The use of static camera in the interview room has already been discussed in a previous post (entitled 'The Interview'), so I thought that I would put a little bit of information on what I would like to do in the flashbacks.
I want to use a lot of camera movement in the flashbacks to contrast the static camera in the interview, also complimenting the difference in colours. By keeping the camera moving it also adds to the dreamlike/reminiscent quality I hope the colours in the flashbacks will give it, while also holding the audience's interest and displaying the passage of time. Good examples of this constant flowing movement are Edgar Wright's 'Hot Fuzz' and Matthew Vaughn's 'Layer Cake', which I have added a link for below.
http://www.youtube.com/watch?v=QHKI8zMHCjE
The problems with trying to include constant camera movement are the thorough planning needed for smooth editing and also the lack of experience I have with a camera, not to mention, the lack of a steady cam.
Thursday, 30 April 2009
Wednesday, 29 April 2009
Mise en Scene and Colour 2
Colour
Colour can be used to not only decipher what is flashback and what is not, but it can be used to highlight the morality in our film. There is a lot of discussion about the use of colour in 'Amelie', for example, suggestions that the colour blue is used to indicate happiness. In this style we could use different colours to pinpoint when the protagonist is acting moraly wrong or morally right in the flashback sequences.
'Run Lola Run' shows repetition of the colour red throughout the film.
The red acts as an indicator of importance moments and objects in the film. It can be argued that they act as checkpoints in Lola's journey to save her boyfriend, with red being shown when she has to make decisions.
I think we should take influence from this.
Colour can be used to not only decipher what is flashback and what is not, but it can be used to highlight the morality in our film. There is a lot of discussion about the use of colour in 'Amelie', for example, suggestions that the colour blue is used to indicate happiness. In this style we could use different colours to pinpoint when the protagonist is acting moraly wrong or morally right in the flashback sequences.
'Run Lola Run' shows repetition of the colour red throughout the film.
The red acts as an indicator of importance moments and objects in the film. It can be argued that they act as checkpoints in Lola's journey to save her boyfriend, with red being shown when she has to make decisions.
I think we should take influence from this.
Mise en Scene and Colour
Mise en Scene
Office Sequences
In terms of the mise en scene of the office, I am aiming to make it look bleak and boring. I want the shots to hold a lot of space around the characters. In doing this I aim to create a view of the office as an unappealing, monotonous space. It is limbo after all. The two pictures underneath help display my point.
'The Office', especially, does a great job of creating a very unappealing aesthetic.
Interview Room
As the interview room is St. Peter's and the equivalent of the gates to heaven it needs a bright almost Holy look to it. Giving the audience a hint of what the real meaning of the film is about, but also acting as a taste of heaven for the character Simon. The image below gives an example of a screen filled with white.
We need a white room, and also to fiddle with the exposure to give it a supernatural glow.
Flashbacks
To contrast the mise en scene of the scenes in limbo, I would like the flashbacks to contain a lot more colour and look a lot warmer. The warm colours can also give the flashbacks a dreamlike quality, making it look less daunting, and also suggest that these scenes are in Simon's head. This also makes the cuts to flashback clearer, because the colours of each time frame are so different. The two images below are a good example of the sort of rich, warm colours I want to replicate.
Office Sequences
In terms of the mise en scene of the office, I am aiming to make it look bleak and boring. I want the shots to hold a lot of space around the characters. In doing this I aim to create a view of the office as an unappealing, monotonous space. It is limbo after all. The two pictures underneath help display my point.
'The Office', especially, does a great job of creating a very unappealing aesthetic.
Interview Room
As the interview room is St. Peter's and the equivalent of the gates to heaven it needs a bright almost Holy look to it. Giving the audience a hint of what the real meaning of the film is about, but also acting as a taste of heaven for the character Simon. The image below gives an example of a screen filled with white.
We need a white room, and also to fiddle with the exposure to give it a supernatural glow.
Flashbacks
To contrast the mise en scene of the scenes in limbo, I would like the flashbacks to contain a lot more colour and look a lot warmer. The warm colours can also give the flashbacks a dreamlike quality, making it look less daunting, and also suggest that these scenes are in Simon's head. This also makes the cuts to flashback clearer, because the colours of each time frame are so different. The two images below are a good example of the sort of rich, warm colours I want to replicate.
