STORYBOARD 7

STORYBOARD 5 AND 6

STORYBOARD 3 AND 4

STORYBOARD PAGE 1 AND 2

COSTUME

NEW COSTUME LIST

OLD COSTUME LIST

PROPS

PROPS ARE ESSENTIAL IN GENERATING REALISM, HELPING THE MISE EN SCENE AND MAKING IT MORE BELIEVABLE FOR THE AUDIENCE. SO IT IS NECESSARY TO HAVE A WELL ORGANISED PROPS AND COSTUME LIST AND MAKE SURE WE ARE PREPARED AND HAVE ARRANGED PROPS AND COSTUME BEFORE SHOOTING DAY.

WHO WILL SOURCE EACH PROP-

LAURA-
Wash Bag

BRETT-
Hikers bag

CAST

THE VOYEUR COULD BE ANYONE, AS THEY ARE NEVER REALLY SEEN.WE DECIDED THAT OUR IDEAL CHOICE WOULD BE A LARGE MALE, TO MAKE IT CLEAR TO THE AUDIENCE EMILY’S VICTIMISATION. AS A FELLOW GROUP PRODUCTION WORKER WE DECIDED BRETT WOULD BE AN IDEAL CHOICE AND A PRACTICAL CHOICE.

IT IS NECESSARY FOR PRESENCE TO HAVE A CONVINCING ACTRESS AS THE WHOLE FILM CENTERS AROUND HER AND HER FEAR. OUR ORIGINAL CHOICE FOR ACTRESS, STEPH A FELLOW SCHOOL MEMBER WAS SCREEN TEST AS IT WAS NECESSARY TO MAKE SURE THAT SHE COULD CONVEY THE JOURNEY EMILY GOES THROUGH OR IT WOULD BE NECESSARY TO USE AN EXTERNAL ACTRESSES FOR THE ROLE. AT PRESENT IT IS UNCLEAR, WHERE OUR CASTING CHOICE IS LEADING.

LOCATION

THE LOCATION FOR PRESENCE IS IDEALLY LEITH HILL, SITUATED IN THE SURREY COUNTRYSIDE. PRESENCE IS RATHER SIMPLE LOCATION WISE AS A LANDING, BATHROOM AND BEDROOM ARE ONLY NECESSARY.
THE BATHROOM HAS TO CONSIST OF A TOILET, A SINK WITH A MIRROR ABOVE AND A BATH. THE LOCATION WAS INSPIRED BY A PAST HURTWOODS MEDIA STUDENTS THRILLER “DRIP”.

THE BEDROOM SCENE DOSE NOT NECESSARILYHAVE TO EVEN BE SHOT IN A BEDROOM AS THE ONLY SHOTS IN THAT ROOM WOULD BE OF EMILY ON HER BED AND THE FLOOR NEXT TO HER BED
THE LANDING SHOULD BE LONG GIVING A SENSE OF A JOURNEY.

BELOW IS A DIAGRAM OF OUR FLOOR PLAN AND A PHOTOGRAPH TAKEN FROM OUTSIDE THE LOCATION

NEW SYNOPSIS

MY GROUP CAME ACROSS DIFFICULTIES WHILST TRYING TO DEVELOP REFLECTIONS AND DECIDED TO RETHINK OUR STORYLINE. ALTHOUGH, WE HAVE BROUGHT KEY IDEAS INTO OUR NEW THRILLER FILM FROM OUR PREVIOUS, SUCH AS AN ALTERED MIRROR, AND THE SETTING OF A BATHROOM.THE TITLE OF OUR NEW FILM IS PRESENCE.

EMILY WAKES IN THE MIDDLE OF THE NIGHT WITH AN UNEASY FEELING. FEELING UNCOMFORTABLE AND NERVOUS SHE DECIDES TO GO TO HER BATHROOM TO CALM HERSELF DOWN. WHILST WALKING TO THE BATHROOM SHE FEELS AS IF SHE IS NOT ALONE AND IS BEING WATCHED. EMILY WASHES HER FACE WITH WATER TO LOOSEN UP. THE AUDIENCE THEN DISCOVERS SOMEONE IS LURKING JUST OUTSIDE THE DOOR, WHICH EMILY IS UNAWARE OF. THINGS START TO GET WORSE AS EMILY REALISES THAT THE SINK WHICH WAS FILLED WITH WATER IS NOW FULL OF BLOOD, EVENTS FOLLOW SUCH AS HER ALTERED REFLECTION IN THE MIRROR, THE DOOR SLAMMING, LOCKING AND THE LIGHTS TURNING OF ITS OWN ACCORD. WHEN EMILY STUMBLES TO TURN IT ON SHE WALKS BACK TO THE MIRROR TO SEE A REFLECTION OF THE LARGE BLACK FIGURE BEHIND HER.

