Wednesday, 30 November 2016

Professional Pre-Production: Finalised Synopsis

After two more drafts since my second draft, along with a lot of changes, feedback and creative decision making for my story, I now have a finalised synopsis for The Identity. The overall story remains the same, but now has a different ending, and elements of episodes one and three have changed for the better. I have also improved on the overall series synopsis. With tutor approval of the below being my final draft synopsis, they are all ready to be added to my website package.

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Series Synopsis


LAUREN DANIELS has spent her whole uneventful life in Philadelphia. But when she discovers that her idyllic mother, HELEN DANIELS, isn’t who she thinks she is, she learns that she was stolen from her real parents in London. Her mundane life is turned upside down in an instant when she realises that she could have had a completely different past, present and future.

When discovering the identity and location of her birth parents, Lauren abandons her so-called family and heads to London. The attractive, kind stranger ETHAN BRIGGS insists on following Lauren on her journey, but with his secretive texts about her, he clearly isn’t what he seems.

Tracking down Lauren’s birth father FRANK PORTER, the seedy middle-aged man proves to be a disappointment when they catch him cheating with a young woman. Sickened, Lauren’s dreams of her perfect parents crash and burn even more when she discovers that he and her angel-faced mother KATHLEEN PORTER, now have a pretty young daughter; AMANDA PORTER.

In the darkening streets of London, Lauren’s world caves in further when she finds out that Ethan was sent by her family friend CHRIS HILLMAN to stop her from finding her family, so that he wouldn’t be found out for illegally helping Helen to change her identity and run away in 1989. But with Ethan’s decision to turn his back on his mission, and confessing to caring for her, she forgives his truly kind heart. The pair spend the night together, but Lauren decides to return to her own mission alone.

Tracking down the pristine home of her disappointing family, Lauren meets the surprisingly scruffy-looking Amanda. Soon realising in conversation that they’re not related, Lauren discovers that this new daughter was her replacement. Frank and Kathleen confess that the actually Romanian orphan Amanda, was illegally adopted. Sickened to her stomach, Lauren leaves, vowing to never see this mess of a family again.

But later, when the drug fuelled Amanda lures Lauren to her house, Amanda brutally attacks and ties up Lauren, planning to kill her. But to save her own life, Lauren is forced to kill Amanda instead. Realising that her fate is the same as her mother’s, she’s forced to change her identity and run away. Reconnecting with Ethan, the pair disappear for good.


Changes Made
  • The first paragraph was rewritten to make it clearer and more effective.
  • Additions, removals and alterations were made in line with each episode's changes.

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Episode One Synopsis

Its England 1989, an excited and well-presented couple by the name of Kathleen and Frank Porter are preparing for their unborn baby. The couple have put her trust into a gestational surrogate; the gentle young American, Julia Drennen. Although she has no biological relation to the baby, Julia constantly looks down lovingly at her stomach throughout her pregnancy. One day, when Kathleen mentions that if the baby is a girl, she wants to name her Amanda. Over time, Julia loses her grip on reality, convincing herself that she can’t part with the child, and becomes panicked.  Soon, Julia packs her bags in her cluttered London flat, and decides to go into hiding in order to steal the child and raise it as her own, while Kathleen and Frank start becoming more and more panicked over not being able to reach Julia. Eventually, Julia leaves and arrives at an airport. She hands over her new passport, which shows her photo next to the name ‘Helen Daniels’. With a relieved look on her face, she disappears into a crowd of people.

Its twenty-seven years later; 2016. An attractive young woman cleans the bar of a run-down diner, making witty jokes back and forth with the customers, her co-workers address her as Lauren. She finishes up for the evening and walks to her car in a dark, urban street. She sighs as she looks at her boring, dull hometown in Philadelphia. She arrives at her warm but shabby looking house, to an aged Julia (now known as Helen) and addresses her as ‘mom’. The pair talk about their days in routine, with Lauren once again pretending that she’s not bored out of her skull to keep her mother happy. The pair carry on with their evening at home, going through their day to day life that Lauren’s grown so tired of.

The next morning, Lauren smells the sweet smell of her mother’s pancakes. Helen greets her with her usual upbeat tone, but this time Lauren catches sight of occasional pained looks on her face. Helen serves up Lauren’s pancakes with a trembling smile before clutching her chest and crashing to floor, knocking herself unconscious. As Lauren cries down the phone to 911, an ambulance races to their home. Once at the hospital, surrounded by glaring lights and empty space, Lauren is told by the doctor that her mother is stable but is suffering from anaemia which caused her chest pains. With the option of giving Helen some of Lauren’s blood in a transfusion to initially help her, Lauren agrees and undergoes a test. But when the results come through, Lauren is told that her blood type doesn’t genetically match her mothers, signifying that they are not related.