Tuesday, 28 April 2009
The Blink 3
Start a conversation with someone & watch when they blink. Murch believes that the listener will blink at the precise moment s/he 'gets' the idea. What we have to say is often put in-between an introduction & a conclusion. The blink will take place when the listener realises the 'introduction', and that we are going to say something important; or, it will happen when s/he feels we are 'winding down' and not saying anything important for the time being.
How does this relate to film?
-That blink will occur where a cut could have happened if the conversation was filmed
-We entertain an idea, or a sequence of ideas and blink to separate and punctuate that idea from what follows. In film, a shot shows an idea, or a sequence of ideas, and the cut is the blink that separates these ideas
-The moment you cut, you are saying "I am going to bring this idea to an end and start something new"
-This is why an edited film is a surprisingly familiar experience
How does this relate to film?
-That blink will occur where a cut could have happened if the conversation was filmed
-We entertain an idea, or a sequence of ideas and blink to separate and punctuate that idea from what follows. In film, a shot shows an idea, or a sequence of ideas, and the cut is the blink that separates these ideas
-The moment you cut, you are saying "I am going to bring this idea to an end and start something new"
-This is why an edited film is a surprisingly familiar experience
Types of Cut
MATCH CUT
Match cuts involve cutting from one shot to another, while suggesting continuity between the two. Both the shots compositional elements will more or less match, and it can be used to highlight a connection between the two elements or purely for visual purposes.
Example: 2001: A Space Odyssey (Stanley Kubrick, 1968)
http://www.youtube.com/watch?v=iP4riIK0fa0
A primitive ape throws a bone into the air, where it cuts to a space craft of a similar shape and composition. This edit suggests a connection in how far the human race has come, from primitive tools to advanced tools like the space craft.
INTERCUTTING
This is where two scenes are shot in sequence, but presented by cutting back and forth between them. This creates a sense of two actions occurring in parallel time, in two different locations.
Example: Cabaret (Bob Fosse, 1972)
This is a film set in Berlin during Hitler's rise. The change in political climate occurring in the film is represented by a dance scene that adds intercutting towards the end of the scene.
-A line of dancers perform while the MC throws out sexual innuendos to his audience; the change begins.
-The dancers tear off the flowers on their hats, spin their hats around, changing from flirtatious to militaristic, they change their steps to the Nazi march.
-It starts to intercut between the dancers and the home of a young Jewish woman, where lawless thugs have trespassed and murdered her dog.
-The intercutting goes from abstract to specific & sets up the idea that the old world is gone and a new one has dawned. The Nazi thugs are now the norm & go without punishment.
MONTAGE
A motage is usually created by assembling quick cuts, disconnected in time or place, that combine to form a larger idea. It usually conveys passage of time, coming of age or emotional transition. It is usually a series of shots without dialogue.
Example: Citizen Kane (Orson Welles, 1941)
There are several montages used in Citizen Kane, two of which represent Kane's disintegrating relationship with his first and second wife. The montage that features Kane & his second wife, Susan, is set in a large room and starts with both of them arguing while Susan puts together a jigsaw puzzle. The puzzle is used to represent time passing as the sequence moves through several, until we are back to the couple arguing, but noticeably older.
The fact that the same construction of montage is used with Kane's first and second wife allows the viewer to make a comparison.
SPLIT SCREEN
A split screen runs two shots side by side simultaneously within a single frame. It's effect is similar to intercutting.
Example: Kill Bill Volume 1 (Quentin Tarantino, 2003)
Having survived a brutal attack, Beatrix Kiddo (Uma Thurman) lies in a coma in a hospital bed. An assassin (Darryl Hannah) is sent to finish off the job on Kiddo. The assassin is dressed as a nurse, and as she walks towards the bed, the shot switches to a split screen so that both are seen at the same time.
This heightens the suspense as the split suggests the imminent physical proximity of the victim to the assassin; they appear to be almost touching each other.
DISSOLVE
Dissolves blend one shot into another. This is achieved by fading the first shot out as the second one fades up. They soften a cut, and are often used to show the passage of time.
Match cuts involve cutting from one shot to another, while suggesting continuity between the two. Both the shots compositional elements will more or less match, and it can be used to highlight a connection between the two elements or purely for visual purposes.
