Revelation 22:21

THE END

Producing this film-opening and the CCR's were both their own little different experiences. The intensity of editing a cool, funny, and informative CCR feels kind of similar to the intensity of setting up dates and getting everyone together to film for the film opening. The biggest moment in the process of finishing this project was definitely when I finished the script, which meant the opening was ready to film. Then definitely when we set filming dates with the final actors and a super talented behind-the-cameras team. Of course, filming day was amazing.

Changes to the film's opening were minimal. The biggest one was the genre focus, of course changing the actress for Luz, and the dialogue for Luz. This film-opening was supposed to be more Musical but ended up establishing the romantic drama side more. The urgent change of actress for Luz was a huge moment in this project, as it was probably one of the most stressful moments, but thankfully Martina pulled through and she gave an amazing performance that checked every box for the character. The change in dialogue was more customary. After revising it with my cinematographer Beatriz and my friend Mafe (who offered her house for the shots where Luz walks out of the house) I decided to change and simplify Luz's dialogue so it could appeal more to the target audience.

John 19:30

FOLEY AND FINAL TOUCHES

Foley was an experience. I think this was harder than filming. Getting the right sounds and even mixing the sounds. Everything had to match and be synced perfectly. Finding DIY options for sounds and having to get even the smallest detail. I think this was the main obstacle in producing this film opening.

This was the sequence for my Foley project. I decided to put the mute version of the film opening into a new project and work on audio there so it wasn't too much on my computer and it could run smoothly. I started with easy sounds such as bed sheets rumbling and sitting down. I think the easiest but also the hardest sound was doorknobs. I could not get my house to get completely quiet so getting those sounds was almost impossible. Luckily, my trip to Tampa helped a lot as my aunt's house in Tampa is so much quieter than my house in Weston. So I recorded most of the doorknob sounds there. I think mixing was a huge obstacle but I enjoyed getting through it. As a musician, mixing is a big part of my process. Equalizing footsteps was something I never thought I'd do, but I did it. Putting the exact reverb preset and equalizing the right frequency for some sounds, just to make them sound a little bit more realistic and for them to match the film correctly.

I was not going to add music to Joshua's section but it just felt too empty. I used an original instrumental I had made some days before filming so it would fill up that space that was missing. All music in the film opening was written, recorded, produced, and mixed by me. Wanted to keep some of that originality :)

Exodus 19:3

EDITING

In terms of editing, this was a quick process. For 2 minutes, I just had to sync the shots, browse through the disk, and do some minor color correction. Obstacles came in with choosing the right transition for the text and syncing music and shots. 

This was my first time coming this close to Premiere Pro and even though I had to do some research, it was an amazing experience. 

In terms of transitions for the text, I decided to use the Find Edges Stylize video effect with automation so the color change would serve as a transition. With that, I added a small fade in so it wouldn't be as harsh.

During this part of the film opening, I decided to automate the warmth of the shot for it to rise as the music started. This decision was made for 2 reasons.

1. So the next shot wouldn't be so harsh for the viewer, as it went from very dark lighting to very bright lighting.

2. To symbolize Luz's mood was improving and the music served as that catalyst for her emotions to brighten up, hence why the warmth of the shot was automated. 

There was very little I had to do in terms of fixing. Lighting really worked in our favor and all the shots were in very good framing and locations. 

John 4:28

 FILMING DAY

Our filming day was incredibly successful, we didn't have to set up a second date as we got everything in one day. We had to go to a bunch of different houses but it all paid off. All the shots for Joshua (Alex) were shot in my house and the shots for Luz (Martina) were shot in Bia's (Cinematographer), Martina's, and my friend Mafe's house. Every setting fit well with the other one and we were able to get the perfect shots, using Bia's camera and my phone camera.

It was a super fun day, I will record my progress on editing tomorrow and Foley.

=

Psalm 118:24

FILMING (Again)

I say again because we are going to film the same shots we had already filmed again. That means the part where Luz comes out of her house and sees Joshua on the other side. Tuesday, March 26th is my next filming day, and all of Luz’s scenes will be done then. Wednesday, March 27th will be Joshua’s turn, as he is available then (nobody else was).

After filming some scenes for my friend Beatriz’s short film for A level, I realized how good her camera is! I asked her if we could use it for mine and she agreed, all I have to do is get a memory card. Also, my dad came for Spring Break and while shopping at Aventura, we updated my iPhone up to a 15 Pro! Meaning: Better camera = better shots. So we don’t have to rely just on the camera, we can use my phone!

With the 15 Pro camera I can play with focus depth, swap focal length and get an overall better quality for my shots. This update is an amazing opportunity for easier and better scenes, especially for the ones I have in mind.

Genesis 5:2

 THE CAST

Martina Rodriguez as Luz

In previous posts, I showed my friend Sofi as Luz, but due to medical family issues, there had to be an urgency call. Martina checked all the boxes and let’s not even mention her amazing acting, shown in multiple of our school plays. Martina fits perfectly with the character of Luz and what I had in mind for her.

Having to take Sofi out of the film opening was a tough decision, mainly because we already had shots filmed and we already had established a lot with her. But obstacles always have solutions, and Martina came through to save the day. I’m very excited to work with Martina, with the certainty it’ll turn out great.

Alex Gomez as Joshua

While brainstorming for the character of Joshua, I had a talk with my friend Male whom had already taken the class and is in TV Production. I asked her if she knew a guy who could dance and act (now the film is more about acting than dancing but ¯\_(ツ)_/¯) and the first name that came to her mind was “ALEX GOMEZ!!!!!!!!!!!”. I had met him a while before that but then the night after Male told me about him, I talked to him at our school’s Middle School night, where we exchanged numbers and began talking about the film opening.

Exodus 33:11

CLOSE UPS.

I want to begin my film with a close-up, the first shot that will be seen is a very tight close-up of Luz wiping her tears away after she is done crying. So I decided to do some research on the effects and composition of close-ups. I found this video by Studio Binder that explains really well all composition aspects for close-ups even about camera lenses and how these decisions affect meaning and effect.

The purpose of a close-up is to show emotions and clearly, that is my main effect with the shot I have in mind as teary eyes are shown, symbolizing the character just got done crying about something tragic or sad in her life. The purpose of this shot being the first shot in the entire film is to foreshadow that something negative will happen with Luz as the film progresses as explained through the plot of the film in my blog post Luke 15:7. 

There is one close-up that really inspired me in terms of how close the shot is and the aspect ratio. Jonathan Dayton and Valerie Faris' Little Miss Sunshine uses a close-up as the first shot in their film. It shows Olive Hoover's eyes behind a pair of glasses. This shot is shot in a 2:40:1 aspect ratio which leaves a wide perspective on the character's eyes. This aspect ratio is the one I chose to use in my film. I want to make it feel like there should be space but there really isn't. In the Studio Binder video, it was explained that wider aspect ratios are meant to leave more background space. Even though I will use a wider aspect ratio, I want Luz's eyes to fill up the screen, to convey that there should be space in the shot, there should be space for peace in Luz's life, but there isn't.

In terms of how much of Luz's face will be shown, it'll only be her eyes, to show her private life IS private, she hides what goes on behind closed doors to even her most appreciated people such as Joshua. But then all of a sudden, when she's outside, her full body is shown. This symbolizes she acts a certain way at home and a different way when she's outside with Joshua or anyone else. Her personality changes according to the situation and who she's with.