With her mother asleep, Lauren struggles to process the news and races home. Turning every area of their house upside down, searching for evidence of Helen’s lies and secrets. Lauren eventually finds what she’s looking for; a surrogacy document between her mother and a couple named Frank and Kathleen Porter, along with a photograph of them all together in London, 1989. Devastated and in shock, Lauren returns to the hospital with her evidence, only to find Chris Hillman, a friend of Helen’s since childhood who’s known Lauren her whole life. Lauren falls into his arms and tells him what she’s learned, Chris seems shocked and surprised. But once Lauren leaves him to talk to Helen, his sympathetic expression turns into a frown.

Lauren enters Helen’s hospital room to find her awake, full of emotion she demands the truth. Helen feels unable to continue to lie to her daughter now that she knows, and in a panicking flood of tears admits to her that she’s not her biological mother. Disgusted, Lauren turns her back and leaves the hospital. She decides that she needs to find her parents and know who she is. She returns home, grabs some money and hurryingly packs a bag.

She gets on a bus to the airport, once she arrives she stops in a dark and dismal bar and has a drink, looking at her missed calls from Helen. Soon, a seedy looking man approaches her and attempts to grope her. A young, attractive man sitting nearby sees this and goes to step in, but Lauren is quick to jump up and backhand the seedy man across the face. The young man tells him that he should leave and then takes a seat next to Lauren, he introduces himself as Ethan Briggs with a warming grin. They make small talk and Ethan attempts light-hearted conversation, but Lauren leaves once her flight number is called for boarding.

Ethan finishes his drink and leaves soon after. Later, Lauren sits on the plane and notices Ethan. He sits next to her with a smile, and Lauren rolls her eyes in annoyance. But the pair pick up conversation again and he asks her where she’s going, Lauren hesitates but tells him that she’s going to find her family. She looks out of the plane’s window, taking a last look at the town she now despises, as they prepare to take off. With Lauren distracted, Ethan quickly takes his phone out by his side and sends a text to a private number that reads “I’ve got her”. Lauren looks back at Ethan as he puts his phone away and smiles at her again. She looks away once more and Ethan looks forward, his smile fades.


Changes Made
  • In an overall story/character development, instead of Chris telling Lauren about her birth parents and that he helped Helen, he instead pretends to be surprised and unknowing of the news. As this fits with his character's personality and intentions better - as he spends the story trying to protect himself.
  • In relation, Ethan is the one to later tell Lauren about Chris's role in her past, this way she still finds out who Chris really is and why he sent Ethan.
  • As Chris no longer gives Lauren the information that she needs, she instead finds it by rummaging through all of her mother's belongings at their home, finding evidence.

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Episode Two Synopsis

Lauren arrives in England, having told Ethan about her life’s secret and why she’s travelling to England on the plane, he stays by her side as they go through airport security checks, asking her questions and talking to her. Once they leave the airport Ethan offers to buy her breakfast, Lauren agrees. The pair sit in a busy cafĂ©, talking over hot coffee, Ethan offers to help Lauren find her parents. Suspicious of his generosity, she asks him why he travelled to England, he tells her about a job interview in London and goes on to tell Lauren that she seems nice and that she’s interesting, so he wants to help. With his soft voice and gentle smile, he convinces her to accept.

The pair move on and decide to go to a public library and use a computer, as Lauren knows her parents’ names she decides to look them up and track them down. In a corner of the echoing, dusty library, they hunch over a computer together and search for Frank Porter, a number of results appear, but one important one. Lauren opens a social media page with Frank’s name, picture, workplace, and relationship status that says: ‘Married to Kathleen Porter’. Ethan expresses doubt that they’ll find him but Lauren excitedly prints his picture and work address, and the pair leave in a hurry.

Lauren hires a rental car and they drive through London, parking outside of Frank’s office. Ethan tells Lauren that they don’t have to do this, but with a determined look on her face, Lauren jumps out of the car, enters the reception and asks for Frank, but is refused. Meanwhile Ethan makes a phone call to the private number, telling them that he’s not sure this is going to work. Seeing Lauren, he quickly hangs up, Lauren returns and decides to wait for Frank to come out and follow him, she soon recognises Frank from his picture, getting into his car. Against Ethan’s judgement, Lauren starts the engine and follows Frank through London, seeing him stop at a shop and pick up a huge bouquet of flowers, then drive and park outside of a quiet, well preserved house. Lauren parks at a distance and watches Frank. He gets out of his car and answers his phone, the conversation seems to be with Kathleen. Frank hangs up as a young, blonde woman runs out of the house and lovingly wraps her arms around him. He leaves his phone on the roof of the car and forgets about it as they walk into the house, arm in arm.

With the colour drained from her face, Lauren sees that Frank is cheating on her birth mother. Ethan appears sympathetic and places his hand on hers. He begins to suggest leaving, but Lauren suddenly bursts out of the door and snatches Frank’s phone from the car. She and Ethan look through Frank’s phone, finding messages from Kathleen, flirtatious messages from a woman named Sarah, and messages from someone named Amanda, addressing Frank as ‘dad’. Lauren’s eyes widen as she sits in shock for a moment, hit by the revelation that the family she’d been dreaming of are far from what she’d imagined; her father is cheating on her mother, and she has a sister that she’s never known. Lauren looks at a photo of Frank with what seems to be Kathleen and Amanda. She’s suddenly filled with emotion as she repeatedly hits the wheel of the car in anger and curses. Ethan grabs her and calms her down, they look at each other as a tear rolls down her cheek, and decide to leave.