Example: 2001: A Space Odyssey (Stanley Kubrick, 1968)
http://www.youtube.com/watch?v=iP4riIK0fa0
A primitive ape throws a bone into the air, where it cuts to a space craft of a similar shape and composition. This edit suggests a connection in how far the human race has come, from primitive tools to advanced tools like the space craft.
INTERCUTTING
This is where two scenes are shot in sequence, but presented by cutting back and forth between them. This creates a sense of two actions occurring in parallel time, in two different locations.
Example: Cabaret (Bob Fosse, 1972)
This is a film set in Berlin during Hitler's rise. The change in political climate occurring in the film is represented by a dance scene that adds intercutting towards the end of the scene.
-A line of dancers perform while the MC throws out sexual innuendos to his audience; the change begins.
-The dancers tear off the flowers on their hats, spin their hats around, changing from flirtatious to militaristic, they change their steps to the Nazi march.
-It starts to intercut between the dancers and the home of a young Jewish woman, where lawless thugs have trespassed and murdered her dog.
-The intercutting goes from abstract to specific & sets up the idea that the old world is gone and a new one has dawned. The Nazi thugs are now the norm & go without punishment.
MONTAGE
A motage is usually created by assembling quick cuts, disconnected in time or place, that combine to form a larger idea. It usually conveys passage of time, coming of age or emotional transition. It is usually a series of shots without dialogue.
Example: Citizen Kane (Orson Welles, 1941)
There are several montages used in Citizen Kane, two of which represent Kane's disintegrating relationship with his first and second wife. The montage that features Kane & his second wife, Susan, is set in a large room and starts with both of them arguing while Susan puts together a jigsaw puzzle. The puzzle is used to represent time passing as the sequence moves through several, until we are back to the couple arguing, but noticeably older.
The fact that the same construction of montage is used with Kane's first and second wife allows the viewer to make a comparison.
SPLIT SCREEN
A split screen runs two shots side by side simultaneously within a single frame. It's effect is similar to intercutting.
Example: Kill Bill Volume 1 (Quentin Tarantino, 2003)
Having survived a brutal attack, Beatrix Kiddo (Uma Thurman) lies in a coma in a hospital bed. An assassin (Darryl Hannah) is sent to finish off the job on Kiddo. The assassin is dressed as a nurse, and as she walks towards the bed, the shot switches to a split screen so that both are seen at the same time.
This heightens the suspense as the split suggests the imminent physical proximity of the victim to the assassin; they appear to be almost touching each other.
DISSOLVE
Dissolves blend one shot into another. This is achieved by fading the first shot out as the second one fades up. They soften a cut, and are often used to show the passage of time.
The Blink 2
John Huston (Interviewed by Louise Sweeney)
Christian Science Monitor
August 11, 1973
"To me, the perfect film is as though it were unfolding behind your eyes, and your eyes were protecting themselves. So that you were seeing what you wished to see. Film is like thought. It's the closest to thought process of any art....
Look at that lamp across the room.
Now look back at me.
Look back at the lamp.
Now look back at me again.
Do you see what you did?
You blinked.
Those are cuts.
After the first look you know there's no reason to pan continuously from me to the lamp because you know what's in between. Your mind cuts the scene. First you behold the lamp. CUT. Then you behold me."
Christian Science Monitor
August 11, 1973
"To me, the perfect film is as though it were unfolding behind your eyes, and your eyes were protecting themselves. So that you were seeing what you wished to see. Film is like thought. It's the closest to thought process of any art....
Look at that lamp across the room.
Now look back at me.
Look back at the lamp.
Now look back at me again.
Do you see what you did?
You blinked.
Those are cuts.
After the first look you know there's no reason to pan continuously from me to the lamp because you know what's in between. Your mind cuts the scene. First you behold the lamp. CUT. Then you behold me."
The Blink
Walter Murch explains that our rate of blinking is not just due to our eyes needing to be moistened, but is actually geared
"toward our emotional state & to the nature and frequency of our thoughts than the atmospheric environment we find ourselves in."
Even if there is no head movement, the blink is either:
"something that helps an internal seperation of thought to take place, or it is an involuntary reflex accompanying the mental spereation that is taking place anyway."
