Film Noir Project Evaluation

During filming, I didn’t feel like I could contribute much, although I filmed a couple of shots, I was pretty much useless.  The only thing I seemed to be able to manage was to accidentally appear in the background of some of the shots, which wasn’t exactly favourable.

One member of the group was much more confident and experienced than the rest of us, so the majority of the direction and camera work was done by them, while the rest of us just kind of lingered around not doing much.

On one occasion we were filming in a multistorey carpark, which would be edited to make it seem as if it were part of the college roof, but where we were filming had a roof above us, but on top of the college was roofless, so I suggested that we should film on the top floor of the carpark instead so that it would be believable that the two different locations were the same place, but the rest of the group didn’t think it was a problem, and because I wasn’t confident enough to argue my point I let it slide.   Later we realised that some of the shots were unusable because of the problem I had brought up.

So to remedy all of this on future projects, I need to always know exactly where the camera is going to be pointed so that I’m not constantly in the way.   I need to make sure that I am actively contributing to the filming by doing more camera work, direction, mise-en-scene etc.   I also need to be more confident when I speak up, and I need to stay firm to what I think.

But during the editing, I felt much better because I had much more freedom to do what I wanted, and I had a lot of fun editing it together and finding music that would work well with it.  The majority of the editing was done by me because I and the other editor left the editing kinda late, and the only way we would be able to submit it on time is if I edited it alone.  Although I much more enjoyed editing it alone than with someone else, I felt like it should have been a collaborative effort and was unfair for the other person.  So when it comes to editing next time, I need to be more conscious of my time management and make sure that the other editor/s are as involved as I am.

I’m pretty proud of the actual edit though, I think that each character having a different soundtrack made for an interesting effect.  But oh boy there are so many things I would change in hindsight.

This was the first time I edited something that had multiple characters doing things simultaneously, so it didn’t occur to me that I should show the everything as it happened in accordance with the timeline of events, instead of jumping back to a couple minutes in the past at the end of the scene where the phone rings.

I also should have severely cut down the shots and even taken some of them out completely to speed up the film and give it more energy.  Whenever I rewatch it, I sometimes find myself waiting for the shot to end, because it drags on and on, whereas, on an ideal film the audience shouldn’t be made aware of where the cuts are, otherwise it ruins the illusion of reality.

Throughout the edit there is hardly and ambience or foley, so on the few occasions that I did, it was a jarring shock that broke the melodic noir atmosphere, like when Dia is talking on the phone in the street.  To fix this, I wish that I had remembered the existence of subtitles.

The last self-criticism I have is that I left writing this evaluation really late, which I aim to not repeat when it comes to writing it next time.

I feel like I have learnt a lot from this project, and I hope that I’ll be better at everything next time.

Chico and Rita Review

1:  What did Javier Mariscal give to the director Fernando Trueba as the starting point for the animated film Chico and Rita?   in 2007, Javier Mariscal gave his sketchbook from his trip to Cuba to Fernando Trueba, the director of Chico and Rita.  The colourful drawings within it clearly show a passionate love for the architecture and interiors of Cuba.  Looking at some of the art, you can almost see the beginning of the ideas for Chico and Rita.

2:  This is Fernando Trueba first animated film. What was he surprised to be working with?  As this was Fernando Trueba’s first animated film, he had assumptions about animation; he thought that he would only be working with drawings, and animated characters, but to his surprise, he actually collaborated with real-life actors.

3:  What are the benefits of working this way?  He realised that working with actors “is a really good idea because it’s the best way to keep the film under control”, otherwise when the director tells the animator to make something, there could be a million different outcomes.  Working with actors allows the director to make exactly what they want, so then when the animators come to animating the sequences, there is no deviation from the director’s original cinematic vision.

4:  Why did the director feel it was important to use Cuban people?  To represent the Cuban characters more accurately.

5:  Where was most of the film filmed and how and what was filmed differently?  Almost all of the film was filmed on set, except for exterior shots with cars and such.  But when filming outside, they had to make sure that everything was “Marked up”, which involved putting striped balls on everything, so that they could go back and digitise all of the camera movements.

6:  How many animators worked on the film?  Around 200 people.

7:  What was their biggest challenge?  Making the 200 animators seem like just one person because they all needed to draw in the exact same style for continuity in the film.

8:  What locations are described as also ‘the star of the film’?  Havana and New York.

9:  How did Javier Mariscal visually record Havana?  By drawing the backdrops and backgrounds in great amounts of details.  They evoked the characters, the feeling of Havana, and New York.

10:  How does colour support and enhance the story in the film?  Two different colour palettes are used for Havana and New York.  Havana has very warm colours, with lots of sunshine, and New York has much more muted colours, with rain and shadow.  This makes it easier to distinguish one place from the other.

11:  What other story does the film try to tell?  The story of all of the other Cuban musicians at that era.  How they moved to New York and influenced Bebop there.

12:  Why did the director decide to recreate the music rather than use the existing original recorded music?  They were going to use the original music, but then Fernando Trueba realised that musically speaking, it would turn the film into some kind of compilation disc.  Instead, he was much more excited at the idea of recreating the music for real, by “getting the musicians to play other musicians.”  He wanted an original, contemporary produced soundtrack.

 

Rotoscoping

The animation technique used in Chico and Rita is called “rotoscoping”.  It is where the animator uses a pre-recorded piece of real-life video, with real actors, then they trace around them on every single frame.  This allows them to artistically, but accurately translate the video into an animation.

 

Javier Marisca

He is a Spanish Artist, Designer and Director.  Among his best-known works are Cobi, the mascot for the 1992 Olympic Games in Barcelona. One of these latest works is Chico&Rita (2010), an animated film directed together with Fernando Trueba. The film was nominated for an Oscar and received the Goya award for the best-animated film.