Parking at a hotel, the pair decide to have a drink at a nearby bar. Under the low lights and depressing music, Lauren looks down at her second drink, with the hope drained from her eyes, she says that she doesn’t want to meet her family. Ethan agrees that nothing good can come from meeting them now, but Lauren looks at him with suspicion, finally realising that he’s seemed to be against this the whole time. Ethan goes to the bathroom, not noticing that his phone was left on his chair. Becoming rapidly suspicious, Lauren grabs the phone, finding the messages between him and the private number. 

Lauren’s face becomes filled with rage, she drops the phone on the table, and runs out of the bar. Ethan catches sight of her leaving and sees his phone, making the connection. His eyes become panicked and he chases after her, managing to grab her in the street. She angrily pushes him away, shouting that he was trying to stop her instead of help her. Angry and emotional she demands to know who he really is. He looks down in shame, and tells her that Chris sent him, as he owed him. He goes on to tell her that Chris was the one that helped Helen change her identity and run away. And that when Ethan was a teenager Chris could have busted him for identity fraud when he and his mother ran away from drug dealers, but he didn’t. So in return to Chris, he agreed to try to stop Lauren from finding her parents, so that Chris’s secret of illegally changing Helen’s identity wouldn’t be found out.

But he tells Lauren that he cares about her now, and that he truly wants to help from now on, he says she’s more important than his debt to Chris, and proves it by launching his phone into the air and down the street. Lauren is shocked, but believes his words. She admits to caring for him too, and they soon decide to get some sleep. Getting separate rooms at the hotel they say goodnight, but Lauren changes her mind. Knocking on Ethan’s door, he answers confused. Lauren lightly kisses him on the lips, then they continue to kiss and eventually sleep together, spending the night in his room. Ethan wakes up the next morning to see that Lauren isn’t beside him anymore, just a note saying goodbye.

Lauren sits on a bus, looking hopeful at Frank’s address on his phone. She arrives at the tall, pristine house and nervously approaches the front door. A young, attractive, yet scruffy-looking woman answers; Amanda. After going inside and building up courage through small talk, Lauren tells Amanda that she’s her sister. Amanda doesn’t believe her, but Lauren tells her what she’s learnt so far about their family and that she was stolen as an unborn baby. Amanda sits in silence, processing the information and clenching her fists, while Lauren looks at her, noticing that she looks of a similar age. She asks Amanda when she was born, and realises that her birthday is only a month after her own, meaning that Amanda can’t be her sister. Lauren begins to remember what she’s learnt; that Kathleen couldn’t carry a child, that no known investigation was ever made to find Julia Drennen or a stolen unborn baby from London, then her face turns pale as she realises. At that moment Frank and Kathleen enter the room, Lauren turns to them with devastation across her face and says “you replaced me”.


Changes Made
  • Other than rewriting some areas to be more descriptive or to increase the synopsis' quality (also done with all other synopsis), no major parts of the second episode were changed.

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Episode Three Synopsis

Kathleen and Frank stare at Lauren with confusion and ask who she is. Lauren tells them that they’re her parents, but Amanda, hysterical and angry, refuses to believe Lauren and wants her parents to deny what’s being said. Kathleen tells them both the truth, while Frank remains silent. Looking ashamed, she tells Lauren that she wanted to find her, but if they wanted to save their family the shame from trusting a woman that ran away with their baby, they were never going to tell the police, and were going to have to pretend that a different baby was the same one they were expecting months later. So they flew to Romania, and illegally adopted a two month old orphan; Amanda.

Frank insists that Lauren isn’t their daughter anymore, and they don’t want to know her. Feeling hurt, Lauren bites back by hinting at his affair as she hands him his phone. Frank suddenly backhands Lauren across the face, stunning everyone into silence. Lauren looks at him with disgust and runs out of the house. Kathleen chases after her, begging her not to leave in floods of tears, but Lauren realises that this isn’t her real family.

Lauren melts down as she processes the fact that she has a cold, unfeeling family. Not belonging anywhere, she gives up and decides to get drunk. Spending the night downing drink after drink in a number of bars and clubs, meeting strangers along the way, Lauren tries to forget her problems. But amidst the fog and flashing lights, she thinks that she sees Ethan and follows the man outside, only to find that it’s not him. Lauren realises the mess she’s gotten into and leaves, ending up sat in an empty park. She decides to call Helen, and tearfully apologises to her for leaving, planning to return home the following day. She stumbles back to her hotel, and collapses onto her bed for the night.

The next morning, she wakes up to find a note left by Ethan, containing a sweet message and a new phone number, with a smile, she keeps the note. About to check out and go home, Lauren realises that she left her bag with her passport behind at the Porter house. She leaves to get her bag, but suddenly, Amanda turns up with the bag, looking manic and angry. Amanda grabs her arm, but Lauren pushes her away and Amanda stumbles, causing a bag of cocaine to fall from her coat. Sympathising with her, Lauren suggests that she gets help, but Amanda aggressively says “fuck you” and storms away. Elsewhere, Frank is seen still seeing his other woman at her house, while Kathleen searches through his things at their home, finding evidence of his affair, she bursts into tears, smashing a photo of her family.