THE PROCESS OF STORYBOARDING

A STORY BOARD WORKS AS AN ESSENTIAL ORGANISER TO FILM AND A USEFUL TOOL TO PRE-VISUALISING A SEQUENCE OF FOOTAGE. A STORYBOARD MUST ALWAYS HAVE IMAGES AND DESCRIPTIONS, CONSISTING OF: SHOOT LOCATION, ACTION, MOVEMENT/ SHOT OF CAMERA, SOUND, LIGHTING, EDIT TRANSITION AND LENGTH OF TIME FOR SHOT.

TO START THE PROCESS OF STORYBOARDING WE MADE A LIST OF EACH SHOT AND THE KEY DESCRIPTIONS AS WE KNEW IT WAS LIKELY TO UNDERGO ALTERATIONS. ONCE ALL THE SHOTS WERE CLEAR AND FINALIZED WE TYPED THE DESCRIPTIONS INTO THE STORYBOARD TEMPLATE. WE DID THIS SO THE INSTRUCTIONS WERE AS CLEAR AS POSSIBLE AND EASY TO FOLLOW. WE THEN DREW THE ACCOMPANYING IMAGES OF THE MISE EN SCENE NEXT TO THE DESCRIPTIONS. IT WAS IMPORTANT TO DO THIS IN PENCIL SO THAT NO MISTAKES WERE MADE.

STORYBOARDING IS NOT AN EASY PROCESS AS MY GROUP DISCOVERED. WE FOUND IT HARD TO PLACE EACH SHOT AS WE WANT “REFLECTIONS” TO CONSIST OF SEVERAL MONTAGES. ANOTHER STRUGGLE WAS THE ALLOCATION OF WHO WAS TO DO WHAT PART OF THE STORYBOARD, AS NO ONE IN OUR GROUP IS PARTICULARLY GOOD AT DRAWING, BUT I OFFERED TO TAKE THE JOB ON.

RESEACH SOURCES

http://www.youtube.com/watch?v=KuE8DXDTYag&feature=related
THE CLIP ABOVE IS FROM THE 1990's PSYCHOLOGICAL THRILLER FILM JACOB'S LADDER. THROUGHOUT THE FILM THE MAIN CHARACTER HAS HALLUCINATIONS OVER HIS PAST, THIS RELATES TO THE IDEAS BROUGHT ACROSS IN REFLECTIONS. THE CLIP SHOWS JACOB IN A PSYCHIATRIC HOSPITAL, AND CREATES TENSION, FEAR AND ANTICIPATION THROUGH THE SOUNDS AND CAMERA MOVEMENT ETC. TENSION, FEAR AND ANTICIPATION IS KEY WITHIN A HORROR FILM AND THIS IS SOMETHING THAT I WILL TRY TO PRESENT. WATCHING JACOBS LADDER HAS GIVEN ME IDEAS FOR SHOOTING THE HOSPITAL SCENE AND TO GIVE IT A SENSE OF HORROR.

FIRST GROUP MEETING AND SYNOPSIS

MY HORROR FILM PRESENTATION WAS PICKED TO BE PRODUCED, AND I WAS PUT INTO A GROUP WITH GEORGE AND BRETT. WE DISCUSSED MY ORIGINAL IDEAS AND BUILT A STORY AROUND THE EVENTS.

SYNOPSIS
REFLECTIONS IS A STORY OF A YOUNG GIRL NAMED EMILY (18) WHO HAS ENDED UP IN A PSYCHIATRIC WARD OF A HOSPITAL AND REVOLVES AROUND THE RELATIONSHIP OF HER AND HER PSYCHIATRIST, DR HEMINGWAY (50S). WE BELIEVE HE IS TRYING TO SAVE HER FROM HER LIFE OF SELF ABUSE. WHICH SHE BELIEVES IS DUE TO THE IMPACT OF MIRRORS, WHICH INSTRUCT HER TO SELF MUTILATE.THE SCENE REVOLVES AROUND A CONVERSATION BETWEEN DR HEMINGWAY AND ELIZABETH CONTAINING FLASHBACKS OF INCIDENT WITHIN HER PAST UNDER THE CONTROL OF MIRRORS. WE LEARN THAT THE VOICE OF THE REFLECTION IS THE VOICE OF DR HEMINGWAY, WHO WE BELIEVE TO BE HELPING HER.ONE EVENING ELIZABETH HEAR THE VOICE OF WHAT SHE BELIEVES TO BE THE MIRRORS ORDERING HER TO FINALLY KILL HERSELF, SHE FOLLOWS HER INSTRUCTIONS AND WALKS TOWARD THE BATHROOM IN WHICH SHE WALKS TO A MIRROR… WHEN SUDDENLY DR HEMINGWAY WALKS TOWARD HER AND BRUTALLY KILLS HER. THIS SYNOPSIS IS A WORKING PROGRESS AND WE HIGHLY SUSPECT THAT THERE MAY BE CHANGES TO THE PLOT.

