I confirm that the work on this website is all my own and does not include any work completed by anyone other then myself, except where clearly stated otherwise, and that sources have been appropriately referenced.
One-shot technique
I chose to base my final project on the one-shot technique because I appreciate the way it immerses the viewer and how technically it pushes the boundaries of your film making. As a filmmaker I always strive to push myself out of my comfort zone and to try new and technically challenging ways of filmmaking. I recognise the value of immersion that the one-take style of film delivers and how it has the power to fully captivate the audience from the start. I will take inspiration from a number of one-shot films, especially '1917',which engulf the viewer immediately. I aim to execute this technique so that my viewer is provided with a fully immersive experience which encourages them to personally connect with the main character and closely accompany him on his journey.
The definitions below demonstrate exactly what I aim to do for my audience in the one-shot film I produce.
The definitions below demonstrate exactly what I aim to do for my audience in the one-shot film I produce.
Specialist study assignment
Examples of scenes/films that have utilised the one shot technique.
Impactful opening scenes
The opening scene of "Spectre" is inspirational, providing the viewer with an explosive experience due to the utilisation of the one-shot technique. As the geography of the street scene is revealed the viewer is immersed into the chaotic, crowded street and is carried along on the character's journey through the busy carnival. I aim to take my audience on a journey with my main character and want to utilise the tracking of the character in a similar way.
The opening scene of "1917" is an excellent example of slowly drawing the audience into the narrative. The use of a wide geographical shot is impactful. The initial impression, of calm and peace portrayed to the viewer, is drastically shattered as the scene evolves and you are exposed to the reality of what is actually taking place in the surrounding area just behind the resting soldiers.
I intend to replicate this technical use of setting the scene in my film. My preferred location for the opening scene will allow me to do this.
I intend to replicate this technical use of setting the scene in my film. My preferred location for the opening scene will allow me to do this.
How am I going to replicate this scene?
I found this interview with Roger Deakins discussing the technical aspects of filming '1917' to be really informative. I wanted to understand how a high budget film like '1917' was filmed and what is the ideal equipment that is utilised in a film like this. I will try and replicate as far as I can, with an extremely low budget and low tech, the technical aspects that Deakins highlighted. I am planning to take advantage of utilising my DJI Ronin gimbal to film my one-shot and to potentially utilise a jib crane in order to replicate some of the filming techniques Deakins discussed. I will need to think outside the box and consider how best to use what I have available to me.
Opening scene
This video helped me to understand how they produced an explosive opening scene in 'Spectre', which utilised the one-shot technique. It also provided me with an insight into how they shot different aspects of the scene and what equipment was utilised.
Equipment that is often used for the one-shot technique
Roger Deakins discussed using the equipment shown below in the film '1917'. Similar equipment was used in filming the on-shot opening scene in 'Spectre'.
The Arri ALEXA mini LF enabled Deakins to be very versatile with the rigs he designed because of the light weight and compact nature of the camera. I obviously will not have access to such cutting edge and expensive equipment but, intend to produce as good a one-shot as possible with the equipment available to me.
Roger Deakins discussed using the equipment shown below in the film '1917'. Similar equipment was used in filming the on-shot opening scene in 'Spectre'.
The Arri ALEXA mini LF enabled Deakins to be very versatile with the rigs he designed because of the light weight and compact nature of the camera. I obviously will not have access to such cutting edge and expensive equipment but, intend to produce as good a one-shot as possible with the equipment available to me.
Arri Trinity stabilised head
|
Stabileye
|
Technodolly
Arri ALEXA Mini LF - this clip was useful in understanding the versatility and advantages to filmmakers of this piece of equipment.
This is the equipment I am going to use to film my one-shot
After going over my research into equipment that is often used for one-shot filming, I listed the equipment I had to hand and developed the best overall rigging of my camera.
Firstly, I utilised my dual handles for my gimbal which allow me to have a strong grip and it helps to steady the camera even more. Initially, I had my monitor connected to my gimbal; this enables me to view my image on a bigger screen and allows me to check that what I am capturing is correct. However, this adds extra weight which can cause problems with stabilisation. ( problems with stabilisation and operational weight was one of the key reasons the lightweight Arri ALEXA mini LF was developed for use in filming in '1917') Therefore, I have decided not to use the monitor on my rig but will utilise the monitor as a way of my camera head operator to view the image and control what the camera is looking at. In testing the rig I realised I was unable to properly control what the camera was looking at so this seems to be a solution.