As the sun sets, Lauren heads for the airport, but receives a call from Amanda, crying for help and sounding panicked. Feeling concerned, Lauren gets her address and makes a detour to her house. Lauren approaches Amanda’s unkempt house, noticing that the door is ajar. There’s no one to be seen, but she’s surrounded by trash, broken items and the sound of loud music as she walks through the dark halls, calling out for Amanda. Looking at the drug den-looking living room, Lauren’s face fills with fear, when suddenly Amanda appears behind her, smashing her across the head with a lamp.

Eventually, Lauren wakes up on the living room floor, realising that her hands and feet have been tied up. She sees Amanda, lent over a table, snorting a line of cocaine. Lauren starts to wriggle and scream, but it’s muffled by the blaring music that fills the house. Amanda hears her and turns around, appearing paranoid and emotional, she looks at Lauren with glassy, unfocused eyes, taking out a knife. With tears rolling down her cheeks, Lauren continues to try to wriggle free. Amanda leans over her with the knife and tells her that she won’t take her family away. Lauren’s ties suddenly snap away and she shoves Amanda to the ground as she attempts to run. Amanda manages to knock Lauren back to the floor, leaping on top of her and plunging the knife down next to her in a missed attempt. The knife gets knocked out of reach, so Amanda strangles Lauren in an attempt to kill her. But in her struggles, Lauren grabs a nearby loose pipe and smashes it across her head. Amanda falls to the floor, killed on impact.

Sat in shock for a moment, Lauren looks over at Amanda’s body, and realises that the police will have been called by neighbours. She’s forced to pull herself together, cleans up evidence of her being there, and leaves. Lauren runs out of the house and slows down as she walks down a dark alley. The flashing lights and sirens of a police car speed past, but Lauren goes unnoticed.

The following morning, Lauren stands at a distance from her birth parents’ house, certain that the police will arrive soon. But she sees that Frank is leaving the house with packed bags, pleading with Kathleen, who wants him gone. As they argue, the police arrive, and Lauren watches as her birth parents are told that their daughter Amanda is dead. As she watches her parents react in devastation, a tear roles down her cheek, and she turns and walks away for good.

After killing Amanda, Lauren’s freedom is at risk. Still shaken, she calls Ethan, asking if they can meet. She explains to him what’s happened and he takes action to protect her. Calling Chris, Ethan tells him that Lauren needs to disappear. Destined to live the life of hiding that her mother faced, Lauren now needs to change her identity. The next day, Lauren and Ethan arrive at the airport, Lauren hands over her passport, which shows her photo next to a new name. With a relieved look on their faces, they disappear into a crowd of people, hand in hand.


Changes Made
  • The third episode was written in too much detail (similar to my first draft) in comparison to the other synopsis', therefore not written descriptively enough about atmosphere, character's, settings etc. So the synopsis was reworded in large areas to improve this.
  • Their wasn't quite enough content in the third episode in comparison to the first two, so an extra scene was added; the scene of Lauren getting drunk, thinking that she sees Ethan and calling her mother. This scene adds more depth to Lauren's character and more excitement in the episode.
  • The scenes that follow this; Lauren reading a note from Ethan and having an altercation with Amanda, were adapted to follow on from the drunk scene.
  • Helen is removed from the end of the story, therefore she doesn't travel to London and isn't killed by Amanda. This change was made to make sure that the end of the episode/series/story didn't become too dark.
  • Added Kathleen deciding to leave Frank and have him move out, giving extra drama within their story of his affair and betrayal. This also develops Kathleen's character from being a push over to her beginning to become stronger.
  • The ending has been changed to Lauren realising that she has to disappear so that she's not found out by the police for killing Amanda. This gives the ending a strong sense of the identity theme, and the sad realisation that she now has to live the life that her mum has by changing her identity and running away. But the positive side to the ending is that she has Ethan by her side.
  • Worded the ending (Lauren leaving) to be very similar to the start of episode one, when Helen runs away - signifying further that Lauren's is destined to follow her mother's path.

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I'm extremely pleased with all of my final synopsis, they have all developed in great detail since my first draft and initial idea. The story feels realistic to be made for television, it has the sense of a gripping drama that would draw in an audience, and now feels well structured throughout. The end result of The Identity's story has become much better than I could have imagined at the start of the project, due to helpful constructive tutor feedback, and large amount of time and effort.


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Monday, 28 November 2016

Professional Pre-Production: Final Opening Sequence Cut

After making the improvements for my second fine cut of The Identity's opening titles, everything had been developed and improved exactly as needed. The last piece of feedback that I was given by my tutor and by director Andrea Kapos when viewing my second opening titles fine cut, was that the sequence needed one last clip, one that signifies changing an identity - such as passport copying, birth certificate copying etc.

