comments! Thanking you....

Tuesday, 29 September 2015

Mise en Scène: Hannibal meets Clarice in Silence of the Lambs, 1991

My selection for Mise en Scène is from Jonathan Demme's 'Silence of the Lambs' 1991

Clip length: 1 minute and 12 seconds. 

Clip of the following summary. The above clip is for educational purposes only. 

Background summary to scene

The character, Clarice Starling is­ a student at the FBI and was requested by her head lecturer and mentor to go on a special assignment. Clarice is sent to find information that could lead to information on a missing girl. Clarice has been briefed that the inmate she is visiting is a deadly killer and would do anything. He does not care for human life. His name is Hannibal Lecter. 

Shot 1: 0 - 2 Sec: The character, Clarice Starling is walking down a darkly lit hallway, grey exposed damp wall is exposed. Character is medium close up (mcu), we can see the character’s face and shoulders.

Shot 2: 2 – 11 Sec: The camera focuses to Clarice’s point of view. We see that she is now looking at what is before her, the camera turns left so that we view a cell with wide frames of glass and bars in between.

Sill image of shot 2 - this is Clarice's first view of Hannibal Lecter

The camera pans around the corner in the frame the audience sees Hannibal Lecter in the frame. It is a medium long shot (mls), of him. The four pains of floor to ceiling glass are interrupted by four strong and worn out thick bars. The music is foreboding and decreasing in volume. Letting us know that something is about to happen.

Medium long shot (mls) of Hannibal Lecter saying a simple and friendly “Gd’Morning” to his guest. 

Shot 3: 12  -15 Sec:  Over the shoulder (ots) and medium long shot (mls) of Clarice as she speaks to Hannibal Lecter. Clarice is professional in her tone and rushed in her response directly starting her their exchange with professional dialogue “Dr. Lecter my name is Clarice Starling. May I speak with you?”  

Shot 4: 16 – 18 Secs: Over the shoulder and medium long shot of Hannibal Shot: Lecter as her replies to Clarice “Your one of Jack Crawford’s. Aren’t you?” The camera is quick mirroring the fast introductory dialogue. He is only taking up half the frame as you can see below in the still. 

Still image of shot 4 - Hannibal confronts Clarice 

Shot 5: 19 - 20 Secs: Medium long shot of Clarice and over the shoulder of (ots) she replies to Hannibal:  “I am yes ”.

Shot 6: 20 - 23 Secs Medium long shot and over the shoulder of Hannibal Lecter as he addresses Clarice: “May I see your credentials?”.

Shot 7: 23- 33 Secs: Medium long shot (mlu) of Clarice and over the shoulder of Hannibal Lecter looking at Clarice. Her immediate response is “certainly”.

Clarice looks down, then away then down again to root around her pocket that has some slight difficulty finding her wallet that contains her identification. She did not look in her bag as it is swinging from her opposite shoulder. The camera rests on Clarice’s and this is a long moment as she nervously takes out her identification and unfolds the wallet. It is the longest scene so far in the sequence. Clarice is dressed simply and is young and vibrant against the dank and dark exposed stone wall behind her.

As we view her in this scene we are aware of Hannibal’s presence as we can see quiet a lot of the back of his neck. The over the shoulder shots (ots) are taking up almost half the frame in each shot, reminding us of the second person in the scene.

Still image of Shot 7 -Clarice holds up her credentials to Hannibal

As Clarice holds up her unfolded wallet to Hannibal Lecter he asks Clarice to come “closer please” first in a polite manner. Clarice moves her arm holding the wallet towards Hannibal.

Shot 8: 34-36 Secs:  Full frame and medium close up (mcu) of Hannibal, his head is in the middle of the frame. The lights are cast on top of his head as if he is annoyed. He commands to Clarice: “closer” But it sounds more like “clooooser” by his exaggeration of the word.

Shot 9: 37 -41 Secs: Camera pans back to Clarice, she is standing in the same position with the wallet held in front of her and covering some of her lower face. First the camera pauses on her and then Clarice starts moving towards the camera, wallet in hand. Her steps are deliberate, stern. This shot is a medium close up we can see her upper body and face in the shot. Clarice is standing in the centre and the dreary wall is softly lit behind her. No dialogue in this shot just the sound of footsteps.  

Shot 10: 42 - 46  Secs: Close up shot of Hannibal he walks towards the camera . He enters the frame to move it from a close up to an extreme close up. 

Shot 11: 48 Secs:  Extreme close up of Clarice who is still holding her identification, it can be seen in the corner of the frame. Her gaze is serious.

Still of shot 11 - Extreme close up of Clarice keeping her nerve with Hannibal

Shot 12: 49 – 55 Secs: Extreme close up of Hannibal he blinks his eyes, looks down at the wallet, then says “That expires in one week”. He winks at her quickly and says “Your not really FBI, are you”.

Still image of shot 12 - Extreme close up of Hannibal

Shot 13: 56 – 58 Secs: Clarice responds “I’m still training at the academy”. It is a medium long shot and over the shoulder (ots). Clarice says this with more conviction yet some nervousness in her voice.

Shot 14:  59 - 1:02 Secs: Close up shot of Hannibal, and over the shoulder (ots). The back of Clarice is taking up half the frame and Hannibal is in the left hand side of the frame. “Jack Crawford sent a trainee to me”.

Shot 15:  1:03 -  1:09 Secs: Medium close up of Clarice and over the shoulder. Hannibal is taking up half the frame but Clarice appears more in the distance compared to the previous shot.

Her reply to Hannibal is: “Yes I am a student”, “I am here to learn from you”. Maybe you can decide for yourself whet­­her or not I am qualified enough to do that”. Clarice says this in an honest and sincere manner.

Shot 16: 1:10 – 1:12 Secs Medium close up of Hannibal Lecter he looks at Clarice and says “Hmmm”.

Still of Hannibal from shot 16 

The end of scene sets the tone that Hannibal has the upper hand over agent Starling, however, she was able to keep her nerve and display her motive as honestly as she could. The camera work moves from medium long shots to closer medium shots suggesting a build up in intimacy in their quick exchange. Hannibal is a mysterious figure as he is very cool in his delivery and gets straight to the point. This introduction of the character Hannibal sets the tone of the rest of movie and his personality traits later on. He is an intimidating character.