I have tried to fake the 3d effect by duplicating the video for two eyes. The distortion on one eye layer gives the the gradient shift to show the depth.
There are some photos we took when we were shooting the 3D film SIDE BY SIDE. Hope to tell you what our group did during this 3 month in a new angle by photos.
March 8, 2015 @ Tom’s Apartment ▲ First shoot for the FLAT part
March 10, 2015 @ Arthur’s Seat ▲ Shoot for the MOUNTAIN part
March 11, 2015 @ Tom’s Apartment ▲ Second shoot of the FLAT part
March 14, 2015 @ Portobello Beach ▲ Shoot of the BEACH part
April 2, 2015 @ Alison House ▲ Presentation
Photos taken by Group Roving Documentary when we were having meetings
Life in 3D Production Dossier
Once in a while Cupid is forced to think outside the box in order to unite two like souls. In this short film a futuristic Cupid draws two parallel universe together in order to ignite a park between two characters, but it’s far from easy.
Where did the idea come from:
The premise of the film was born from two sources of inspiration from the perspective of sound design we have Alice in Wonderland and from the perspective of the image we have The Lake House.
Originally I pitched an idea to the group that we would have someone be awoken from their sleep by a voice, omnipresent. This voice would then lead this character on a journey through a series of visual spectacles somewhere between dreaming and reality. We took this idea, still partially formed to Rocio our course mentor. We then developed the ideas into a rough script. On close analysis of the script we realised that the series of visual spectacles would be far to complex and time consuming. Rocio advised that we hone down our aspirations to a couple if not one spectacle. Though as a group we found that this would compromise the narrative we knew we wanted to form. This led to the girls to adjust our previous script into something a little simpler more focused on narrative than visual spectacle. Inspired by The Lake House the script tells the story of two characters living in parallel worlds. They inhabit the same space and are being drawn together by some force that wishes to unite them despite their trans-dimensional separation. The original idea of the disembodied voice was preserved in the force that is attempting to unite the two characters. This character exists in the gaps between worlds and has the ability to influence them.
How did we use the 3D:
For our film 3D offered a possibility to play with the space which was an integral theme to the narrative of our script. We have two characters living in the same space as one another, yet in different worlds. So we knew that we wanted to play on the shared aspect of space within the flat. This really helped the idea of these characters being close to one another but too far for either one of them to sense the other.
We had originally toyed with the idea of overlapping the image and adjusting the transparency to make it appear as if they are in the room at the same time but not together. We realised of course that due to the 3d this was unachievable. If there had been one little difference between the two overlapping images it would confuse the image and lead to a sore head for the viewer.
This is where the sound was able to intercept and bring the two worlds together. The strength of sound is that it can paint an image without a visual being necessary. We used sound to install the idea of Cupid and his machine tinkering around between these two worlds. Not visible but yet still present. This is where we were able to utilise the surround channels, by using these to place Cupid and his actions the viewer was aware of this other plane of existence. At times he crosses into the front speakers to interact with the two worlds and communicate with the two characters.
Questions posed ahead of submission two’s development
Is there going to be a narrator, a voice over, is there going to be more than one voice? Who are these voices?
Yes, in a way. The omnipotent character that seems to be tinkering around the scenes is up to something. Whilst in our presentation we did not have him give a voice over, I have decided to record him speaking to the audience to begin with in order to make the narrative a little clearer.
What sort of visual and aural effects will you need to pursue to achieve a dream-like / surrealist aesthetics?
for the final film the girls drove the narrative away from the surrealist perspective and into a clearer less dreamlike world. Bizarre things are still occurring but they are very much in the real world and not as planned in a dream world as previously discussed.
This move did take some readapting of the aural effects that were to be included in the film. It meant that the prescience of the voice was no longer something that could just be accepted, it needed to be explained. I think this is were is confused some people in the presentation. Who was the voice? Why was he there? Although it became clearer towards the end, I believed it would strengthen the films narrative over all if it was explained at the beginning, hence the short voice over at the beginning.