So I decided to film a passport being scanned, showing a beam of light passing under the passport. I think that the dark, shadowy clip with one piece of light running through fits the dark themes of the rest of opening titles, as well as clearly indicating the idea of someone manipulating their identity.

This also allowed me to fill a gap of footage in the sequence, as where the last cast member is introduced, the footage remained as clouds from this moment until the logo appeared. Now, by replacing a long use of cloud footage with new passport footage, the pacing of the titles remains consistent instead of slowing down, and the clips continue to vary.


Original footage of my passport

Fine Cut Version Two: Before

Final Cut: After


This last change to my titles has proved to be the effective finishing touch that the sequence needed, I feel extremely satisfied with the final result.


The Identity Opening Titles


Friday, 25 November 2016

Professional Pre-Production: Editing Style Research


Editing Style


'Editing describes the relationship between shots and the process by which they are combined.  It is essential to the creation of narrative space and to the establishment of narrative time.' [1]

'An experienced editor can greatly enhance the emotionality of a scene using different types of temporal manipulations. They can compress time to build energy and make everything seem faster and more kinetic. They can decompress, or lengthen, certain periods of time in order to accentuate the emotionality and drama of any given moment.' [2]


Colour Grading in The Identity


'Colour is a fundamental element of design and visual storytelling. Traditionally, artists use it to set the mood for their work, the tone of their voice, and to carry a theme in their craft. In the world of video, colour grading is an art form all its own.' [3]

To me, altering the colour tones, brightness and contrast in each clip creates an entirely new mood and atmosphere to the visuals within film and television. I've often experienced in editing that after colour grading and correction, it becomes visible just how flat and dull the original footage was in comparison. Below is an online example of this and an example of my own work.

Online example of before and after colour grading

The Identity opening titles example of before and after
colour grading


The types of colour grading that would be well suited to The Identity in order to fit the tone and atmosphere of each scene, along with fitting with my chosen editor Tom Hemmings' editing style, are natural colours, blues and greens, and oranges and yellows.


Online example of natural colour grading

In order to distinguish scenes that are neither dark nor warm, scenes that use natural daylight and colours would be suited to more neutral or lighthearted scenes of the series, set in the mornings and afternoons. Such as the opening scenes of Helen, Kathleen and Frank in 1989, Lauren and Ethan having breakfast, and Lauren travelling to her birth parents' house.



Hannibal example of blue and green colour grading

Blues and greens alongside shadier and darker tones can convey moments that are serious, emotional, mysterious or dangerous. They also seem to be capable of effective use both in daylight and evening light. I think that this use of colour grading would suit scenes of The Identity such as Helen running away in 1989, Lauren finding out her mother's secret, Lauren finding out Ethan's secret, and Lauren approaching Amanda's home.



Orphan Black example of orange and yellow colour grading

Oranges and yellows allow for a sense of comfort or warmth in the characters' surroundings, with more of a positive atmosphere. This is mostly suited to evening scenes in my opinion, as these colours also often reflect the use and colours of fluorescent lighting. The Identity's use of these colours and lighting would include scenes of Helen and Lauren feeling comfortable at home, Lauren and Ethan meeting and talking in bars Lauren and Ethan spending the night together.



Cutting of The Identity


'Many different types of cuts are available when you hit the editing board. A cut isn’t just a cut, unless it’s what’s known as a hard cut. When choosing the type of cut to use at any given time, your decision will depend on four things: genre, length, style, and pacing.' [4]

The types of cutting techniques that would be used for The Identity in editing would consist of hard cuts, J cuts, L cuts, and cutting on action. Along with varied types of pacing throughout the series.

Hard Cuts
Hard cuts are the simple use of cutting from one clip or shot to another, this can often be used for cutting between characters having a conversation, reaction shots or for cutting from the current scene to a new scene. These cuts are often used within television to allow for simple and fast pacing. The use of this in my series would be for the aforementioned conversation cutting where appropriate, slower paced reaction shots and for introducing new scenes, especially if during fast paced, dramatic moments of the story.

Online hard cut example screenshots


J Cuts
A J cut is used when the audio from the next clip is heard before it is introduced, and instead heard at the end of the current clip. This is used very often in film and television for dialogue between characters and to transition into a new scene. Using J cuts in dialogue allows for the conversation to flow more naturally instead of being chopped up, and using the sounds of or dialogue of the upcoming seen briefly at the end of the current scene allows for a more natural transition into the new story arc. These cuts would be used in The Identity for each conversation for professional, smooth cutting and for transitioning into scenes with a more relaxed and slow pace.

J cuts can be seen and heard in this example of Luther, where J cuts are used for transitioning into a new seen, in-person conversations and phone call conversations. They allow for the pace to go from slow to sped up over time. It's also noticeable that ones the pacing speeds up, hard cuts are also used during the phone call.