MY HORROR FILM PRESENTATION

REFLECTIONS IS MOSTLY AIMED AT AGES 18-25, I WOULD CHOOSE TO HAVE AN INDEPENDENT BRITISH FILM COMPANY MAKING THE FILM AS I WANT IN TO BE REALISTIC AND AS TRUTHFULL AS POSSIBLE TO THE SETTING, (ENGLAND) IN MY NEXT BLOG POST YOU WILL SEE THE SIGNIFICANCE OF VOICES WITHIN THE PLOT.

HORROR POSTER

THIS IMAGE IS A POSTER FOR THE HORROR FILM, 28 WEEKS LATER. THE DARK COLOURS OF THE BACKGROUND SET THE OMINOUS MOOD OF THE FILM, DUE TO THE DARK BACKGROUND THE TITLE STANDS OUT CLEARLY AND ALSO LINKS STRONGLY TO THE IDEA OF BLOOD AND HORROR. THE CELTIC SYMBOL ALSO REPRESENTS POWER.

THRILLER POSTER

THIS IS THE MOVIE POSTER FOR THE THRILLER FILM, BRING ME TO HELL. THE POSTER CLEARLY ILLUSTRATES THE IDEAS AND PLOT OF THE FILM, AS THE IMAGE RELATES TO THE TITLE. THE WAY IN WHICH THE HAND ARE PULLING THE WOMEN FROM TH FLAMES IS A VERY POWERFUL IMAGE, LIKEWISE HER EMOTION IS TO.

WHAT IS A THRILLER?

THE MAIN AIM OF A THRILLER IS TO EMOTE FEAR AND MAKE THE VIEWER FEEL AS UNCOMFORTABLE AS POSSIBLE.
A THRILLER RELIES ON THE INTRICACY OF THE PLOT TO CREATE FEAR, APPREHENSION AND SUSPENSE. IT DOES THIS BY PLAYING ON OUR EVERYDAY FEARS MAKING US RELATE WITH THE CONTENT.THIS IS DONE BY DRAWING ON OUR OWN FEARS, THESE FEARS CAN BE VOYEURISTIC, SEXUAL OR VIOLENT.
A THRILLER CREATES TENSION BY RAISING ENIGMA CODES AND THROUGH THE SENSE OF DELAY CAPTURE THE AUDIENCE’S ATTENTION.
MOST THRILLERS HAVE UNIVERSAL THEMES, SUCH AS.
LOVE, DEATH OR MONEY
A SENSE OF DELAY WORKS WELL IN THRILLER, AS IT CREATES TENSION AND A CLIMAX OR AN ANTICLIMAX.
THRILLERS ARE SADOMASOCHISTIC- MEANING THAT THE AUDIENCE TAKES PLEASURE OUT OF SEEING PEOPLE IN PAIN, SUFFERING OR MISFORTUNE. OUR PLEASURE IS DERIVED FROM THEIR DISCOMFORT OF OTHERS.HOWEVER THE AUDIENCE CAN ALSO HAVE A SENSE OF PITY FOR THE VICTIM.

INTRODUCTION TO FINAL CUT PRO

FINAL CUT PRO IS A SOFTWARE PACKAGED RUN ON G5 MACS. IT ALLOWS YOU TO CONSTRUCT A SEQUENCE OF SHOTS AS A NARRATIVE OR A MONTAGE.

FIRSTLY WE LOOKED AT FINAL CUT SERVER. FINAL CUT SERVER IS JUST LIKE A FILING CUPBOARD, AS IT STORES ALL YOUR PROJECTS AND KEEPS THEM SAFE. IT ALSO GIVES YOU EASY ACCESS BY CHECKING WORK IN AND OUT.

WE THEN LEARNT ABOUT LOGGING, WHICH CONSISTED OF PLACEING OUR BEST TAKES FROM THE DIGITIZED RUSHES (SHOT IN OUR PRELIMANERY TASK) IN TO A CREATED LOG BIN. THIS MAKES THE NEXT STAGE OF EDDITING EASIER AS IT REMOVES ALL THE FLAWED TAKES, SUCH AS LIGHTING ERRORS, BACKGROUND NOISE, INACURATE FOCUS, OR BADLY DELIVERED LINES. GIVING US LESS TAKES TO SHIFT THROUGH AND TO PLACE ON THE TIMELINE.