Dr. John Stern
Washington University, St Louis (1987)
Editing: The Rule of Six
Walter Murch's book 'In the Blink of an Eye' (1995) explains one of his personal rules for what makes a good cut in editing:
1. Emotion: How do you want the audience to feel? Is it true to the emotion of the moment? Percentage of importance: 51%
2. Story: Does it advance the story? Percentage of importance: 23%
3. Rhythm: Does it occur at a moment that is rhythmically interesting and 'right'? Percentage of importance: 10%
4. Eye Trace: Does it pay respect to the location and movement of the audience's focus of interest within the frame? Percentage of importance: 7%
5. 2-Dimentional Plane of Screen: Does the cut respect the 180 degree rule? Percentage of Importance: 5%
6. 3-Dimentional Space of Action: Does it respect the 3-D continuity of the actual space? Percentage of Importance: 4%
1. Emotion: How do you want the audience to feel? Is it true to the emotion of the moment? Percentage of importance: 51%
2. Story: Does it advance the story? Percentage of importance: 23%
3. Rhythm: Does it occur at a moment that is rhythmically interesting and 'right'? Percentage of importance: 10%
4. Eye Trace: Does it pay respect to the location and movement of the audience's focus of interest within the frame? Percentage of importance: 7%
5. 2-Dimentional Plane of Screen: Does the cut respect the 180 degree rule? Percentage of Importance: 5%
6. 3-Dimentional Space of Action: Does it respect the 3-D continuity of the actual space? Percentage of Importance: 4%
The Interview
A large percentage of our film will consist of a static shot of an interview between our two main characters. This will actually be one of the easier shots to film as once the scene is set up, nothing needs to be changed in terms of camera and lighting.
A good example I have found of a similar static shot is featured in Hunger.
http://www.imdb.com/title/tt0986233/
This 2008 film, directed by visual artist Steve McQueen, is set in the infamous Long Kesh Maze Prison, and it follows Bobby Sand's (Michael Fassbender) hunger strike. There is minimal dialogue throughout the film, but there is one highly impressive twenty minute sequence between Bobby & a Priest (Liam Cunningham).
The scene consists of wide shot of the two characters sitting on either side of the table, and the camera remains stationary for the entire sequence. I think the reason this scene succeeds is because it is so well shot and lit. If our film is to use a stationary shot for the interview, then I think this is a perfect example of how to shoot it.
A good example I have found of a similar static shot is featured in Hunger.
http://www.imdb.com/title/tt0986233/
This 2008 film, directed by visual artist Steve McQueen, is set in the infamous Long Kesh Maze Prison, and it follows Bobby Sand's (Michael Fassbender) hunger strike. There is minimal dialogue throughout the film, but there is one highly impressive twenty minute sequence between Bobby & a Priest (Liam Cunningham).
The scene consists of wide shot of the two characters sitting on either side of the table, and the camera remains stationary for the entire sequence. I think the reason this scene succeeds is because it is so well shot and lit. If our film is to use a stationary shot for the interview, then I think this is a perfect example of how to shoot it.
Thursday, 23 April 2009
Flashback Research
With our piece being flashback heavy, I thought it rather important to have a look at some examples of flashbacks and especially how the cuts are constructed.
1. Overlapping flashbacks with speech being spoken in the present (by use of voice over) e.g 'Spaced' (Edgar Wright, 1999) when Tim (Simon Pegg) and Daisy (Jessica Stevenson) are talking about the other's childhood. As they are talking pictures that relate to their speech are shown on screen.
This can be used for quick flashbacks, helping to establish our protagonist quickly.
2. Use of sound from the past leading into the flashback. This indicates that we are indeed entering the past rather than simply cutting to another location.
3. Use of a sound to indicate the cut. For instance in Danny Boyle's 'Slumdog Millionaire' they use the sound of a slap as a point to cut back into the past, using a graphic match of Jamal's position after the slap to make the cut very smooth.
'Lost' (Created by J.J.Abrams) also uses a sound to cut to flashbacks, this is a sound that through repitition of use for every flashaback, means viewers know exactly what timeline they are in.
4. Use of a visual effect to indicate the cut. In the same way that a slap can indicate a cut, a visual effect such as fading up to white can have the same effect.
5. By giving the flashbacks a different treatment to the rest of the film, this also becomes another indicator of what is flashback and what is not. A good example of this is the use of a black and white treatment for the past in 'American History X' (Directed by Tony Kaye).
1. Overlapping flashbacks with speech being spoken in the present (by use of voice over) e.g 'Spaced' (Edgar Wright, 1999) when Tim (Simon Pegg) and Daisy (Jessica Stevenson) are talking about the other's childhood. As they are talking pictures that relate to their speech are shown on screen.