L Cuts
An L cut is used in the opposite way to a J cut, by cutting to a new clip before cutting from the previous clips' audio. Used in the exact same form as J cutting, L cuts are used just as frequently, and for the use of editing dialogue between characters and scene transitions. L cuts are often used for seeing a character's reaction before another character has finished talking, and often for the current scene's dialogue or sounds to be used to introduce the next scene. For example, a character talking about the location of a police station in the current scene, and before they finish talking, we see the police station in a new scene and clip. L cuts would also be used in The Identity for flowing conversation editing, reaction shots, and occasionally for scene introductions.

The use of L cuts along with J cuts can be seen in this altercation in the TV series, Dexter.





Cutting on Action
In order for the timeline and actions of visuals in narrative-based editing to truly flow, cutting on action is needed when cutting between the clips of one scene. Cutting on action is used when an action is being performed across two or more clips (such as a medium shot and a close up), and the the clips are cut together seamlessly in the middle of the performed action. Cutting on an action or movement allows for the edit to be less noticeable and smooth. This would be heavily used in The Identity in order to have the clips flow together, such as when a character gets their phone out across two shots, or consumes a drink across two shots etc.

Cutting on action can be seen in a number of areas in this clip from Suits, showing from one shot to another that the character lifts his arm, and across two clips, he counts from one to three on his fingers. All edited together flawlessly, therefore if a viewer wasn't looking for the way the scene is cut, the edit would go unnoticed.




Pacing
When it comes to dialogue between characters in The Identity, the pacing would be fast and flowing, so that the viewer's interest could be held instead of losing interest in a slow moving conversation. This would be achieved through hard cuts, J cuts and L cuts.

More relaxed, upbeat, or even suspenseful scenes would have a slower pace. Such as Lauren waking up to her mother's breakfast, or slowly walking along the streets of London, reading Ethan's note. Putting the audience in the comfortable position that the characters and surroundings are in. This would be done through hard cuts, J cuts, L cuts and cutting on action.

Scenes or sequences that impose more chaos, danger, emotion or excitement, along with faster actions being performed would be cut to a faster pace. Such as Helen collapsing, Lauren then calling an ambulance in a panic, and Helen being rushed to hospital, or Lauren's struggle with Amanda when Amanda attacks Lauren. Using faster editing techniques for these types of scenes allow for the drama and urgency of situations to have more impact. Hard cuts and cutting on action would be used for this.



Editing Techniques in The Identity


'Once you master the edit types and learn why each one is important in different circumstances, you can make your projects more entertaining and your editing more efficient, and you can create a whole editing style of your own that reflects your creative side.' [5]

There are a number of styles of editing when cutting clips together to create a narrative, along with a number of additions that can be made to the way that certain shots/clips are used and incorporated into the edit. The overall editing style of The Identity would be continuity editing, and the techniques and shots that would be used within the edit would be sequences (including flashback sequences and insert shots - a shot added to a scene for informational purposes or to provide dramatic emphasis), reaction shots (as mentioned above using certain cuts), and cutaways.


Continuity Editing
Continuity editing is a style that maintains the continuous and seamless flow of a story when cutting clips together, allowing the footage that's cut together to tell a story and follow each other in the organisation of the narrative. For the most part, this traditional editing style would be the way that The Identity would be edited, in order for the story to make sense and connect throughout all three episodes.


Sequences
A sequence is a collection of shots that are linked together by a particular idea or purpose. While often the clips are cut together in quite a fast pace, they can be of any length to suit their input in the story and visuals. This would be used a number of times in my series, including a sequence of fast paced, jump cut styled clips when Lauren is searching through her house to find evidence that her mother is or isn't her real mother (featuring close-ups of draws being tipped upside down, documents, photos etc.) to symbolise her rush and emotion. Along with a flashback sequence of Lauren remembering the evidence that she's seen and gathered so far in the series, leading her to draw a conclusion, with clips cut quickly together alongside clips of her face looking thoughtful and panicked to give a sense of her remembering these images. And lastly in the end scenes of the final episode, when we see slower paced clips of Lauren watching her parents being told that her daughter is dead from a distance, emotionally calling her mother with a smile, and meeting up with Ethan - all in a conclusive summary for the characters.

The use of sequences allows for a more stylistic representation of certain scenes and clips, giving either a faster pace, a slower pace or simply for a visual stimulating use of imagery without dialogue. In an example of a more dramatic, fast paced and comedic style of a sequence, the example of a sequence in the film Hot Fuzz can be seen from 54 seconds to 1 minute 10 seconds in the video below.



Cutaways
A cutaway can be used to show a separate clip that is taking place at the same time as the current scene, but elsewhere. These are useful for adding extra information to a story or narrative, giving insight into a character, or to indicate the start of story arc that could continue later. The Identity would use cutaways in a number of areas, including Lauren losing her bag, and cutting away to see Amanda, drunk and high, sat next to her bag - indicating the type of character Amanda is, and that she most likely stole her bag. And at the same time as Lauren travels to the airport in one shot, we see in a cutaway that Frank is still having an affair, and at the same time at home, Kathleen finds proof of this and breaks down.

The use of cutaways in my series would allow for more diversity in visuals and character development without having to involve all clips of this in one piece of footage or location, along with allowing for entertaining changes to pacing.




