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Final Critique: The Midnight Special, Pg. 2

Visual Look
Being a documentary-style film, The Midnight Special is not an extremely spectacular visually, but there are still some good elements to it. There are many nighttime shots in this film that are tinted green, blue, or black and white. These sequences are shot COPS-style and – fortunately – are not too shaky as to make the audience seasick. These night-vision shots are a great addition – and a much better idea than just trying to shoot at night and mess with lighting. There are a couple nighttime sequences that are absent this night vision effect, however, and they did look a bit out of place and underlit. It would have made the film look a lot more streamlined had all the nighttime sequences been tinted the same color rather than being so varied.

They employ
both modern...
...and traditional
techniques.

There was also a really great gunfight sequence in the film that took place between The Shadow Company and a group of vampires. There were really nice muzzle flash effects, and the entire sequence was edited together very nicely with moving camera shots and close-ups that fed into the action without making the viewer feel too dizzy. The scene even ends with a great character moment as all but one of the vampires have been disposed of, but Cutter has run out of ammunition. Cutter then walks toward the vampire, yelling at thim. Cutter tells him not to reload, but to instead be a real vampire and bit the unarmed agent on the neck. Cutter continues to goad him on until the vampire drops his gun and starts to walk forward. At which point, Cutter calmly looks to one side and one of the other agents steps out from behind a wall, gun in hand, and shoots the approaching vampire.

There were a few minor visual issues, such as some poorly-framed shots, a couple of washed-out outdoor scenes, some shaky camerawork, and several very underlit indoors scenes. A lot of this can be explained away by the documentary feel of the film, but some of it looked a bit too sloppy. Take a look at the show COPS – that’s running and gunning if I’ve ever seen it – literally. But while sometimes the shots are crooked, they’re always decently lit and fairly clear. Obviously they have access to far better eqyuipment than most microfilmmakers do, but that doesn’t mean that one can completely slack off in making a documentary-style film. Attention still ought to be paid to getting a decent picture – unless there’s a good reason not to.

Use of Audio
As in the above category, viewer will probably expect audio in a documentary-style film to be a little off. And, for the most part, the audio in The Midnight Special was pretty decent. There were a few instances where the levels dipped or rose suddenly, or some moments of distortion. During the interview segments, when the agents had lavaliere mikes either taped to their clothing or – in the case of a two-person interview – lying on the couch between them there were several times where they brushed up against the mike, causing a muffled sound. While this is also somewhat expected in a documentary-style film, it might have been a good idea to have the actor repeat the lines or to just use a different scene. While audio levels can be tweaked in post, muffled audio is more difficult to fix and may have to be ADR’d.

I really liked the music in this film. There was enough to give some atmosphere and set the mood occasionally, but not too much as to depart from the documentary style of the film.

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