Choros Film Analysis

Before I began working on my project I analysed an experimental film to help me to develop my ideas. However I forgot to publish it onto my blog. 
Here is that analysis:

Choros

The experimental film Choros, directed by Michael Langan and Terah Maher, uses chronophotography to capture the movement of a dancer. This technique usually used in sport photography helps to create a surrealist image of dancing. 

By using only two different locations along with one camera and one set of lighting equipment the directors have managed to create a what seems to be simple dance piece into a complex visual creation. 

Although my film is also a dance piece I won't be completely following the ideas that Langan and Maher have used but I want to reflect on the simplicity they have created of one camera in one/two locations to just capture the shapes and sound through dance.

Screenshot from Choros

Group Feedback

"Little bit scared"

Today (12/12/2013) our seminar group watched everyone's videos then gave feedback to each other. 

As the title suggested many people found our piece to be quite scary due to the use of the audio compared to that of the image they also characterised it as being atmospheric and haunting. Although this was not the original aim of our piece I can understand where this idea has come from due to the look of the film once some of the images had been reversed and their speeds changed.

They also enjoyed the use of the range of shots that we used to capture the dance especially the ones where she went slightly out of shot as it again highlighted the surrealism of the whole piece.

The only criticism that we were really given was that of the black and white colouring. The group said that we should try to bring out the blacks more to create a more stark contrast between our bright white background and our dancer's black outfit. We took this into account and went back to the edit room to change the contrast of the film.

Film Editing

Although our project looks simple to watch the editing process was not.

To begin with we looked through the clips to try and  pick out some sort of choreography that could be created from sections of the clips. This proved harder than we thought as we hadn't originally set out any set routine so finding a flow to the piece proved to be difficult. To combat this we decided to reverse some of the clips meaning we could piece together more of a routine.

By reversing the clips this created a different feel to the piece. It made the whole dance seem more robotic as it created a surreal feel to the dancer's movement. Another technique we used to make sure the flow of the piece worked was that of slowing and speeding the images up. Not only did this help with the dance becoming a choreographed piece it again created a more robotic and transhumanist vibe to the whole film.

Editing the piece

To make the dance piece more interesting to the eye we decided to use different angles and shots to show different aspects of the dancer's body such as just her torso and her legs as well as full body shots. This created a more visually interesting piece for the viewer to watch that helped capture all the dancer's movement.

Finally we  turned the colouring of the piece to black and white to make it look simple to the eye. This was done as the audio piece was really complex with many layers to it so we wanted a stripped back video that complimented the audio rather than take the attention away from it. 

Film Shooting

Once arriving on set we began to sort out the equipment and the set. We decided to use an area where the floor was covered with safety mats to ensure the dancer’s and crew’s safety throughout the shoot. It was situated next to a plain white wall as we wanted the dancer to stand out against the background to add to the simplicity of the shoot.

We set up the Canon XF100 and tripod in front of the white wall to begin with to capture the long shots and torso close ups of the dancer. After sorting the white balance and changed the frame rate to 50 per second we set to creating a costume for the dancer. Paul and I dressed her in strips of white and black crinkled fabric over her black leotard to create a contrast compared to that of the white wall. We ensured she was able to move and the costume didn't create a tripping hazard.

Setting up the camera

As none of us are choreographers we asked her to improvise the dancing to what she felt fitted with the audio we had created.

Trying to choreograph piece

Oli then conducted most of the filming due to his absence from the creating of the audio itself however we all inputted on angles we wanted the types of shots that were created.

Due to my animal care background I was left in charge of Blim, the dancer’s dog, as he couldn’t be left unattended. Having an animal on set was quite a challenge due to his loyalty to his owner so he would constantly whine for her and at one point broke from his lead to be nearer to her.

Caring for Blim the dog

Other problems that occurred on the set included lighting being quite dark so we were unable to create the bright white colouring that we first wanted so changed our idea to a more contrasting black and white image. Another was that of lack of heating especially due to the dancer not wearing much clothing meaning we took breaks so she could warm up.

Apart from these few problems shooting went well and was followed up by a meeting the following day to look at the video clips.