Who are your characters? Are they good performers, and if not what things would they need to rehearse?
We have three characters within the film, Tom (played by himself), Youqing (Played by herself) and Cupid (played by Raphael)
Given that neither me nor Youqing are actors it meant we were limited with the demands we could make. I feel that due to awkwardness the script went from having a romantic intention to a platonic one. The girls had written scenes inspired by the Lake House, a romantic film starring Keanu Reeves and Sandra Bullock. But with the necessity of having one of the girls acting this changed.
Although I believe that it’s still within the nature of the film, though this is another element the added voiceover contributes.
Raphael takes part in amateur dramatics, so is reasonably good at taking direction and conveying the demanded qualities within the voice acting required for the role.
How much time would you need them for? What sort of locations they might feel comfortable in?
We used a number of locations for filming, we had my (Tom’s) flat Arthurs seat and the beach.
How many hours for file conversion and rendering will you need?
Also, the more precise and detailed you are in your script / filming plan the easier / faster / more effective it will be to materialise your sonic and visual ideas. Start filming sketches of your script, and work with them to further define what you are aiming to achieve. Recording, converting files, editing and postproduction will take longer than initially expected, so start working on it as you read this.
I think we suffered a little with file conversions for the presentation, we had a few issues with the images. Usually on a production the picture will be locked off and then the sound will be added, although due to the demands of this project and the fact that the technology and it’s processes were still very new to all of us the edit was ongoing. We had a real struggle with deinterlacing the images and trying to reduce the zebra line effects on the image. This did however mean that we learnt a great deal from this process. Given the opportunity to create another film the skills that we acquired within the filming process and editing process will prove highly valuable. The pressure of having had such a lot to achieve in such a condensed period means that we know are aware of how much not only is possible but how much as practioners of 3d film we ourselves are capable of making. I believe this is indicative that given a larger project we would now be competent at planning scheduling and executing a 3d film.
Sound: Chion, Michel. 1990. Audio-Vision: Sound on Screen
Shot 1: Wide Shot: Tom stands back of the bus (acts like he just got off the bus.) He walks out of the screen (on the back of Tom: the bus drives away at the same time.)
Shot 2: Close-up Shot: Feet of Tom walking.
Shot 3: Wide Shot: Tom walks passing a corner to the beach.
Shot 4: Wide Shot: Youqing appears from the corner, heading to the camera and walking out of the camera.
Shot 5: Close-up Shot: Footprint of her.
Shot 6: Medium Shot of her figure: Youqing stands at the beach, looking around for a while.
Shot 7: Scenery Shot: Children running on the beach; Flow of the cloud (stuff like that)
Shot 8: Wide Shot: Front view of Tom looking around at the ocean for a while. (From the front)
Shot 9: Mid Shot— Tom lowers his head. (Camera on the his one side, )
Shot 10: Wide Shot: Tom squats on the beach, staring at a conch.
Shot 11: Feature: camera moves to the conch. A hand approaches to the conch and picks it up.
Shot 12: Wide Shot: Youqing squats on the beach, picking up the conch. (Voice) Clears throat “uh-huhum” from the conch, (Voice) “you’ll be needing this”.
Shot 13: Wide Shot: Youqing picks up the conch, and standing up, holding the conch on the hand, she holds it to her ear.
Shot 14: Close up: She smiles and talks to the conch: I don’t understand, who are you? … Where are you? It’s Youqing … Urgh I’m going mad.
Shot 15: Mid Shot: Youqing stares at the conch in confusion. She throws the conch away in a dismissive fashion.
Shot 16: Mid Shot of her back: Throw away the conch.
Shot 17: Wide Shot: She throws away the conch.
Shot 18: (Reverse) The conch returns to Youqing.
Shot 19: Mid Shot: Youqing feels confused about the conch returning and she hears the voice (Voice) “I’ve already told you you’re going to be needing this!” .
