Edit Decision List
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This document provides an edit decision list for the film "Purgatory" with descriptions for each shot used. Shots were selected based on composition, continuity of action, inclusion of credits, stability, lighting, effects used to disguise issues, needed story elements, actor reactions, and transitions. Technical issues like lack of leveling were also used where they added to desired disoriented effects. Filler shots and speed adjustments were used when needed to continue pace or hint at supernatural elements in the story.
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2) Structuring the rough cut and realizing mistakes in the original footage which required a re-shoot.
3) Recording audio interviews and effects to use as non-diegetic sound. This audio was edited together to accompany the sequence.
4) Additional close-up shots of a character were filmed and inserted to introduce the character mysteriously and extend the duration as requested.
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3) Recording audio interviews and effects to use as non-diegetic sound. This audio was edited together to accompany the sequence.
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Paranoia Script (UPDATED)Lewis Herd
油
1) A boy walks down the street late at night and overhears snippets of a conversation from people at a restaurant saying "That boy...What's he doing here? We should have killed him a long time ago."
2) The boy becomes panicked and rushes to a phone booth to make a call. When he makes the call, a raspy voice slowly says "Watch...your...back" before hanging up.
3) The boy drops the phone in fear as ambient music and whispers build to a crescendo, leaving the boy feeling paranoid from the strange events of the night.Cast and Crew
Cast and CrewLewis Herd
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The document lists the cast and crew for a film, including Lewis Herd who is performing multiple roles as the voice actor, editor, and sound designer. Monty Samson and Nathan Jones are also listed as actors in the film. George Jennison is the director and cinematographer who has a vision for how the visuals of the film should be shot.Shooting Schedule
Shooting ScheduleLewis Herd
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The document outlines a 3 day shooting schedule for a film. On the first day, the crew will scout locations, take pictures, pick locations, and plan the shooting order and shots. Shooting will take place over 2 days, with the crew and actor Monty prepping in the mornings and shooting with different cameras and locations in the afternoons. They will be redoing parts of the shooting on the second day.Props and Costumes
Props and CostumesLewis Herd
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The props and costumes list includes items for Monty including a shirt, jumper, jeans, shoes, and phone to portray a casual teen outfit with contrasting black jeans and jumper paired with a white top.Paranoia
ParanoiaLewis Herd
油
A boy walks down the street at night, overhearing a disturbing whispered conversation from a group at a restaurant table that suggests he is in danger and should have been killed. Growing panicked, the boy hurries to a phone booth and calls emergency services. When the call is answered, a raspy voice ominously warns him to "watch your back" before hanging up, leaving the boy alone and in fear of an unknown threat.Treatment
TreatmentLewis Herd
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1) The document outlines a proposed 1-2 minute film treatment about a teenage boy experiencing paranoia.
2) It will follow the boy over the course of an evening as he walks down a road and interprets normal events and sounds as personal threats due to his mental state.
3) The film will end on an ambiguous note, with the boy calling emergency services from a phone booth only to hear a threatening message before the call cuts out, leaving the audience unsure of what is real or imagined.Shutter Island notes
Shutter Island notesLewis Herd
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This document provides notes on cinematography, sound, themes, symbols, and other elements from the film Shutter Island. It notes that camera shots should emphasize Leonardo DiCaprio's character's isolation and insignificance. Silence is used during key flashback scenes. Recurring themes include mental health and its treatment. Symbols include binary opposites in clothing and the twisted staircase in the lighthouse representing the protagonist's twisted mind. The narrative is nonlinear with frequent flashbacks, and it's unclear what is real. Foreshadowing hints that DiCaprio's character is actually a mental patient.Vertigo notes
Vertigo notesLewis Herd
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The document provides notes on various technical and thematic elements of the film Vertigo, including its non-linear narrative, camera techniques like dolly zooms and POV shots, sound design with unsettling scores and contrasting music, themes of voyeurism and binary opposites like black and white, lighting techniques like chiaroscuro, the representation of characters like Madeline in unusual grey suits and Scottie questioning his motives, and the overall mysterious and uncomfortable mood.Sopa pipa.key
Sopa pipa.keyLewis Herd
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The document discusses concerns about proposed legislation like SOPA and PIPA that would give too much authority to the entertainment industry and impose censorship on the internet. It argues that these laws would make it harder for people to access content illegally while also making it difficult and expensive to access content legally. As a result, many innocent internet users could have their access restricted and websites like Wikipedia could be highly censored under these laws. The document also notes that if such laws pass in the US, other countries would likely follow suit and impose similar restrictions.Ad
Edit Decision List
- 1. Lewis Herd Edit Decision List - Purgatory ! Shot No. TAKE ! No. Length! (mm:ss) Why are you using this shot? 1 1 00:09.09 It was a nicely composed shot that established the setting. 2 2 00:05.03 It looked like a continuation of the previous shot, to continue the 鍖ow of the action. 3 4 00:06.17 The amount of negative space in this shot was suitable for the credit we wanted to include here. 4 2 00:12.02 The length of the tracking shot allowed us to include three credits. 5 5 00:02.06 After trying to get this shot several times, this was the smoothest and most stable. 6 3 00:03.04 This shot 鍖t in best with the previous shot. 7 1 00:04.16 We liked the lighting and composition of this shot. It also worked well as a reaction shot after the low-battery one. 8 1 00:06.07 The black sky at the beginning of the shot shows that some time has passed since earlier in the 鍖lm. 9 3 00:06.03 This shot was 鍖lmed at the wrong time but we used a few FCP effects layered on top of each other to disguise this and give a disoriented POV effect. 10 2 00:06.08 Same as previous, but with a security camera effect instead of POV. 11 3 00:05.14 This shot wasnt level but it added to the disoriented effect so we kept it. 12 2 00:02.05 This was the smoothest tracking shot we were able to shoot. 13 3 00:02.17 The shakiness of this shot also added to the disoriented effect. 14 1 00:02.21 We needed a front-on view of the antagonists. 15 3 00:02.03 The shakiness of this shot also added to the disoriented effect. 16 5 00:04.10 We had to speed this shot up to continue the pace of the action. 17 1 00:04.03 We liked the zooming effect in this shot. 18 2 00:04.02 We composited two shots together here so that the display read 666 - to hint at supernatural forces. 19 2 00:02.05 I used this shot for 鍖ller - we didnt originally intend to use it. 20 3 00:03.15 The reaction of our actor 鍖t well with the voice coming through the telephone. 21 4 00:01.14 This shot worked as a transition between the reaction shot and the 鍖nal running shot. 22 2 00:08.23 We liked the imagery of the phone swinging and the out-of- focus running in the background.