Firstly, I utilised my dual handles for my gimbal which allow me to have a strong grip and it helps to steady the camera even more. Initially, I had my monitor connected to my gimbal; this enables me to view my image on a bigger screen and allows me to check that what I am capturing is correct. However, this adds extra weight which can cause problems with stabilisation. ( problems with stabilisation and operational weight was one of the key reasons the lightweight Arri ALEXA mini LF was developed for use in filming in '1917') Therefore, I have decided not to use the monitor on my rig but will utilise the monitor as a way of my camera head operator to view the image and control what the camera is looking at. In testing the rig I realised I was unable to properly control what the camera was looking at so this seems to be a solution.
I plan to use my GoPro to time lapse the whole filming process and capture it, in order to evidence the behind the scenes making of my film. I felt it would be useful to give another perspective to behind the scenes in addition to the clips taken on my phone.
Implementing the crane
Originally, I was hoping to use the crane from College for filming my opening scene, in a similar way as seen in the opening scene of '1917', however, this idea was short lived. The reason for this was that the crane required two members of staff to assemble it and to be present when in operation as it is a complex piece of kit so, the possibility of using it was overruled.
This was slightly frustrating, but I fully understood the reasoning behind this decision. Also, considering further my main location for filming I realised that utilising the crane would have been problematic due to the uneven surface. I then spent some time figuring out alternative ways of achieving a similar effect without using a crane. I firstly thought about using my camera slider to slowly draw back the camera which would be sitting on my gimbal. However, there was a difficulty around how I would detach from my slider, while filming, as it would bring about unwanted motion. Utilising camera blocking techniques was extremely difficult in that opening scene location so I needed to think of an alternative solution. My only option was to manually hold the gimbal above the character and slowly draw the gimbal down. This would hopefully achieve a similar look and feel to my opening scene that utilising a crane would have given but, without the complication of rigging. |
I laid out all my kit the night before filming to make sure I had everything I needed. I packed spare cables for incase any broke and plenty of batteries as the location I was shooting at was remote.
These are some examples of short films or scenes, incorporating the one-shot technique. They clearly demonstrate that this technique can be achieved on different budgets. These examples have helped me to gain insight into how this technique can be successful even on a low budget with low tech.
|
I have included this scene from '1917' which is a good example of a high budget one-shot film. It is clear to see that it is shot on a high quality camera and steadicam.
This snippet from '1917' is very informative technically to me, because it showcases the movement of the camera around the scene and how it interacts with the characters. I intend to implement this strategy in my film. |
|
I included this example of a one-shot short film as it encouraged me in producing my own one-shot film on a low budget.
'The Suitcase' is a low budget film that implements a gimbal to steady the filming of the scenes. I intend to utilise a gimbal in a similar way. It incorporates a constant change of character and a quick pace, while keeping the setting the same. This film is very useful as it shows how to track a character and bring interest into my film e.g., when the character pulls out a mobile phone introducing another element and interest to the scene. I plan to introduce the use of a mobile phone by my character as an addition to my scene, as I feel it is an effective technique to pull the viewer into the life of my character. |
|
I have included this low budget one-shot film from Freeze Frame Pictures as it provided another example of this type of film. However, it is also useful in highlighting some issues that can be experienced whilst shooting a one-shot on a low budget. For example, using a hand held camera can produce shaky shots which takes away some of the quality of the film. I will do all I can to avoid this by utilising a gimbal.
Another factor that stood out to me about this film was that I felt it lacked content and therefore seemed slow paced. I will try and avoid this and add content to involve the viewer in a more immersive way. |
|
This scene from 'Children of men' is a great example of a hectic scene shot in a one-shot style with cleverly hidden cuts. It also shows the camera panning to different actors for them to have their moment and then it pans onto its next subject. This is done really well. It also shows the distress of the occupants of the car when they get ambushed. The work of the camera cleverly shows the exterior events unfolding alongside the interior. I was very impressed and motivated by the camera tracking and other camera techniques showcased in this film.
|
Research into utilising hidden cuts in one-shot films
In my specialist study I highlighted some techniques that are commonly used to hide cuts in a one-shot film.