Filming from above

Film Planning

With the audio constructed as a group we turned our attention to the film side of the project. We decided that as the audio was quite complex with many layers that we would keep the film itself quite simple to cause a contrast.

It was agreed that we would create a contemporary dance piece made up of shots from different angles to be edited together. Another decision made was that we would do the whole production in black and white to add to the simplicity that we wanted the piece to emanate.

Paul has an acting background so with his connections we found a circus performer that was perfect to play the part of the dancer. Sian was an experienced actress, stunt performer and dancer who straight away understood the concept that we were trying to create. She also offered to let us use her circus school in Manchester called The Circus House which had a large space that we could use to create the dance in.

I began to draw out some angles and shots we could use that kept the piece simple but still captured the whole of the dance.

Storyboarding shots for the film

I took on the role of producer and created call sheets and did a Parashoot risk assessment form for the filming.

Call Sheet

The call sheet contained the location of the shoot, the travel arrangements for the shoot as well as a couple of important notes that the crew were to keep in mind such as the protocol for the use of the step ladder.

Parashoot form

Parashoot form

 When creating the Parashoot form I had to take into account many things.

Firstly was the use of heights that would be used to capture the bird's eye view shots but climbing up a ladder onto a stable platform. The procedures included that another member of crew always had to be present when using the ladder and safety mats were placed below the platform.

As we were creating a costume from pieces of fabric we had to take this into account as they could cause a trip hazard so we made sure the whole dance was performed on safety mats in case of tripping. 

The dancer's dog had to be on set due to her not being able to leave it at home so this also had to be taken into account. One of us had to stay with the dog at all times when he was tied up out of shot and provide him with water throughout the shoot.

Sound Editing Three

Today was spent finalising our audio piece so we could begin working on the filming side of the project this Sunday.

The final piece consisted of ten layers that slowly built up texture to create a complex piece of audio that reflected the working body. We wanted to create a gradual crescendo and diminuendo so that it imitated a machine powering on and powering off making it seem like the dancer, who will be in our film, was quite like a robot. In essence she was turning on her body to create her “sense of place” of dancing.

Layering used throughout piece

Layering used throughout the piece

Using delay plug in

Use of cross fades

We edited the different sounds we had recorded mainly using the sci-fi plug in to create a robot feel similar to many science fiction films. By doing this we could also make seemingly none human things sound quite human. For example we used tram doors opening and closing to create the sound of breathing by using the reverb and sci-fi plug ins along with the use of fades we were able to create the complex sound of human breath but still have a robotic feel to it.

All the sounds we used were created using objects and machinery around us except for that of the heartbeat sound. For the heartbeat sound we used a contact microphone to record Paul’s heart we then again used the reverb and sci-fi plug ins to create a more machine sound to it. Our reasoning behind this was because we wanted to create a very clear definite heartbeat sound that we were unable to create using machinery.

Using reverb plug in

We ended the session by beginning to plan out the shoot with the dancer on Sunday. So far we have some basic ideas for imagery we want to create along with a dancer to take part. We are currently in the process of storyboarding and looking for a location. 

Sound Editing Two

During the next sound session we began to plan out the sequence of sounds we wanted to create and how they would reflect the video we wanted to create.

• Start neuron – zud zud
•  Breathing- Tram doors
•  Heartbeat- Paul’s heart
•  Blood- Fountain
•  Hand- Twig snapping
•  Roll over- Sewing machine
•  Sit up straight- motor?
•  Eyes- lighter
•  Louder breathing- tram doors
•  Silence

This step outline is to be used for the beginning of the audio to build up suspense that lasts about a minute. It corresponds with the dance piece we want to create for the experimental film side of the project where at this point the dancer slowly comes alive in a way that links her to being a machine. By using objects around us to create the sounds we felt this reflected the idea of sense of place around us but then as it was the functioning of the body that the sounds were creating it reflected the internal sense of place too.

With the beginning sequence that we created we wanted to reverse it at the end by slowing taking the sounds out to create the idea that she is powering down like a machine.

Olivier adding sounds to Pro Tools

Positioning the sounds in order to create the sound of the body coming to life

Adding reverb to Pauls' heart make it sounds machine like