Shot 20: Wide Shot: Youqing stands at the left side of the screen, looks at the conch and put it into her pocket. (Youqing fades out)
PS: Camera mustn’t move.
Shot 21: Wide Shot: Tom fades in, staring at the conch. (Tom can choose another way to star at the conch…)
Shot 22: Close-up Shot: Side view of Tom listening to the conch: Youqing’s voice reflected: I don’t understand, who are you? … Where are you? It’s Youqing.
Shot 23: Close-up Shot: Tom whispers: You…Qing? He takes out the letter and have a look at it and puts it back.
Shot 24: Close-up Shot: Camera move to the letter.
Shot 25: Front view of Tom feeling confused about the conch and throws it away to his back, “urgh and I’ve gone crazy, because I’m speaking to a shell”. (PS: Tom must not move)
Shot 26: Wide Shot: Back view of Tom throwing the conch away once again.
Shot 27: Reverse of Shot 24.
Shot 28: Reverse of Shot 23.
Shot 29: Mid Shot: Tom feels confused about why the conch returned to him. (Voice) Would you two please stop doing that! (Tom chooses his way of acting this part.)
Shot 30: Wide Shot: Tom packs up the conch and walks to the beach, squatting and ready to play with the sand. (Camera moves with Tom)
Shot 31: Wide Shot: Front view of Tom grasps some sands and let it flow.
Shot 32: Reverse of Shot 29.
(Voice) It’s a tricky business linking your two worlds but with a tweak here and theeeeere, agh there we go.
Shot 33: (Camera on one side) Close-up Shot: Tom feel confused about the sand.
Shot 34: Mid Shot: Tom squats and makes the sand castle. PS: Camera mustn’t move.
This part will be edited into fast movement like a time-lapse sequence.
Shot 35: Last movement of Tom should be him squatting on the right side of the screen, looking at the sand castle (in the middle of the screen), putting up the camera and taking some photos of the castle. At the same time, Youqing fades in (Tom should not be disturbed by Youqing cause you two are in the different worlds. BTW, the movement of Youqing would be her walking into the screen, this movement will be cut to make the magic effect) on the left side of the screen, staring at the same sand castle and beginning to draw something on the notebook for a while and raises her head. PS: Camera mustn’t move.
Shot 36: Close-up Shot: Front view of Youqing raising her head, acting like she can feel some one sitting in front her.
Shot 37: Mid Shot: Tom stops taking pictures, also feeling the same way of Youqing. Tom stands up and heading to the beach (just walking 6 or 7 steps), stops and takes pictures. (The direction should towards the balance.)
Shot 38: Wide Shot: Front view of Tom taking photos for a while, suddenly put it down. (He finds the balance.)
Here could be some voices leading him to the balance…
Shot 39: Mid Shot: Tom feels confused, and then walks towards the camera. (But walks out of the camera to the direction of the balance)
Shot 40: Close-up Shot: Feet of Tom walking along the balance.
Shot 41: Wide Shot: Back view of Tom walks on the balance.
Shot 42: Mid Shot: Tom sits on a right-side column of the balance, looking at the sea for a while and takes up the conch.
(Voice) And with a small adjustment, there (universe is tweaked again). Now just listen
Shot 43: Close-up Shot: Tom listens to the conch, surprised, and then nod his head (here will be some voices telling him to deliver the letter to Youqing, but the sound will not appear in the video), fading out.
Shot 44: Close-up Shot: Youqing sits on a left-side column of the balance, listens to the conch, surprised too, fading out.
Shot 45: Tom stands up, walking towards the camera (also the direction of the sand castle) and out of the camera.
Shot 46: Wide Shot: Back view of Tom writing something in front the castle. After finishing writing, he walks away (out of the camera). We can see a sentence on the beach: Youqing, nice to meet you? Besides it, there is a letter of Youqing.
Shot 47: Wide Shot: Front view of Youqing walking to the castle.
Shot 48: Mid Shot: Side view of Youqing walking to the sand castle, finding the sentence and the letter.