I found this article from 2bridges, outlining how filmmakers utilise the invisible cut, useful as it provided more information and ideas that I might use in my film. I watched Hitchcock's film, 'Rope'1948 again and was impressed with the way he used blocking techniques as scene bridges; I really feel that this might be the best technique for my chosen location but I will clarify this decision after my location recce and test shots.
https://www.2bridges.nyc/nycblog/what-is-the-invisible-cut/
I researched the multiple ways of utilising hidden cuts during the editing process. This article from Adobe had some useful information that I could keep in mind when at the editing stage of my one-shot film.
https://www.adobe.com/creativecloud/video/hub/ideas/what-is-an-invisible-cut-in-film
How to create a One-Shot film incorporating hidden cuts
The video explains all the tricks filmmakers and editors use to switch between takes when filming a one-shot. I found it to be extremely helpful as it showed me the different ways that are possible to make cuts. I intend to reflect on this information when it comes to making cuts in my own film.
Prop money research
One of my challenges in my project is sourcing money that can be used in my film.
I needed to decide the best option, within the law, in demonstrating a large amount of money, without using real money. I ruled out using proper currency for a number of reasons; mainly it is very risky to throw real money over a cliff and also I don't have access to the quantity of real cash required.
I did some research around the law concerning reproducing bank notes. I needed to make sure I wasn't going to commit an offence by reproducing bank notes that were to be used as a prop in my film. My research revealed that buying prop money was the legal option and the easiest and safest way to deliver the overall impact I desired. I hope to use the fake money to fill a black rucksack. This will portray the large amount of sinister looking money that my character discovers. I aim to wow the viewer and hopefully fully immerse them in the storyline by using a realistic looking prop. This is an important part of the narrative and I realise that I need to get this right, if my audience are going to be fully convinced and therefore totally involved in my storyline.
I needed to decide the best option, within the law, in demonstrating a large amount of money, without using real money. I ruled out using proper currency for a number of reasons; mainly it is very risky to throw real money over a cliff and also I don't have access to the quantity of real cash required.
I did some research around the law concerning reproducing bank notes. I needed to make sure I wasn't going to commit an offence by reproducing bank notes that were to be used as a prop in my film. My research revealed that buying prop money was the legal option and the easiest and safest way to deliver the overall impact I desired. I hope to use the fake money to fill a black rucksack. This will portray the large amount of sinister looking money that my character discovers. I aim to wow the viewer and hopefully fully immerse them in the storyline by using a realistic looking prop. This is an important part of the narrative and I realise that I need to get this right, if my audience are going to be fully convinced and therefore totally involved in my storyline.
My budget will not allow me to purchase more than two stacks of fake money so, I had to come up with a solution.
I will separate out a few of the notes and fill the middle of the stack with duplicate size pieces of paper; this is to increase the amount of money. I hope to create the illusion of stacks of money bulging out of the rucksack.
I will separate out a few of the notes and fill the middle of the stack with duplicate size pieces of paper; this is to increase the amount of money. I hope to create the illusion of stacks of money bulging out of the rucksack.
My Audience
My key audience are those who have a passion for one-shot films and seek to have a fully immersive experience when viewing a film. They will probably have enjoyed several one-shot films previously.
My audience will also be those who have a love of cinematography and appreciate the lengths at which filmmakers go to produce this type of film. They are viewers who appreciate landscapes and films that showcase dramatic locations. They enjoy technically challenging films and impressive camera techniques. These would tend to be people who have a particular interest in how films are produced and are interested in the technical side.My film will hopefully be viewed by people who enjoy content that challenges their morals and motivates them to examine their thoughts and views on subjects.
These are viewers that enjoy responding actively to a film and are not just passive viewers.
The age of my audience would probably be from early teens upwards. My research has shown that most one-shot films e.g., ‘1917’ and ‘Boiling Point’ are pitched at 15 years upwards, due to their content however, I intend to not include a great deal of violence or offensive language in my film, and it is therefore appropriate for younger teens as well.