This can be used for quick flashbacks, helping to establish our protagonist quickly.
2. Use of sound from the past leading into the flashback. This indicates that we are indeed entering the past rather than simply cutting to another location.
3. Use of a sound to indicate the cut. For instance in Danny Boyle's 'Slumdog Millionaire' they use the sound of a slap as a point to cut back into the past, using a graphic match of Jamal's position after the slap to make the cut very smooth.
'Lost' (Created by J.J.Abrams) also uses a sound to cut to flashbacks, this is a sound that through repitition of use for every flashaback, means viewers know exactly what timeline they are in.
4. Use of a visual effect to indicate the cut. In the same way that a slap can indicate a cut, a visual effect such as fading up to white can have the same effect.
5. By giving the flashbacks a different treatment to the rest of the film, this also becomes another indicator of what is flashback and what is not. A good example of this is the use of a black and white treatment for the past in 'American History X' (Directed by Tony Kaye).
Good Website
I've just stumbled across this website whilst doing some research, and it is one of the best sites dealing with the theoretical aspects of story in film I've ever seen. It contains analysis of many films as well as descriptions of story theory and tips on screenwriting. It may seem a bit dense and overly intellectual at first but for every term that you don't understand there is generally another article explaining its meaning. I just wish we'd found it earlier on.
http://www.storyfanatic.com/
http://www.storyfanatic.com/
Wednesday, 22 April 2009
In Your Face
Our piece features a short scene where people who know our protagonist deliver scathing opinions of him in close ups of the face, punctuated by very quick jump cuts. The inspiration for this came from these:
Spike Lee's Do The Right Thing
http://www.youtube.com/watch?v=klN5F6KhTkc&feature=related
The Armando Iannucci Show
http://www.youtube.com/watch?v=k37Kog9HX8M
Spike Lee's Do The Right Thing
http://www.youtube.com/watch?v=klN5F6KhTkc&feature=related
The Armando Iannucci Show
http://www.youtube.com/watch?v=k37Kog9HX8M
Rant Retraction
After my prior rant, I am pleased to announce that I was wrong! After a group meeting today the group is well and truly on a roll, with everybody knuckling down and chipping in.
In my defence I was in a foul mood after a brilliant holiday, and I though that all the work we'd done would be a waste. But this is not so!
Also, after acting in one of C group's films, I realised that I actually have a quality group. Only three out of the five people in their group turned up on the day, and their project manager basically had to do all the work due to some incompetence on the part of some of the group.
In my defence I was in a foul mood after a brilliant holiday, and I though that all the work we'd done would be a waste. But this is not so!
Also, after acting in one of C group's films, I realised that I actually have a quality group. Only three out of the five people in their group turned up on the day, and their project manager basically had to do all the work due to some incompetence on the part of some of the group.
Saturday, 18 April 2009
Q & A
Because our piece revolves around an interview, we thought it would be appropriate to have our protagonist asked questions that would actually be asked in an interview. After some research we found the following websites that listed actual interview questions and responses:
www.business.vic.gov.au/busvicwr/_assets/main/lib60188/interview%20template.doc
http://www.cvtips.com/job_interview_questions.html
http://www.interviewquestionsandanswers.com/job-interview-questions.php
Although the actual question we will use are still being finalised, the majority came from one of these websites.
www.business.vic.gov.au/busvicwr/_assets/main/lib60188/interview%20template.doc
http://www.cvtips.com/job_interview_questions.html
http://www.interviewquestionsandanswers.com/job-interview-questions.php
Although the actual question we will use are still being finalised, the majority came from one of these websites.
Rant
Yet again there has been a long break between blogs, although this was to be somewhat expected as it was the Easter holidays. Still, that is no excuse for someone not to write up a couple of blogs, but apparently it is only me that writes on here. I haven't done all the research and work therefore how can I put it all up on here. I have asked the group to write on here and even given them my details so they can sign in, and that was at least three weeks ago yet still they haven't done it. I'm not trying to have a go at them I'm just sick of asking them to do work and it not materialising. I'm not saying that they haven't done any work, I just feel that I am expected to do the lion's share of the task. This is all well and good as I am project manager, and I expected to do more work, especially on the organising side of things, but when I feel that I'm doing everything, surely there must be something wrong.