Shot 49: Close-up Shot: Youqing looks like startled.
Shot 50: Mid Shot: Side view of Youqing picking up the letter, and stands up.
Shot 51: Wide Shot: Front view of Youqing standing up.
Shot 52: Close-up Shot: Front view of Youqing’s holding the letter, smiling.
By Yuxin & Youqing
(sound from the phone)
[wide shot]He is waken up by a sound ( Aside ) , turns over in bed.
[mid shot]He is trying to get the phone on the night stand and then taking the call.
(dialogue-seems that there’s work unfinished)
He gets up and sits in the duvet, Looking at the clock.
[feature on the clock]
[mid shot]He hangs up the phone, standing up, and goes out from the camera.
[wide shot] She sits on the edge of the bed, still sleepy.
[mid shot] She searches for elastic with one hand from bedstand and tied up her hair.
[mid shot] She stands up, stretches herself, and walks to the closet.
[wide shot] She opens the closet, stands in front of it and thinks for a while.
[cut-in] She reaches for clothes.
[cut-in]He gets the clothes in his hand.
[wide shot]He Stands beside the bed selecting clothes(with many clothes on the bad)
(sound of letters dropping to the ground)
suddenly there’s sound from the door. He looks back and puts down clothes walking out.
[wide shot]He walks towards the door, picking up letters from the ground and then Looks at the letters
[Medium close up]He is looking at the letters (confused)
[wide shot]He walks towards the living room leaving the letters on the table in the hall.
[feature on the letter-with her name on it, he walks away]
[wide shot]She gets a glass of water.
[close up]She leaves the water on the table
[wide shot]She walks to the living room, and then pulls open the curtain
[close up]She smiles with the sunshine on her face.
[feature on the plants]
[mid shot]She is watering the plants.
[wide shot facing the door]He goes into the kitchen, opens the fridge, find out some materials.
[wide shot] He drinks the water
[close up] leave the empty class on the table
[mid shot] He starts to cook.
(sound of moving chair)
[close up] He heard the sound and looks back
[mid shot] He turns off the oven trying to listen more clearly, but nothing happened.
He turns on the oven again with a shrug.
She walks to the table finding the glass empty. She thinks for a while and fills it again. Then she sits in the dining room eating breakfast with some letters beside her hand.
(feature on the letter-with her name)
Shot 7: He sits on the sofa with a laptop on his knees chatting with someone.(unwashed dishes on the table)
Shot 8: She walks through the living room with empty dishes on her hand. Taking a glance at the sofa.
Shot 9: He is sleeping on the sofa, suddenly waken up by a sound.
(sound of the window being shut)
He put on the headphone, the music is blended with humming from the girl. He puts it off and looks around, frowning. The voice disappears.
Shot 10: She is gathering some art supplies, humming.
(maybe skimming on her paintings if we have…)
Shot 11: He carries his bag and camera, walking towards the door. By accident, he knocks down the umbrella near the door.
Shot 12: She walks to the door finding the umbrella on the floor. She picks it up, and hangs it back.
By Fancy & Suzy
Arthurs Seat scene:
Shot 1: He is walking along the grass bank taking in the scenery
Shot 2: She is walking along the grass bank taking in the scenery
Shot 3: He stops to admire the view looking up at the hill and then continues to walk
Shot 4: She continues to walk along and turns whilst she’s walking to take in the view
Shot 5: He takes a photograph of the view up to the hill
Shot 6: Distracted by the sound of the camera, which she hears distorted she drops her art supplies and lets out a surprised exclamation
Shot 7: He hears the exclamation (distorted) pauses and looks around in confusion
Shot 8: She picks up her items and starts to walk again
Shot 9: He starts to walk up the hill again
Shot 10: She is walking (just to her left we can see the man, but his presence is faded)
Shot 11: He is walking up the hill (just to his right we can see the women, but her presence is faded)
Shot 12: He walks off alone
Shot 13: She walks off alone