My audience will also be those who have a love of cinematography and appreciate the lengths at which filmmakers go to produce this type of film. They are viewers who appreciate landscapes and films that showcase dramatic locations. They enjoy technically challenging films and impressive camera techniques. These would tend to be people who have a particular interest in how films are produced and are interested in the technical side.My film will hopefully be viewed by people who enjoy content that challenges their morals and motivates them to examine their thoughts and views on subjects.
These are viewers that enjoy responding actively to a film and are not just passive viewers.
The age of my audience would probably be from early teens upwards. My research has shown that most one-shot films e.g., ‘1917’ and ‘Boiling Point’ are pitched at 15 years upwards, due to their content however, I intend to not include a great deal of violence or offensive language in my film, and it is therefore appropriate for younger teens as well.
Audience Research
Audience Questionnaires -
I wanted to send out a questionnaire to a test audience within my target audience age range. My aim was to gain a better understanding of how my audience might react to my film, especially to moral dilemmas. This would help me gain a better insight into how they might react and emotionally connect with my main character.
I also felt it would be valuable to undergo research into what existing knowledge my audience might have of one-shot films. I aim to find out whether they have an understanding of one-shot films and will appreciate the experience I am aspiring to create for them.
Audience Questionnaires -
I wanted to send out a questionnaire to a test audience within my target audience age range. My aim was to gain a better understanding of how my audience might react to my film, especially to moral dilemmas. This would help me gain a better insight into how they might react and emotionally connect with my main character.
I also felt it would be valuable to undergo research into what existing knowledge my audience might have of one-shot films. I aim to find out whether they have an understanding of one-shot films and will appreciate the experience I am aspiring to create for them.
I sent out a questionnaire to my test audience to gain an insight into what understanding my audience might have of one-shot films.
I found the results of this questionnaire to be interesting in some ways. It seems that a big percentage of people knew what a one-take film was and had actually viewed a film utilising it. This was not as I had expected as I feel the one-shot technique is quite a niche style of filming. However, it might be that big blockbuster films, such as the 007 film 'Spectre' and '1917', have highlighted the one-shot technique to a wider range of audiences fairly recently.
The results of the questionnaire has demonstrated to me that my audience will hopefully appreciate what I am trying to create. This is because they will probably have previous experience and knowledge of one-takes; from viewing at least one long take film. It was also encouraging to find out that 50% of my test audience would watch a film purely because it was a one-shot. This shows people are engaged with the one-shot technique and will hopefully choose to view my one-shot film.
The results of the questionnaire has demonstrated to me that my audience will hopefully appreciate what I am trying to create. This is because they will probably have previous experience and knowledge of one-takes; from viewing at least one long take film. It was also encouraging to find out that 50% of my test audience would watch a film purely because it was a one-shot. This shows people are engaged with the one-shot technique and will hopefully choose to view my one-shot film.
Research into teenage vulnerability
My main character portrays an unhappy, isolated teenager who is therefore potentially vulnerable to being exploited by various groups. My aim is for my film to immediately portray Theo, my main character, as being as isolated as the location in which he is found in. I also want to demonstrate his frustration and disengagement from school and peers and that he has decided to run away so, that my audience will gradually build a picture of him and view him as vulnerable to criminal influences.
With this in mind and in order to develop my character fully, I decided to undertake a detailed research into teenage vulnerability. This would include research into radicalisation and the exploitation of young people in gangs. I wanted to deepen my understanding of the reasons behind why certain types of young people are more vulnerable to being exploited.
I feel I need to develop the backstory of my character in order for my actor to form a deeper understanding of his role and therefore be better able to portray his character on screen. Most importantly, this will hopefully bring enhanced viewer to character immersion; essential in a one-shot film.
With this in mind and in order to develop my character fully, I decided to undertake a detailed research into teenage vulnerability. This would include research into radicalisation and the exploitation of young people in gangs. I wanted to deepen my understanding of the reasons behind why certain types of young people are more vulnerable to being exploited.
