Colour Correction and Colour Grading

Here are some videos to help you understand more about colour correction and colour grading.




You can download DaVinci Resolve for free and it gives you more options for colour grading, here are some basics:




Representation of Memory

What techniques do filmmakers use to represent memories in films?

Our individual memories are subjective. How does a filmmaker indicate this subjectivity (the equivalent of the first person narrative in a novel)?

Is pure subjectivity possible in film?

Do memories in film tend to resonate more with an audience when members of that audience can identify with the universal elements of those memories? What do we mean by ‘universal elements’?

Whilst viewing the following film extracts, make notes on the following questions:

What events tend to trigger memory?
How does a filmmaker indicate that what we are seeing is a memory?
Does the filmmaker engage the viewer in the memory by creating a sensory experience? How?

Band of Brothers

Citizen Kane



Paper Memories


We will do a some Formal Analysis of short films starting with The Hill (Deborah Chow)

The Hill

Find Formal Analysis instructions here

Make sure you are using accurate film language – use THIS EXCELLENT REFERENCE to help you

Here are the films you will choose from for your own Formal Analysis. Watch them all at least once before making a choice. HERE are the instructions for your individual analysis.



Memory 2.0

Beyond Memories


Porcelain Unicorn

Colour and Memories

Experimenting with Colour Correction




Music and Memories

We must also consider the effect of music on our memories
Just as a colour red may conjure connotations of danger, murder, life, prosperity. Or a smell of cut grass inspire memories of grandad’s back garden. A song or a piece of music has the power to take us back in time. Can you think of a piece of music which has this effect on you?

Memory and the power of music



Description of Film Roles 


Film Viewing: Eternal Sunshine of a Spotless Mind –

Viewing Notes






Cleaning Sound

Improving the quality of sound recordings in post production can be done in Final Cut Pro X, by using the audio functions in the inspection window. If this does not work you can try cleaning hiss, electrical hum or air conditioning noise in a program called Audacity. This can make your sound more even over the edits by removing background noises. This video will show you how.


Be aware that not all sound can be cleaned nor all noises removed. You should always do your best to record sound in a location with no background noises and monitor recording levels using head phones and checking recording after each recording by playing back.



Shooting in Low Light:



Shooting day for night:


Traditionally, cinematographers and DOPs (Director of Photography) use three types of light source – Key, Fill and Back (sometimes called rim light or hair light).

When used together we call it three point lighting. The position of the lights will vary depending on what kind of effect you are going for and you are encouraged to experiment with how you light your subjects and your scenes. Here are some basic guidelines:

Basic Three point light set up:


Here is how it looks:


High Key light:

high key


Low Key Light


Rear window

Back Light






Key questions for this unit:

  • What is the difference between suspense, surprise and mystery?
  • How do film makers create suspense?
  • What skills can I use to create a suspense film

Let’s learn from the Master:



How does this work in these clips from Jaws (1975 Steven Spielberg)





Some broad principles for creating suspense – what are the ‘rules’?

Notes taken from ‘Screenwriting Tricks for Authors’ – Alexandra Sokoloff:

1. ASK A CENTRAL QUESTION with your story. e.g. What is going to happen next, who or what is hiding in the dark corner?

2. STAKES. What do we FEAR is going to happen?

A good story makes the stakes crystal clear—from the very beginning of the story.  We know right up front in Silence of the Lambs that there’s a serial killer out there who will not stop killing young women until he is caught or killed. How do we know that? The characters say it, flat out, and not just once, and not just one character.

You need to tell your audience what they’re supposed to be afraid of.

What is scary in the physical environment, in the visual and in the symbolism of the space? How can you use sound to create chills? What is going through the character’s head that increases the danger of the experience?

4. You have to make the audience  CARE. Because if they don’t care about the characters, then they have no personal stake in the scares – they do not feel the fear for the character.

5. You have to layer in all six senses—what it looks, smells, sounds, feels, tastes like—as well as what your characters sense is there, even though there’s no physical evidence for it. You have to create the effect of an adrenaline rush. In a  good suspense scene the pace can actually slow down, so that every detail stands out and every move takes ages to complete.


7. USE INTERIOR MONOLOGUE –  So we know what the character is thinking/feeling


Script Writing Formatting


A screen play needs to be in a format everyone understands and is used by crew and actors during rehearsal and on the set. Screenplays are written in a particular format to make them easily readable.

When writing a screenplay, you need to follow some fundamental rules to ensure it’s easy to read:

  • traditionally screenplays are written using the font Courier
  • use at least size twelve
  • begin every scene with a slugline
  • write character names, important props and sound effects in capital letters.