THE TIMELINE IS WHERE LOGGED SHOTS GET PLACED IN CRONOLOGICAL ORDER,BY CUTTING AND TRIMMING TAKES GIVING A FLUID SEQUENCE OF SHOTS. DOING THIS PREVENTS CONTINUITY ERRORS AND CONSEALS THE ILLUSION OF LOTS OF SEPERATE TAKES.

PRELIM TASK

PRELIMINARY TASK EVALUATION

MY GROUP FILMED OUR PRELIMINARY TASK IN THE OLD EDITING SUITE.THIS LOCATION WORKED WELL WHEN FILMING AS THE ENTRANCE AND EXIT DOOR FOR CHARACTER A, WAS WITHIN 180 DEGREES OF CAMERA SO PANNING TO FOLLOW THE ACTORS ENTRANCE AND EXIT WAS NOT NECESSARY AND WE COULD EASILY SHOOT AT WIDE ANGLE AND LET ALL THE ACTION FLOW THROUGH THE STEADY SHOT. A DOWN SIDE TO OUR SET WAS THAT IT WASN’T AESTHETICALLY PLEASING, AS THE ROOM CONSISTED OF OLD WIRES AND LOOKED A BIT SHABBY. I MADE A VERY HIGH CONTRIBUTION TO THE GROUP COMING UP WITH A LARGE NUMBER OF INTERESTING EXTRA SHOTS, ALWAYS MADE SURE THAT THE CAMERA SETTINGS WERE CORRECT AND CHANGING THEM WHEN THEY WERE NOT.

A TWO LIGHTING SET UP WAS USED FOR ALL THE TAKES. WE POSITIONED THE TWO ACTORS IN EACH LIGHT AS THEY ARE THE MAIN FOCUS IN THE SHOT AND HAD TO BE SEEN CLEARLY. SOFT LIGHTING WAS USED TO CREATE A ROMANTIC EFFECT TO FIT WITH THE FEEL FOR THE PIECE, THIS WAS IMPORTANT AS IT CONTRIBUTED TO ESTABLISHING THE GENRE TO THE AUDIENCE.

THERE ARE MANY FACTORS THAT WENT INTO MAKING OUR PRELIMINARY TASK AS PROFESSIONAL AS POSSIBLE.

CAMERA SETTING-
1.FOCUS- HAVING A CLEAR SHARP SHOT.
2.DBS SET TO 0- GIVING CORRECT LIGHTING IN SHOT.
3.SHUTTER SPEED- 50, THE MOST COMMONLY USED SETTING GIVING THE CLEAREST SHOT.
4.LIGHT BULB – LIGHT BULB WAS USED RATHER THAN SUNSHINE AS IT WAS SHOT INSIDE.
5.APERTURE OF 2.8- GIVING GOOD LIGHTING.

TRIPOD-
1.WE MADE SURE THAT THE TRIPOD WAS LEVEL SO THAT THE CAMERA IS STEADY AND STRAIGHT.
2.KEEPING THE CAMERA SAFE.

LIGHT-
1.MAKING SURE IT WAS NOT IN SHOT.
2.MAKING SUE CREW MEMBER WERE NOT BLOCKING THE LIGHT- IF THE LIGHTS ARE BLOCKED THE SHOTS WOULD NOT ALL LOOK THE SAME.

CAMERA ANGLES-
1. WE USED DIFFERENT ANGLES FOR EXAMPLE A CLOSE UP OF ACTOR A'S MOUTH SAYING HIS LINES,IT MADE WHAT HE WAS SAYING LOOK MEANINGFUL AND POWERFUL.
2. SHOOTING A AT A LOW ANGLE AND B AT A HIGH ANGLE SHOULD AS POWER AND BS INNOCENCE.

PLANNING/STORYBOARD-
1. WHEN WE WERE GIVEN OUR STORYBOARD WE NOTICED THAT A LOT OF THE SHOTS WERE SHOT AT THE SAME ANGLES SO WE DECIDED TO FILM THE WHOLE ACTION IN WIDE SHOT, MID SHOT, CLOSE UP AND OVER THE SHOULDER. MEANING THAT WE COULD SHOOT THE SEPARATE SHOTS IN QUICK SUCCESSION, WITHOUT ANY ADDED EXTRA HASSLE.

GOOD TEAM WORK-
1. WE USED TERMS SUCH AS STANDBY, ROLLING AND ACTION TO LET EVERYONE KNOW WHAT WAS GOING ON AND TO KEEP EVERYONE INVOLVED.

THE PRELIMINARY WORK TAUGHT ME THAT THERE IS A LOT OF FACTORS THAT GO INTO FILM MAKING, FROM CAMERA AND LIGHTING SETTING, TO ACCURATE DIRECTING. ONE THING THAT I FOUND REALLY USEFUL WAS THE FILMING OF THE WHOLE ACTION AT DIFFERENT ANGLES INSTEAD OF CHANGING THE POSITION OF THE CAMERA FOR EVERY SHOT IT SAVES SO MUCH TIME! THE TASK WAS VERY ENJOYABLE BUT AT THE SAME TIME HARD WORK TO MAKE SURE EVERYTHING IS AS ACCURATE AS POSSIBLE.

