12 OCTOBER

I think that to produce a moving image portrait you need a greater understanding of the person you are creating it for, the reason behind this a movie can feature sound and or movement, which means you can take into account the person's style of gesture and personal taste in music. To me personally, a moving image can often serve a more prominent purpose and has the ability to have more thought behind it when being produced; every scene has to be well thought through. An example of this is the framing or length of scenes. A piece with a variety of perspectives may have a more chaotic feel whilst a piece containing one or two povs will feel calmer. It’s important to consider these options when developing ideas to ensure that it fits the desired mood. Building on this, the editing of the moving image is very prominent when setting the narrative and pace. In context, when developing my movie I experimented which a variety of editing styles, switching between sharp dramatic cuts between scenes and smooth/ gentle transitions, I did this to help determine the mood and feeling of the movie. This being said, when planning my project I had aimed for it to have an elegant presence and a calming yet mysterious connotation but, I found it essential to explore alternative styles to help me fully develop my concept.
I found it comfortable in both situations, although I felt that directing for a moving image was harder than a simple portrait, this is because. I enjoyed being recorded though, I thought that my concept was interesting. I believe that it should be noted that with both portrait photos I came up with both concepts, one for me and one for my partner, I also felt obliged to direct both projects as my partner didn’t have ideas. In reflection it’s likely that this negatively affected my work, I wasn’t able to conceptualise it. In reflection, I feel like that challenge probably dampened my feelings about the work overall making my project less successful. Unfortunately, I believe that this situation created a mental block and frustration surrounding the project as a whole. This being said, I understand how this can be a reflection of the real industry I’m entering and that it is necessary for me to adapt and overcome situations like this in the future to ensure I maintain professionalism when working with clients or peers.
My responses were good and highlighted my use of soft pastel colours which I had aimed to present throughout both portraits. However, I didn’t find my work very successful, as I found that my piece didn’t fulfil the idea and narrative I was aiming to represent. A partial reason for this was the unfamiliarity of the software; I believe that when I develop this concept further and learn more about premier pro I will be able to successfully achieve the ‘glowey’ aesthetic I was hoping for. In addition to this, the outcome of my moving image didn’t look as professional as I wanted, due to the framing issues. For example, in my first scene, there’s instability with the camera, and this causes it to pan up and down, making her face come into frame which defeats my purpose to leave the model anonymous. As such, I find that this error whilst filming partially ruins the narrative I was aiming for, whilst also pulling the viewer out of a sense of immersion with the character. Linking back to my narrative, the accidental exposure of my model's face lessens the sense of mystery, which contrasts with the rest of the video where the camera is focused largely on the action of her hands picking and dropping petals on the floor. I think this ultimately creates a disjoint in the video, as the two scenes create separate narratives to be interpreted.

Reflection

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