I have been on holiday for a week and a half, and I can almost guarantee that none of the group has spoken to each other. Noone has spoke to me, written on the blog or the group facebook page, and I'm not quite sure how they expect a group to work with no communication. Perhaps I asserted early on that I was in charge and everything had to come through me but I don't think I did and if I did I certainly didn't mean to.
I think the problem is that everybody is waiting for their job to turn up. All four roles apart from project manager are specified and arguably can't be started until we start shooting, and I think some of our group are coasting along until their job turns up. This is all well and good, and it's no business of mine to tell someone how to approach their work, but this means that someone has to pick up the slack.
Malcolm said that everyone has to act as head of their departments, and I honestly don't think anybody has. I'm not perfect, and I could have done more work, but when other people aren't putting their all into it, why should I. I know it is just a student film, and a first year one at that, but to be honest every opportunity to make a film should not be taken for granted. None of us would have made this film if we weren't on this course so why should we make a half-hearted attempt now we are doing it.
Anyway, rant over. I hope that the group reads this because it might actually make them write on the blog! So Hot Thrust: tell me your side of the story and tell me just how wrong I am. Or agree. Or call me an idiot. Or do anything, as long as you write on this effing blog.
I have been on holiday for a week and a half, and I can almost guarantee that none of the group has spoken to each other. Noone has spoke to me, written on the blog or the group facebook page, and I'm not quite sure how they expect a group to work with no communication. Perhaps I asserted early on that I was in charge and everything had to come through me but I don't think I did and if I did I certainly didn't mean to.
I think the problem is that everybody is waiting for their job to turn up. All four roles apart from project manager are specified and arguably can't be started until we start shooting, and I think some of our group are coasting along until their job turns up. This is all well and good, and it's no business of mine to tell someone how to approach their work, but this means that someone has to pick up the slack.
Malcolm said that everyone has to act as head of their departments, and I honestly don't think anybody has. I'm not perfect, and I could have done more work, but when other people aren't putting their all into it, why should I. I know it is just a student film, and a first year one at that, but to be honest every opportunity to make a film should not be taken for granted. None of us would have made this film if we weren't on this course so why should we make a half-hearted attempt now we are doing it.
Anyway, rant over. I hope that the group reads this because it might actually make them write on the blog! So Hot Thrust: tell me your side of the story and tell me just how wrong I am. Or agree. Or call me an idiot. Or do anything, as long as you write on this effing blog.
Wednesday, 8 April 2009
Progress Report
We have had 9 group meetings, as well a continuous liaising over the internet, and we are progressing quite well. I think it is telling however, that Malcolm actually apologised for letting us do such an ambitious project. I think this is a positive thing, but it has meant that we are moving slower than some other groups due to the amount of work and planning that has to be done. At the minute we are on the 5th draft of the script, and about halfway through the storyboard. Edit, shot and sound lists are being compiled, and we have about two thirds of the props and locations we need. The only location that is giving us some trouble is the office, but I feel we will have this sorted soon, and if worse comes to worse we could probably just improvise or even cut it out as it is really just a peripheral part of the film.
I think we have decided to use ourselves as the actors, and in retrospect we could have saved time by deciding on this sooner. However I think it was a positive move to create posters asking for actors, as it at least shows the ambitions we had for the piece.
The shooting schedule is currently being formulated, but this can only be finalised once everything else has fallen into place.
I think we have decided to use ourselves as the actors, and in retrospect we could have saved time by deciding on this sooner. However I think it was a positive move to create posters asking for actors, as it at least shows the ambitions we had for the piece.
The shooting schedule is currently being formulated, but this can only be finalised once everything else has fallen into place.
Tuesday, 7 April 2009
Communication Breakdown
Well it has certainly been a while since I've written on here. During the course of planning our project the blog aspect has been neglected somewhat, but all this is about to change. With most of the planning finally done, we can concentrate on translating our research and notes onto the blog.
I think we were supposed to use the blog as a communication tool between members of the group, but in this function it is obsolete as we do all our online talking via either facebook or MSN messenger. I'm not sure how this will get marked but we are using it as a mainly research based blog.
I think we were supposed to use the blog as a communication tool between members of the group, but in this function it is obsolete as we do all our online talking via either facebook or MSN messenger. I'm not sure how this will get marked but we are using it as a mainly research based blog.
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