WORKING WITH THE PD170

WE WERE PUT INTO GROUPS AND WERE TOLD TO FILM A SIMPLE PIECE OF FOOTAGE FROM DIFFERENT ANGLES, SUCH AS CLOSE UP, MID SHOT AND WIDE SHOT. WE WERE ALSO TOLD TO ADD ANOTHER SHOT THAT WE HAD TO COME UP WITH. IT WAS VERY IMPORTANT THAT WE LET THE ACTION RUN THROUGH THE SHOT AND TO NOT MOVE THE CAMERA E.G BY PANNING WITH A MOVING PERSON OR OBJECT. THIS WAY OF FILMING WAS DESCRIBED TO US AS IF IT WAS A POSTCARD AND THE ACTION WOULD HAVE TO RUN THROUGH IT.

WE SET UP OUT TRIPOD AND PD170 IN THE DINNING ROOM. WE FILMED A SEQUENCE OF DANIELLE WALKING THROUGH A DOOR, UP TO A TABLE WERE AN APPLE WAS POSITIONED, PICKING UP THE APPLE, TAKING A BIGHT AND WALKING TOWARD THE CAMERA AND OUT OF THE SHOT.WE REPEATED THIS WITH EACH SHOT TYPE AND EVEN ADDED AN OVER THE SHOULDER TAKE.

IT WAS VERY IMPORTANT THAT WE HAD THE RIGHT CAMERA SETTINGS WHEN FILMING, UNFORTUNATELY THE ONLY PROBLEM WE STUMBLED ACROSS WAS THAT OUR CAMERA COULD NOT GET CORRECTLY FOCUSED. AFTER MANY ATTEMPTS OF TRYING TO GET THE CLEAREST FOCUS POSSIBLE WE DISCOVERED THE PD170 WAS ON AUTOMATIC.

I FEEL THAT WE FOLLOWED OUR INSTRUCTIONS CLEARLY, AND OUR IDEA FOR THE FOOTAGE WAS WELL THOUGHT OUT BUT IT WAS A SHAME ABOUT THE CAMERA SETTINGS :(

INTRODUCTION TO TRIPOD

THE IMAGE ABOVE IS A TRIPOD. AN SLR OR A VIDEO CAMERA SLIDES ON AND CLICKS INTO THE TOP OF TRIPOD STAND BUT IT IS IMPORTANT TO MAKE SURE IT IS SECURE!
THE TRIPODS THREE LEGS ENABLES A CAMERA TO GET A STEADY SHOT OF FLOWING ACTION.
THE TRIPOD IS ALSO HIGHLY ADJUSTABLE AS YOU CAN CHANGE THE LENGTHS OF ITS LEGS.
THE THING STICKING OUT OF THE SIDE OF THE TRIPOD IS USED TO PAN STEADILY FROM LEFT TO RIGHT AND UP AND DOWN.

INTRODUCTION TO CAMERA WORK

IN THIS LESSON WE LEARNT ABOUT STILL SHOT CAMERAS. THE PICTURE ABOVE IS AN EXAMPLE OF A DIGITAL SLR.

RULE OF THIRDS- THE RULE STATES THAT AN IMAGE SHOULD BE IMAGINED AS IMAGINED AS DIVIDED INTO NINE EQUAL PARTS BY TWO EQUALLY SPACED HORIZONTAL LINES AND TWO EQUALLY SPACED VERTICAL LINES. AND THAT THE IMPORTANT ASPECTS OF THE MISE EN SCENE SHOULD BE PLACED ALONG THESE LINES OR ON THE INTERSECTIONS. THIS IS DONE TO VISUALLY CREATE MORE INTEREST THEN SIMPLY CENTERING THE OBJECT IN THE MISE EN SCENE. THE FOUR HOT SPOT ARE THE MOST IMPORTANT PART OF THE PHOTO SO IT IS BEST TO TRY AND FILL THEM WITH THE KEY PARTS OF AN IMAGE THE FOUR HOT SPOTS ARE TOP LEFT, TOP RIGHT, BOTTOM LEFT AND BOTTOM RIGHT.

INTRODUCTION TO VIDEO CAMERA

THE CAMERA THAT WE STUDIED IS CALLED A DP170. TH LESSON TAUGHT ME THAT THE SETTING ON THE CAMERA PLAY A BIG PART IN GETTING A HIGH STANDARD PIECE OF VIDEO FOOTAGE.