From this piece of work, I have created and decided on the editing style of The Identity, alongside the previously decided visual style, and made sure that the components of editing fit with the previous work of my editor Tom Hemmings (meaning that these choices would be viable in line with my crew). This research and decision making has been extremely helpful in not only concluding my moving image style of the series, but for my own general editing research.




References



Thursday, 24 November 2016

Professional Pre-Production: Visual Style Research


What is Visual Style?


- Visual style is 'the image structure and style of the film. For business this is the basis of the style you want to portray whether that is retro, feminine, edgy or quirky.'

- 'The director ultimately decides on what the audience is going to see via the placement and angle of the camera and whether the film is recorded from a first or third person view.' [1]


Visual Themes of The Identity


Dark in dramatic, emotional moments
Light in soft, natural moments
Retro in the 1989 scenes
Modern in the present day scenes
Urban when the character is suited to her surroundings
Upscale when the character is out of place

Dark
The dark themes of the series would be seen when either the character feels alone, or there are plot twists or chaotic scenes take place. Such as Lauren walking the streets of Philadelphia and London, finding out Helen's secret or Amanda trying to kill Lauren.

House of Cards example of a dark scene

Light
The light themes of the series would be seen when the characters have a sense of hope, such as arriving in London, or when Lauren's on her way to her birth parents' house.

Doctor Foster example of a light scene that's not overly colourful

Retro
The retro themes of the series would be seen at the beginning of the first episode, when Helen is pregnant with Kathleen and Frank's baby in London, 1989.

Ghost example of a film that was shot in 1989 for representation
of costume and setting style

Modern
The modern themes of the series would be seen throughout the rest of the episodes, with the use of modern settings, clothing, props and style.

Mr Robot example of modern themes

Urban
The urban themes of the series would be seen during the Philadelphia scenes of the first episode, along with some areas of London, including streets, homes, workplaces etc.

Creed film, set in Philadelphia, example of urban themes

Upscale
The upscale themes of the series would be seen largely in areas of London, such as when Lauren visits her birth parents' house, goes to a London bar or stays in a hotel.

Sherlock, set in London, example of upscale themes


Framing of The Identity


'The images you record are the building blocks and foundation of your video productions. As your foundation, some thought and planning should go into how your shots are composed. A well-composed shot grabs and holds your viewer's attention. It also influences the mood of the scene or the comfort level of the audience.' [2]

The most common types of framing that I can imagine within the series are wide shots, medium close-ups and close-ups, as I feel that they capture the key visuals and details of characters and surroundings. These also draw from the directional style of my director T.J. Scott, which can be seen in his work such as Orphan Black and Gotham, along with the cinematography styles of DoP Aaron Morton.

Nashville example

This example gives a feel for the surroundings, the character's body language and the character's expression. I think that this type of framing would be very suitable for any scnes that involve a character using a prop or having a conversation, as it allows for varying focuses on certain details.


Orphan Black example

This example gives a broader scope of the character's settings and surroundings and the sense of the character's mind set - such as if they feel lost in their surroundings, on a mission, leisurly walking etc. This framing type would suit scenes of the characters travelling through towns to get to destinations, having conversations or altercations in public and to symbolise a characters vulnerability or independence.


Black Mirror example

This example allows for a large amount of detail on the character's expression and feelings, allowing less space for other details, the sole focus can be on the character. This would be suitable for moments of realisation for characters, in depth conversations between characters, or signs of emotion towards someone or something.



Shot Types & Angles of The Identity


'Whereas shot sizes direct who and what we see, camera angles affect how we perceive it. Is a character going to appear dominant and tall? Or short and weak? A strong weapon in the cinematographer’s arsenal is the ability to position the camera in relation to the subject or scenery.' [3]

The shot types and angles that I think would highly suit scenes of The Identity include establishing shots, high angle shots, low angle shots, and depth of field shots. These allow for symbolism behind certain visuals, give the them more diversity and allow for artistic, stylistic interpretations of shots as opposed to simple framing. These shots types and angles can again be seen in DoP Aaron Morton's work, especially when focusing on Orphan Black.

Philadelphia photo example of an establishing shot

Establishing shots would allow for a better sense of location and scenery in the series, depicting whether the settings are urban or upscale, colourful or dismal, bright or dark, day or night, cold or warm etc. These shots would be used for establishing the locations of London 1989, Philadelphia, and London now.


Orphan Black example of a high angle shot

High angle shots can create a sense of bellittling a character, or a sense of them being-taken-aback by something. As for example, if they are approaching or standing before something that evokes fear, change, hope, or even something that's simply bigger than them, high angles are able to express this more dramatically. These shots would be used for Lauren arriving in London, and nervously approaching both her parents' and Amanda's house.


The Walking Dead example of a low angle shot

Low angle shots can create a sense of a character's power over something or someone. As these types of shots can be used for standing over someone or something, and holding or aiming a prop. The low angle gives a clear representation the the character is above whatever they are holding or looking at. I think that low angles would suit moments of Lauren finding evidence about her past, and her and Amanda's character using weapons.


