Monday, December 14, 2009

The Editing Process

Stage One:-
After completing our final footage, we digitized it onto final cut server. We then used a 'check-in/check-out' process to get the footage onto 'pro'final cut, after this we looked through our rushes and began to organise them into the appropriate files using time split cut for the right shot. After completing this, we used an audio file of the song and uploaded the track onto our timeline in 'pro'final cut. We used the audio file which was a wap file to not have the file too compressed for best we needed to sync the according shots into their correct position creating flowing and interesting cuts which would compliment the music.
The initial stages of editing were very challenging as we found it hard to create a visually interesting introduction, that would set up the idea of our star image but also work with the music. As the editing process continued, we began to change our initial ideas from our original storyboard. For example, initially we chose to open with a wide of the band. However, as the process developed we wanted to heighten narrative and the sense of journey throughout the piece, therefore we decided to delay the footage of the band as the band would be revealed later and used close ups of instrumentation and then using a zoom out to create this outstanding image of a reveal and open with Ruby (our solo performer) on her own. By opening the song with the image of our star automatically introduces a relationship between her and our target audience, we demonstrated this by using a series of close ups from her body to her face, especially focusing on her eyes. This allowed us to create a connection between the star and the audience.
However, finding a dominant and appealing first close-up was actually rather challenging as we had issues with continuity, for example at times Ruby (the lead singer)didn’t know her lyrics correctly which, when we were creating our first rough cut was difficult to sync correctly and weakened her power over the screen which was crucial in creating her star image.

After the tunnel for our final section, we had our star climb up a helicopter ladder to escape, to create the idea of the travelling upwards we used a reverse tool on final cut pro. However we came across a continuity issue as we had to hide the ladder from the camera. To hide this we manipulated our editing and used a jump cut between a shot of the band watching her leave and her actually escaping on the ladder.

We then used after effects to add in our images. To create the backdrop for the rooftop section we used a layering device to impose the image of San Fransisco onto the blue screen of each section. At the same time we used final cut to create links between each shot making the continuity as accurate as possible. Once completing the image with the backdrop we saved the image onto our sever and replaced each shot with the after effects one. We found this perhaps the most time consuming aspect of our editing process, although it was quite simple, uploading and rescaling each image became quite tedious.

Tuesday, December 1, 2009

Sunday, November 29, 2009

Shooting Our Pop Video

On Thursday 11th November, our media group filmed the song L.E.S Artistes for our pop video, in the Hurtwood House Studios. I felt that our shooting day went really well, we filmed all the shots needed to complete our storyboard and as a group we worked well to achieve really interesting and creative footage.
The cast and crew assembled at 8.50 and instantly the cast went to hair and makeup whilst the crew set the studio up for our first set. We chose to film the roof top sequence first, as this was perhaps our most important shot and we knew it would take time to rehearse the band and set the studio. Once the set and cast were ready, we firstly rehearsed the band and went over how we wanted them to perform the song. After two rehearsals, we decided to start filming our initial shots. We firstly filmed the whole band in wide shot, and then we decided to film a series of close-ups and pans. It took time for the band to warm up therefore; our initial shots weren’t as strong however, with time the band started to really get into and by the end of the roof-top sequence they were on top form. Perhaps, looking back we might have decided to film the roof-top sequence last as the band would be fully ‘warmed-up’.
Once completely, all the necessary shots for the roof-top sequence. We set up the prison sand changed Ruby (the singer’s) costume and makeup, so that after lunch we could instantly begin filming. After having lunch, all the crew and cast met at 1.30 and began to film. I felt the prison set looked particularly effective; when we first filmed the sequence in wide we thought that the bars on the set looked too clean for a prison. Therefore, we decided to use brown paint to create a rustic effect on the bars. The set now looked complete and we decided to re-shoot the wide shot again. After going through ideas and suggestions with Ruby as to how she was to perform the song (head flicks, eye contact, dancing around etc) we began to race through a variety of different shots (close-ups on the face and body etc). I felt that Ruby did really well in the prison sequence because her movements and eye contact with camera created this star-image that we knew was crucial for the success of our video.
Once completing the prison sequence, we quickly changed and assembled the set for the tunnel sequence. This was a lot easier to set up as the tunnel was already prepared and apart from lighting most of the tunnel sequence relies on editing to create its depth and mise-en-scene. After Ruby’s costume change and the set was ready, we began to film the tunnel sequence. I loved filming this section because although it was quite simple to film. It was fun exploring the shots we could use to convey the ‘star-image’ of Ruby. We decided to use a variety of low angle close-ups and slow pans to emphasis Ruby’s dominance over the camera which created powerful and striking footage.
Overall, I felt that our shooting day went really well. I enjoyed playing a variety of different roles from hair and makeup, camera and directing the cast. I felt that as a group we were organised and worked really well as a team to make sure our cast and crew were comfortable and knew what they were doing. Looking back, perhaps we could have had a few rehearsals before our shooting day, so that our cast were fully prepared.