I feel I need to develop the backstory of my character in order for my actor to form a deeper understanding of his role and therefore be better able to portray his character on screen. Most importantly, this will hopefully bring enhanced viewer to character immersion; essential in a one-shot film.
https://www.childrenscommissioner.gov.uk/2020/07/16/vulnerable-teenagers-where-did-it-go-wrong/
Teenage vulnerability - County Lines
https://www.healthforteens.co.uk/lifestyle/drugs/county-lines-just-the-facts/
https://learning.nspcc.org.uk/child-abuse-and-neglect/county-lines
The research below has enabled me to build up a picture of the issues surrounding teenagers and the vulnerability of younger people. Although, my character is not drawn into radicalisation it is still valid to understand that this is one slippery slope that young people, like my character, are at risk of going down. I felt I needed to include in my research the information on the Government 'Prevent' initiative; it shows the seriousness of issues surrounding young people, prompting action at National level.
https://www.surreycc.gov.uk/children/families/support-and-advice/keeping-your-family-safe/radicalisation
Safeguarding young people
https://education.gov.scot/improvement/learning-resources/safeguarding-prevent-in-education/
My research revealed to me that teenage vulnerability is a huge problem leading to the safeguarding measures that have been put in place recently by the government and different agencies.
The Prevent duty: for schools and childcare document
https://www.gov.uk/government/publications/protecting-children-from-radicalisation-the-prevent-duty
Further research into how County Lines operate
I needed to build up a backstory for the bag of money featured in my film. I therefore had to do more research in order to back up my reasoning for the significance of the bag full of money. I researched further into County Lines operations and was blown away by the huge amounts of cash involved in this criminal activity. Below is some evidence I collected detailing the workings of County Lines. I was unaware that in 2018 the industry was worth £3 million a day and that the children involved could earn £300/week. (Sky News, 2018) Large amounts of money and drugs are moved around the country each day. This fact gives the reasoning behind why I have chosen to fill a bag full of money and a County Lines mobile phone.
Sky News, 2018. Line 18: Behind County Lines. [image] Available at: <https://www.youtube.com/watch?v=y11kNlQmz-U&t=211s> [Accessed 22 April 2022].
This video from Sky News is a valuable piece of information covering all aspects of County Lines.
https://www.nationalcrimeagency.gov.uk/news/two-charged-after-1-6m-worth-of-cocaine-and-cash-found-in-london-flat
The Outlaws (BBC)
Watching the recent BBC drama 'The Outlaws', where it is heavily focused around County Lines and the large amounts of money involved, inspired me to base the discovery of my bag of money on a similar concept. The programme reveals an interesting aspect of human nature which, is greed, when large amounts of money are involved. The character with the gun, who takes the bag of money, demonstrates the overwhelming hold that money can have over people. In my film I want to replicate this, with my main character at first seeming to do the right thing, by going to report the money however, he then is tempted by greed and changes his mind deciding to run away with it. This proves to be a dangerous choice, just as it is for the character in 'The Outlaws'.
Whilst talking to some of my test audience one member suggested I watched the scene above from the (Guy Ritchie, 1998) 1998 Comedy/drama film 'Lock, stock and two smoking barrels'. There is a dramatic cliff hanger as the character leans from a bridge holding two guns wrapped in a cloth and the audience is caught up in the suspense, wondering if the guns will end up in the river. I really enjoyed the suspense that this moment created in the film and decided I wanted to utilise a similar scenario in the final scene of my film. It is perfect for building engagement with my viewers and encouraging an emotional response from them which will ultimately leave them wondering what happens and craving closure.
Editing
Masking of unwanted public
One major challenge that I had highlighted in my editing, was how to remove three members of the public that had not successfully moved out of shot when filming. I have had experience in past projects when I had to blur out number plates but have never had to mask people from a scene.
I set about researching how I was going to solve this problem in one short scene of my film. The video above illustrated a step by step guide of how to meet this challenge. I then utilised this knowledge to hide the offending people. I found this process time consuming and it was something that I hadn't factored in my time schedule. However, although the people didn't need to be removed I felt my film would be improved aesthetically by their removal. |
Video inside text
Another aspect that I needed to do further research on while editing, was how to produce an impactful opening to my film. I wanted to engage the viewer and create a title opening that would capture the viewer's interest right from the start.
I really enjoyed the trailer video of '1917', which utilises large text which has the video contained within the text. I wanted to replicate this idea as I felt it grabbed the viewers attention. I researched how to add a video inside a text and the video above was really useful in showing me the method. I had a few problems using the software, which was frustrating, but I am pleased with the end result as it achieves the impact I wanted. |
Research into trailers
|
|
|
(See planning, production and practical skills page)