SOFTWARE.
A moment in which during the post-production stage where I used the different platforms was when I was editing our sequence; software, in particular, featured heavily as something I frequently used.
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Following our editing workshops, I launched up the software Adobe Premiere Pro on an Apple Mac computer and began by watching through all of the footage transferred from our Lexar Pro memory card and organised them into a folder, labelling our desired shot by angle and action in order for future ease when retrieving them - these folders were called 'bins' or 'rushes'. Then, I began to organise them on the timeline in narrative order, choosing a starting and finishing marker then dragging them into the timeline panel. Throughout, I watched back the sequence on the video monitor to make the sequence flow well and to get an overall sense of our work. I did eventually need to cut a lot of footage and trim the videos further as we had exceeded the 2 minute time limit by a whole 2 minutes, and I did this by using the 'c' shortcut tool to cut and clicking the delete button on the keyboard.
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After completing our overall skeleton of the narrative within the timeline, I then fixed certain continuity issues through cropping the clips (the fire exit could be seen within Susannah's scenes). I watched the shot on the video monitor whilst doing so, adjusting the frame accordingly and not wanting to change the shot from the original file too much due to certain composition choices that we had made.
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Once this was complete, I began to add text for titles, experimenting with different fonts and then settling for the 'Bodoni 72 Oldstyle' font in a slight off white, and positioned them within the frame. We used guidelines to ensure that we did not place the text too close to the edges so that they could be seen on all screen resolutions.
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After this, I colour graded all of our shots by selecting all of our clips and adjusting the exposure and saturation, aiming for an overall darker tone as we wanted to use the psychological thriller convention of darker colour palettes. This was the quickest process as we decided to not change it too drastically as they were already quite shadowed.
We also transferred the audio file (largely from Spotify) from a Macbook pro laptop through a USB stick and placed it on the timeline.
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Throughout, I constantly saved to ensure that our work was constantly being backed up.
HARDWARE AND ONLINE.
For sound, I browsed classical music on the online platform Spotify as I had accesses to my own playlists as well as other people's, allowing us to have a larger selection of songs and to easily narrow down the genre. I did this through my Apple Macbook Pro as I had it open next to me in the edit suite and listened to it alongside editing the sequence to have a greater understanding of the tone of the sequence.
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The entire editing process took place on Macbook computer/monitors hardware platforms. This was particularly suitable as Apple products are better suited for running video editing softwares, and we also had accesses to Apple sound effects, in which we used a reverse piano glissando for the reveal of the woman.
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Another form of hardware I used was my Samsung Galaxy 22 phone to refer back to the images and videos that I had taken on the shoot day to gain a spacial understanding of the garden room as the gap in between shooting and editing was 2 weeks. This was particularly helpful during the scene where Ezra walks into the storage cupboard as there was a fire exit sign I was only made aware of when reviewing the behind the scenes photo.
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Once complete, our sequence was uploaded to the Hurtwood Media YouTube channel (online platform) for viewing. This was particularly suitable as I can now copy the link and use them on my blog, and embed the video onto different online mediums such as this website.
