When listening back to my narration after recording it, I found it extremely difficult to listen back to my whiny voice. My plan was to alter it by lowering the pitch and changing the speed so that my voice would be unrecognisable, at least to me. However, I struggled to make it sound real and unaltered. I was, however, able to remove some distracting muffled sounds from the background by using the equalizer tool which improved the clarity of the audio.

 

 

 

 

 

 

 

 

 

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After the first day of filming, before editing, I had an extensive look through the footage I had collected. Doing this allowed me to separate the footage into what I would likely use, what I likely wouldn't use, and what was dreadful enough to be instantly deleted. This reduced the clutter of footage that I would have to upload into the storyboard section of the editor.

 

During this, I realised how strict I had to be with what I planned to use in the film as there were certain pieces of footage that I was only tempted to use because they looked nice and not because they had any specific reason for being included. There were also certain shots that I didn't use in order to avoid being pretentious. One of these was an extremely tight shot of a thorn branch that had beautiful wires of ice coiled around it. I considered using this as it showed something harmful and negative, partially hidden by something contrarily, quite beautiful, Similar to the superficial greetings that I refer to in the narration.

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Before I added any footage onto the timeline, I added the audio track of my narration. I then started adding footage where it complimented the subject of the narration so that the gaps that remained gave me some idea of what extra footage was needed so that I could focus on that on my next day of filming. It was during this process that I realised how vital it was to capture some subjective footage as the film played out more like a slideshow than a film with a purpose.

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After the second day of filming, I started filling in the gaps in the timeline, blending the static footage with new footage that had movement and a point-of-view so that the film remained at a steady pace. The only moment in the film where the pace is disrupted is during the montage of passing cars which was intended to reflect the disruption that they cause to the peace. This is why I cut abruptly to the silent field as a form of contrast which although was perhaps a little self-indulgent, helped me better convey my thoughts on the subject. If the project were to be much longer, then the pacing I used wouldn't have worked throughout and I would've had to change it, however, with the limited duration, I think I achieved the pacing that I wanted as it was slow and melodic but not enough to become boring or tedious.

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Once I had completed a cut of the film, I still felt as if I needed a way to focus the attention of the audience on the audio as opposed to the visuals. The only way I thought of doing this was to add subtitles so that they would tell the audience to focus more on what they hear and not what they see. The process of adding subtitles was difficult at first but gradually became much easier and much more enjoyable as time went on.

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Because of the foggy weather when I first went out filming, much of the footage appeared to be blurry and very dull. To change this, I had a go at colour-grading in the hopes that I could make the tone colder and more emotive to help convey what I wanted. As I didn't want to overdo it in any way, I only adjusted a few things such as the colour temperature, saturation, contrast, and sharpness. This was very helpful as I could attempt to match the colours of footage filmed on different days so that it was more consistent through out.