THINGS TO BE CONSIDERED WHEN USING A DP170.

1. KEEPING TRACK OF RUNNING TIME- ON THE TOP RIGHT HAND CORNER OF THE SCREEN IS WERE YOU CAN FIND OUT HOW LONG YOU HAVE BEEN SHOUTING IN HOURS MINUTE AND SECOND AND THE NUMBER OF FRAMES TAKEN PER SECOND, 0-24. IT IS SHOWN LIKE THIS: : - - : - - : - - : - -

2. DB'S- SHOULD ALWAYS BE SET TO 0, AS IT WILL EDIT THE LIGHT IN THE SHOT.

3. SHUTTER SPEED- THE HIGHER THE SHUTTER SPEED THE SHARPER THE PICTURE. IF A HIGH SHUTTER SPEED IS USED IT IS GENERALLY USED FOR ACTION SEQUENCES. THE LOWER THE SHUTTER SPEED THE BLURRIER THE IMAGE ON SCREEN BECOMES.

4.LIGHTBULB/SUNSHINE- THIS BUTTON IS USEFUL FOR CHANGING FROM AN INTERIOR SETTING TO AN EXTERIOR. AN EXTERIOR SHOT SHOULD BE ON SUNSHINE, AND AND INTERIOR ON LIGHT BULB. THESE SETTINGS GIVE BETTER PICTURE QUALITY TO YOUR GIVEN LIGHTING CONDITIONS.

5. APERTURE- FOR A DARK SHOT AN APERTURE OF 6.8 AND ABOVE SHOULD BE USED. FOR A LIGHTER SHOT USE BELOW 6.8. THE MOST COMMON CHOICE OF APERTURE IS 6.8

OPENING 5 MINS OF SUPERBAD

After the opening titles run a jump cut is used to identify the start of the film, showing the front of a car at number plate level. A jump cut is an abrupt switch from one scene to another, which can be used deliberately to make a dramatic point. The state of the car suggests it belongs to a student and could possibly be a first time car as it is rusty and old, and in a young persons price range. The music playing also suggests youth.

The camera then tracks upwards slowly drawing the viewer closer to the boy driving the car called Seth. The tracking used creates a relationship between the character and the viewer, it also gives them a main focus. The speed of the track sets the tone in the atmosphere, which is relaxed. For example a fast track would create tension or excitement. The track then ends, showing Seth in a mid shot at a slightly low level.

 This is followed by an immediate cut to a side view of Seth as if the camera was at his side window. This cut is called a cutaway shot bridging two shots of the same subject, the second shot is still mid shot but this time it is at eye level. Seth then turns the music down, telling us that it is diagetic as he can hear it as well as the viewer. He then reaches for his phone, dials a number and places it to his ear. This is then followed by a jump cut to a wide shot of Evan, the wide shot shows the audience his surroundings, in his kitchen. Evans phone rings he answers, the ring tone is also diagetic as both the audience and Evan can hear it. Evan greets the caller, the caller replies, after hearing a section of the callers voice there is a jump cut to Seth. This shows that Evan and Seth are having a phone conversation with each other.

There are a total of off seven cuts between Evan and Seth during their phone conversation. This is called parallel development as the cuts are not short and sharp enough to be called a montage and are fluid. Evan’s shots all remained wide, but on occasion a pan was used as he walks around his kitchen. Following pan involves a camera following a moving object. Except the camera does not follow, it leads, giving space in front of Evan as he walks around his kitchen. The speed of the pan also sets the mood like a track does, and sets a relationship with the character and the audience. Seth’s shots all remained mid shot but there was a change of viewpoint from side angle to a front one.

Another jump cut is used but this time it shows a change of setting. A side on, wide shot view of the front of a drive way with Seth’s car approaching it. The pair are still on the phone. A following pan is used as Seth’s car starts to drive down the drive. Before the Car reaches its destination, there is a jump cut back to Evan in his kitchen. For the first time it is at a mid shot. Evan is putting on his backpack, this suggests he is leaving his current location. He then walks toward camera, also adding to the idea of him leaving his home.

 There is then a jump cut back to Seth’s car, firstly panning as the camera follows the car come to a stop then tracking inwards to draw the audience closer to the action, and giving them a more intense relationship with Seth. The shot still remains wide showing the surroundings of the car. We can see it is parked outside the front door of a house that Evan walks out of, like I suspected. Seth and Evan are still on the phone and the sound of their voices is slightly distorted as they are in close proximity with each other, this is called a parallel sound, caused by the event on screen. A cutaway shot is then used to get closer to Evan as he approaches the passenger door, the cut-away was used to show us the main action on screen. The camera then pans to follow him get into the car, firstly left to right, then downwards. This links into a two-shot, showing the two main characters together, front on at eye level through the windscreen and at mid shot.

