Editing. PP#20

 We completed filming and it went pretty smoothly. We had obvious issues, such as it was too hot, too humid, we obviously did not bring water, but alas, we persevered. I realized at one point we needed more people to help us film, since there where a couple of shots where I'm included and I simply could not hold the boom and man the camera at the same time. Hence, I asked my boyfriend Michael and best friend Lauren to help me with those shots, simply tilt the camera, hold the boom, minute things.

MUSIC

The editing process went smoothly. I decided I would add classical music as the score for the following reasons- 

1- it is my personal style. I've noticed with classical music you can really take advantage of the pacing of the music to further highlight the pacing of the film. I can use crescendoes, decrescendos, and the speed of a piece to match our film. 

2- It adds an odd sense of grandiosity to the film, that matches our genre in a way. Although it could be considered a way in which we broke genre conventions since most scary movies have "creepy" music, many directors such as Darren Aronofsky, utilize classical music in horror films since it adds a creepy sense of grandiosity. It is also creates a juxtaposition, since the film takes place in a field, and there are sort of "jumpscares", and it is matched with classical music. Additionally, there is just so many different pieces that convey different feelings, and it overall fits the pacing of the film. 

3- Very simple, these composers have been dead for a bit, so they're all copyright free and easy to find. I got all of the pieces from one youtube playlist which I have saved since it has come in handy for all of my projects. 

These are the pieces I used.

 Mendelssohn's Symphony No. 3 in A minor (Scottish), MOVEMENT III, Op. 56

I started off with this piece. It flows well with the protagonist's initial waltzing and meandering and it helps the flow of the dialogue. Although some parts crescendo weirdly, I actually liked it, since it crescendoes when the protagonist begins acting weirdly towards Dainty. 

Mendelssohn's The Hebrides Overture, Op. 26

I used this piece at the end, mostly because I wanted to better pace Maria's dialogue and because I wanted a big impact on Steve's last piece of dialogue, since it's supposed to have impact. 

Mendelssohn's Symphony No. 4 in A Major (Italian), MOVEMENT I, Op. 90

I used this one for the title because it has the exact feeling I wanted there to be. An intense contrast that quickly gets shut off. I took inspiration from fleabag's title's. 

No I did not plan for all of them to be Mendelssohn's,  I guess I subconsciously like him. 

COLOR
Now for color. I decided to divide the film on thirds and will be talking about them individually. 

I utilized two tabs in Adobe Premier's color grading and correcting section. The Basic corrections, and the creative. 

First third- 

This is when the protagonist wakes up and meanders around the field. I wanted to make sure the audience understood that he wasn't in a normal field, that something was off. The green is highlighted, and the temperature of the shots are cold. It is also overexposed. It gives it a very dream-like feeling. 

 Second Third- 

Dainty and the protagonist conversation. The temperature is much warmer in here, to signify that the protagonist (Steve) and Dainty have had a close relationship, and he sees her in a more dream like, fantasy like state. There are also glares and the shadow is very intense on the protagonist, which also adds to this. 

Third Third- 

This is the conversation between the three characters, but it focuses on Maria. Not only has the blocking of the characters changed, but also the coloring and lighting. Now, Maria is seen at the same level of Steve, as he does not have that much power over her. Additionally, the scene has a more normal lighting, and the color is darker, in comparison from the first third.