Creating our Storyboard

Once completing our timeline and discussing possible studio layouts. We began to construct our storyboard. We decided to divide the song up into sections with a simple story running through it (a girl escapes from jail, through a tunnel to the top of a rooftop where she then escapes by a helicopter). It took time to construct the storyboard as we knew we needed the camera angles and shots (low-angle close-up on the eyes, hands and lips etc.) to create the powerful star image of our female lead singer. We also wanted the shots of the all male band to further this idea of the female lead’s dominance and power. However, we also wanted to use fast jump cuts and creative shots to emphasis the upbeat tempo and lightness of the song which would enable our band, and the song to appeal to a wide demographic.

Monday, November 16, 2009

Studio and Performance Layouts

Once completing our timeline, we began to look at possible studio layouts which would compliment the song and fit in within our timeline.

















Friday, November 6, 2009

Creating our timeline

After choosing the song L.E.S Artistes, we knew that in order to create a successful and logical storyboard we needed to create a structured timeline. We initially just divided up the lyrics and the music and noted down the times of the chorus, new verses etc. However once completing the basic timeline we noted and highlighted key moments within the song that stood out for an interesting or specific shot to put in our storyboard (for example any drum rolls or important lyrics we wanted to emphasis in our video). Highlighting the key moments within the song will greatly help us when writing our story board as we have a specific and clear structure to follow.

Other Aritsts on Universal Records




Thursday, November 5, 2009

Track Choices, why did you choose that song?

Our group have found choosing a song rather challenging as we have wanted to find a song that would appeal to a wide demographic and still be edgy and young. Initially we were looking at dance tracks for the band's first single such as; Jefferson Airplane’s ‘Don't You Want Somebody To Love?’ and Robin S’ Show Me Love’. We also have been researching songs with a similar band formation to The Escape such as; No Doubt. However, after some debating we have decided to avoid doing a classic dance track or something very well known and chose to look at songs written by less known artists. This is where we have found L.E.S Artistes written by Santo Gold. The song seems to be perfect for our band because not only is the song fresh and unknown, the strong female lead vocals and regular intervals of instrumental incorporates the whole band.

Friday, October 16, 2009

Letter of Permission

inorder to use the track we wanted we sort permission from the record company. however the record company have not replyed. below is the body of the text we sent:



To Universal Music Group

We are a group of A Level students working on an A Level project for a qualification in Media Studies. We are writing to request permission to use the following track as part of this project:

L.E.S Artistes by Santigold

With your permission the track would be used as the accompaniment to a short form video that is made purely for assessment purposes and will have no commercial usage. The video will be viewed only by members of the school community and the assessor of the examination board.

The artist and the copyright holder will of course be fully recognised in the pre-production and evaluation material that accompanies the project. We can also include a full copyright notice if required both in the planning material and on the video itself.

Yours sincerely


Clare Dodkins, Daniel Ash, Alexandra Newton and George Gillies
Hurtwood House School

Wednesday, September 23, 2009

THE SONG: L.E.S Artistes

What I'm searching forto tell it straight,
I'm trying to build a wall
Walking by myselfdown avenues that reek of time to kill
If you see me keep goingbe a pass by waver
Build me up,
bring me downjust leave me out you name dropper
Stop trying to catch my eye
I see you good you forced faker
Just make it easyYou're my enemy you fast talker

Chorus:I can say I hope it will be worth what I give up
If I could stand up mean for the things that I believe
What am I here forI left my home to disappear is allI'm here for myself
Not to know youI don't need no one else
Fit in so good the hope is that you cannot see me later
You don't know me I am an introvert an excavator
I'm duckin' out for nowa face in dodgy elevators
Creep up and suddenlyI found myselfan innovator

Chorus.Change, change, change,
I want to get up out of my skintell you whatif I can shake it
I'm 'a make this something worth dreaming of

Our Presentation














THE ESCAPE


The Escape are a four member band; female lead vocalist Ruby Krammer, Drummer Ross Gordon, Bassist Victor Stromberg, and Keyboard Tymofiy Magdich). The band was first spotted by Universal Records at a bar in Soho whilst they were studying at the London Arts School. As the band are managed by Universal Records who are behind many successful acts including; 50 cent, Black Eyed Peas and Duffy, the company can afford to invest in the band to create a better quality star image. The Escape appeal to a wide demographic with their popular genre of alternative pop and their influences include; Black Eyed Peas, No Doubt, and Florence and the Machine. Their first single to be released in the U.K charts is L.E.S Artistes written by Santi White.

The Brief

Our brief is to produce a portfolio of production work based on the institutional context of the music industry. Our portfolio must include a star image (band or solo artist) and a completed music video (including treatment, story board, costume and editing).