The Social Network example of depth of field

Depth of field allows for the focus of a shot to remain on a character or switch focus from one character or prop to another without needing to change shots. These shots are effective for conversations, reaction shots, or a realisation about someone or something from a character. Depth of field would work in scenes of Lauren confronting her mother Helen about her secret, Ethan acting suspiciously or Amanda about to attack Lauren.



Lighting in The Identity


'Light can sculpt and describe a scene or character, it can hide or reveal key areas of your frame, it can enhance suspense and evoke emotion.' [4]

The lighting in the series would be one of many important visual elements. Using natural lighting, lens flare techniques and stage lighting to achieve certain atmospheres and tones for each scene. This would again be typical of the talented directorial and cinematography work of my chosen crew.


The Hunger Games example of natural lighting

The subtle use of natural lighting can create a realistic feel to a scene, especially if taking place in daylight or outside. It can highlight certain facial features or settings without appearing to be too harsh. Natural lighting would work very well with many daytime scenes in The Identity in order to create realism, and give a softer comparison to harsh evening scenes.


Orphan Black example ofLens Flare

Luther example of Lens Flare

The use of lens flare allows for a more artistic feel to a scene using daylight, creating a softer impression of the visuals. Lens flare would be well suited to lighthearted scenes in the series, such as Helen lovingly looking at her pregnant bump and Lauren feeling hopeful on the morning bus journey to meet her parents.


Creed example of stage lighting

Stage or set lighting can be used to create a number of different colours and atmospheric tones in a scene. It can also be used to create contrasting colours, such as the above reds, oranges and purples. Suited to indoor scenes, especially set at night, set lighting opens up creative decisions and possibilities with lighting. This lighting would be suited to scenes such as the warm but shadowy bar scenes with Ethan and Lauren, warm evening home scenes in Philadelphia, and the creepy, dark scenes in Amanda's home.



Knowing the visual style of The Identity is another factor that brings the concept to life through knowing how it would be shot, lit and the themes that would be seen within the visuals. Also, having researched and selected my crew first, I can be sure that the decisions on visual style would work for my crew members' own style. I will next be working on Editing Style.



References



Wednesday, 23 November 2016

Professional Pre-Production: Locations Research & Selection


The Identity is based in Southwest Philadelphia, USA, and Hammersmith, London, UK. In order to bring the visuals of the series to life more, I've found image examples of the types of locations that I envision for the story.


Hammersmith 1989

Examples of Hammersmith and general London from the late 1980s, where the story begins.





Hammersmith Hospital 1989

Examples of hospitals and an ultrasound room from the 1980s, where pregnant Helen has a check up with Kathleen and Frank.





London Flat 1989

Example of a small, slightly scruffy, typically 80s flat interior, where Helen lived.




Southwest Philadelphia (Present Day)

Examples of skyline, town and housing locations in Philadelphia, where Lauren and Helen live.






Philadelphia Diner

Examples of a Philadelphia diner with a typical American diner interior, and a drab, scruffy exterior, where Lauren works.






Philadelphia House

Examples of a Southwest Philadelphia house exterior, and outdated but warm living rooms, where Helen and Lauren live.






Philadelphia Hospital

Examples of Philadelphia hospital exteriors and a private hospital room, where Helen is taken after she collapses.






Philadelphia Airport

Examples of Philadelphia International Airport outside and inside, where Lauren leaves for London.





Airport Bar

Examples of a dark, conventional American bar, where Lauren meets Ethan.





On the Plane

Examples of the Philadelphia airport runway and the interior of the plane, where Lauren prepares to take off for London with Ethan.





London Airport

Examples of London Heathrow Airport's exterior, interior and signage, where Lauren and Ethan arrive in London.






English Cafe

Examples of warm London-style cafe interiors, where Lauren and Ethan have breakfast, and later meet back up at the end.





London Library

Examples of conventional London library interiors, where Lauren and Ethan search for Frank's information.





London Office Building

Examples of a modern office building exterior, and reception interior, where Lauren finds Frank's workplace.





London House

Examples of a secluded detached house in London, where Lauren sees that Frank is having an affair with another woman when they're outside of her home.





London Bar

An example of a dark, conventional London bar, where Lauren and Ethan talk before she finds out who he is.




London Hotel

Examples of the Apex City of London Hotel, exterior examples where Lauren and Ethan stay, Amanda tracks down Lauren, and an interior example where Lauren and Ethan spend the night together.






London Streets

Examples of both busy and quiet London streets, where Ethan and Lauren, and Lauren alone often travel through.






Hammersmith House

Examples of pristine Hammersmith homes, with oddly perfect, cold feeling interiors, where Frank and Kathleen Porter live.







London House (Amanda)

Examples of a London house with an exterior examples, and examples of the interior - the first two interior example images are an over dramatic concept of Amanda's home, and the third interior example resembles more of the decorative style of the home, all remaining dark, dirty and messy.







With all major locations covered from my third draft synopsis, when adding these location examples to my package, I will slightly edit the images' colour, contrast etc. to make the atmospheres of the series, and explain the locations.