A jump cut is then used to show a wide shot of Evans mum walking out the front door, and the camera pans as it follows her walking towards the car, then pans down as she moves her head to window level, Showing her breast in center screen. This shows the main focus in the mise-en-scene. It then cuts back to a two shot of the boys to show Seth’s thrilled reaction and Evan looking at the radio, this suggests Seth’s character. This is then followed by a jump cut to a close up of the radio that Evan is tampering with. Seth slaps Evan’s hand followed by a quick motivated cut. A motivated cut is when a cut is made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible. E.g. Evan’s reaction to being slapped. The motivated cut changed to a side angled, mid, two-shot of the boys bickering. This is then followed by  cut to an over the shoulder shot (Seth’s Shoulder) showing Evan’s mums reaction of the pair of them. A jump cut is then used to show a two-shot of the boys from Evan’s mums perspective. The backwards and forwards shots showing conversation happens a couple more times at the same angles as before. Once Evan’s mum walks away we have a jump cut to a front on mid shot of the boys through the wind screen, Followed by another jump cut.

This jump cut represent a new scene, as it pans from left to right to show the viewers a high school, we connect this school with the boys as this is where they probably attend it also represents there age. Music is also playing but it is unclear whether it is diagetic or non diagetic as soon after there is a  jump cut showing Seth’s car driving along the road, and we can not tell if that is where the music is coming from. The shot of the car is a wide shot and is at a slight angle to the right of the road. The car drives towards the camera then the camera pans with the car, as they turn left in to the car park. The camera stops and the car keeps driving onwards, so the audience gets a rear view of the car driving away. The other intention for the stop is so that the audience can read the sign “ Faculty and staff parking only”. This shows the boys breaking the rules, which suggests what is to come. It is effective how we can still hear their conversation as the boys drive away. It sets the end of a scene well.

 

 

INTRODUCTION TO PHOTOSHOP

IN OUR FIRST LESSON WE LEARNT THE BASIC SKILLS TO GET US ON THE WAY TO BECOMING PHOTOSHOP EXPERTS! THE MORE YOU USE PHOTOSHOP THE QUICKER YOU COME ACCUSTOMED TO HOW IT RUNS AND YOUR WORK WILL EVENTUALLY IMPROVE AND LOOK MORE PROFESSIONAL.

THE BASICS WE LEARNT CONSISTED OF USING: THE DRAG TOOL, FREE TRANSFORM (TO CHANGE THE SIZE OF A PICTURE), SPOT HEALING TOOL, CLONE TOOL, DODGE TOOL, SMUDGE TOOL, BLUR TOOL, SMUDGE TOOL AND SHARPEN TOOL.

IN THE LAST COUPLE OF WEEKS MY PHOTOSHOP SKILLS HAVE ROCKETED AND I HAVE PRODUCED TWO SUCCESS FULL FILM POSTERS FOR THE FILM BLADE AND MY OWN FILM, AFTER DARK . CHECK THEM OUT BELLOW.

INTRODUCTION TO THE STUDIO

THIS WAS THE FIRST LESSON IN WHICH THE CLASS GOT A FEEL FOR THE FILMING SIDE OF MEDIA.
*THERE WAS A THREE LIGHT SET
UP THAT T-K OPERATED.
*A PD170 FILM CAMERA (THE ONE SHOWN TO THE RIGHT) OPERATED BY MILLIE AND BELLA.
* TWO CHAIRS IN CENTER SCREEN FOR AN INTERVIEWER (MYSELF OR GEORGE) AND AN INTERVIEWEE ( ANOTHER MEMBER OF THE CLASS)
*A STEADY WIDE SHOT WAS USED TO GET THE FEEL FOR AN INTERVIEW. THE GIRLS CONTROLLING THE CAMERA HAD TO MAKE SURE THE BUBBLE ON THE CAMERA WAS IN THE CORRECT PLACE SO THAT THE SHOT WAS STRAIGHT.

I REALLY ENJOYED THIS LESSON IT WAS FUN TO INTERVIEW OTHERS AND IT FELT REALLY PROFESSIONAL.

AFTER DARK

DESIGN YOUR OWN HORROR POSTER, USING YOUR OWN PHOTOGRAPHY.


DECONSTRUCTION OF AFTER DARK


I chose to do a two shot poster, due to the story line of the horror film about a girl who transforms into a vampire at night. The two images create juxtaposition as they show the difference between good and evil and the transformation that the young girl takes. The reason I cut around the images and discarded there background was due to wanting them to stand out to the onlooker and catch there attention which is the key intention of an advertisement. The mise en scene black and white shot was originally a wide shot showing the whole body and the photo in the foreground was a mid shot which just consists of the head and shoulders.

The background image is in black and white to show innocence this is also achieved by the angle at which the photo was taken. Plus the photo was taken from above with the girl looking upward toward the camera, which gives an impression of weakness and lastly it size compared to the photo in the foreground suggests insignificance and lack of power. These aspects are completely the opposites to the photo of the vampire which is a large image that takes up most of the poster this makes the image seem powerful and stands out. This is also achieved by exaggerating the redness of the blood, which was actually food colouring. This colour matches well with the background which is a photograph of silk. I chose this material as my background as it reminded me of flames and the phrase eternal flame which connects to the never ending life of a vampire.

I thought closely about the rules of thirds when making my poster, this involves catching the viewers eye in four key areas, top left and right and bottom left and right(point one – four). I placed the girl at point one, the vampires head at point two, the itel and slogan at point three and the bloody hand at point four. Another thing that stands out are the eyes which are near centre in the poster they show that it is not a light hearted film, catch the viewers attention and could also be said to create fear which is the films intention.

I used four different font sizes, for the title, slogan, film company and the director and the actor. I did this to bring verity but kept the same font (silom) and the colour black. I did this as I felt the text would stand out well with the other colours on the poster for example the eye catching red of the blood and background. I placed the texts in the position that I did as they seemed the most obvious place for a large amount of space and does not distract from the powerful image beneath. The position of the title was also a wise choice as it is positioned at point three.

The most important thing in the poster is the signifier giving the viewer an idea of what the film will be about. Without a doubt the signifier in this poster is the image of the vampire. A vampire signified make a person think of images such as blood, teeth, fear, death, danger, immortal etc. I think my poster defiantly sets the tone of After Dark and makes it quite clear what it will be about and its genre.

BLADE POSTER

AFTER WATCHING THE OPENING SCENE OF BLADE IN CLASS, WE WERE ASKED TO DESIGN A POSTER FOR PREP.ON THE FIRST LAYER I INSERTED A PICTURE OF A CLUB, LINKING TO THE CLIP WE WATCHED IN CLASS. ON TOP OF THAT LAYER I PLACED THE VAMPIRE, I FLIPPED IT HORIZONTALLY AND CHANGED THE OPACITY TO MAKE IT SEE THROUGH. I THEN CUT AROUND AN IMAGE OF THE MAIN CHARACTER AND EXAGGERATED THE RED IN HIS COAT. FINALLY I ADDED THE TEXT, I USE DIFFERENT FONT SIZES BUT KEPT ALL TEXT RED SO THAT IT WOULD STAND OUT, LIKE THE INSIDE OF BLADES COAT. I ALSO THOUGHT THE COLOUR RED WOULD LINK TO THE VAMPIRE THEME.

I WAS VERY HAPPY WITH THE END RESULT.

HOPE YOU LIKE IT TOO.

ME WITH FRIENDS

THIS PHOTO WAS TAKEN AT MY OLD SCHOOL ON A WEBCAM. THE PHOTO SHOWS CLOSE FRIENDSHIP AND THAT WE ARE ALL ENJOYING EACH OTHERS COMPANY. THIS COMES ACROSS AS WE ALL ARE SMILING AND LOOK AS IF WE ARE LAUGHING. WE EDDITED THE EFFECT TO BLACK AND WHITE BEFORE TAKING THE PHOTO. THE PHOTO IS ALSO A MID SHOT AS IT SHOWS OUR HEAD AND SHOULDERS PLUS BACKGROUND IS ALSO VISABLE.

MY INTRODUCTION

HEY!
I'M LAURA :)

I'M TAKING AS MEDIA, AND AT THE MOMENT I AM REALLY LOVING IT AND AM EXCITED ABOUT WHAT HAS TO COME. I HAVE ALWAYS BEEN INTERESTED IN FILMS, THIS IS PROBABLY DUE TO BEING A BUDDING ACTRESS. MY FAVOURITE FILMS ARE PROBABLY ATONEMENT AND CLOSER, I REALLY ENJOY BRITHSH FILMS :). IWANT TO FIND OUT AS MUCH AS I CAN ABOUT THE INDUSTRY AND POSSIBLY GO INTO A CAREER INVOLVING MEDIA, IF NOT ON SCREEN BUT BEHIND THE CAMERA AS A DIRECTOR OR PRODUCER ETC. THE THING I HAVE ENJOYED MOST IS WORKING ON PHOTOSHOP, THIS IS PROBABLY BECAUSE I AM QUITE CREATIVE, HAVING TAKEN ART AND FASHION FOR GCSE BUT I DID NOT FOLLOW THIS ON FOR AS.

I HOPE YOU ENJOY READING ABOUT WHAT I AM GETTING UP TO FOR THE NEXT COUPLE OF YEARS :)