Introduction to Music Industry

Thursday, May 7, 2009

Evaluation Questions

How does the audience feedback on your production confirm or disrupt your intentions for the sequence?
The response from our production of ‘Doll Face’ was really successful and confirmed our intentions for the sequence.
The positive responses showed us that the editing of the shots were very effective in creating an atmosphere within the sequence, one response said they
‘loved the tracking shots and the cuts between the man and girl, really adds to the suspense’.
Also many of the responses showed how the music played a huge part in heightening the suspense of the sequence
‘The music is amazing and adds to the tension’. However some responses highlighted an area of weakness within the sequence that the music at times didn’t fit into the sequence
'I felt the sound was weak and didn't entirely fit with the piece’. If we had more time to work on our production, I would really like to go back to the editing and change a few cuts to make the music to seem more logical within the sequence.
The audience response also commented on the successful acting and how they were appropriate in the context of the horror genre, one response thought we had a
‘Good choice of actors, Simon looks very creepy, as do the dolls which were a well chosen prop’.
Overall the response has really encourage our group as we feel the response has confirmed many of our intentions to create an original, exciting opening sequence, full of suspense and with creative, unusual shots to make the target demographic ‘really like to see the rest’. However, the response also highlighted some of the productions weaknesses including; the linking of the music and one response suggested we could take the mise-en-scene even further, which if we had more time to spend on the project would be great as it would allow us to fulfill more of our intentions within the production.

Friday, March 20, 2009

Evaluation Questions

7) Looking back at your preliminary task what do you feel you have learnt about the progression from it to the finished product?

Looking back at my preliminary task now, after completing my final product only shows me how much I have learnt over the course.
We filmed our preliminary task back in October 2008 and I came to the task with very limited knowledge of the camera and how to create successful shots. However for our first attempt at filming the Preliminary product/task I think we actually did quite well as we used unusual, creative shots including Extreme Close-ups on feet and we had quite a successful focus pull. I think we fulfilled the brief well however, if I was to go back now I would change the use of camera in constructing the mise-en-scene and the lighting we used. Rather than the shots being static, it would have been great to use spider tracks which would have given momentum and drive to the shots, shown in our final product. Also as we only used natural lighting the set looked quite flat, from my understanding of three point lighting I would now only use the back light to create darkness and shadows on the set which would emphasize the thriller theme of our initial sequence.
Furthermore, if I was to repeat the editing of preliminary task I would like to emphasize the ambient sounds (such as the footsteps) by use of Soundtrack Pro. Also as shown in our final product the use of soundtrack is vital in creating suspense and gripping the audience therefore I would like create one for our preliminary task.

The whole process from preliminary task to final product has taught me so much about media technologies, the camera and the variety of skills and jobs within the media industry (from continuity to camera-operator). I hope that I was a successful director in my final sequence; I felt that my team worked really well together and we were organized and prepared for quite a challenging task. I felt I contributed a lot to the group (creating a script, preparing for the shooting day and making sure we were prepared to meet every deadline) and led them in a positive direction.
However, I initially felt a great pressure as not only was my script chosen to be used for our final product but I was also directing too, and I didn’t want to let my team down. Looking back however, I am very pleased with our final product of the opening title sequence of ‘Doll Face’ and have greatly enjoyed the whole process.

Evaluation Questions

6) What have you learnt about Media Technologies from the process of constructing your product?
HARD WARE: Shoot Day
I found the shooting day really enjoyable, professional and it taught me how to successfully operate a camera (Sony DV2000). (Refer to blogs posting Monday, February 9, 2009-Shooting Day).
Whilst shooting I also learnt about 3-point lighting and the use of Redheads and Blue Gel to remove the orange tungsten bulbs in order to make the shot look realistic and how lighting subtly changes mood and reflection.
The technical skills I felt I learnt from the shooting day were; how spider tracking contributed to shot construction, how lighting affected both interior and exterior shots and how definition contributed to the mise-en-scene production.
SOFT WARE: Editing
I felt I learnt a lot about the digitalization of film and learned how to construction meanings through the process of editing. (Refer to blogs posting Monday, March 2, 2009-Editing Production)
The process of editing has taught me how to create time lines by cutting and logging shots, create effects including dissolves, insert credits and create an audio file. Therefore I now feel confident in an editing suite and am now fully aware of the functions of final cut.

Evaluation Questions

5. How did you attract/address your audience?

If we were to distribute our product of ‘Doll Face’ and market it properly, we would need to attract our audience through standard and viral marketing techniques including; posters (billboards), social networking sites (the character of the doll-maker might have a facebook page) to the promote soundtrack and the plot, trailers, websites (similar to http://www.rorysdeathkiss.com/ which was used to promote Christopher’s Nolan’s 2008 Batman: The Dark Knight), blogs, you-tube postings, merchandise (T-shirts and toy dolls) and organised events to promote the film

If we had time I would use this wide shot of the candle being waved in-front of the doll’s face for one of our posters because not only is the image dark, it portrays a key theme of our film (the representation of women through dolls) and the dominance of the candle over the dolls face reflects the vulnerability of the victim.
A possible tagline we could use with this image is ‘What Doll shall you play with today?’ as not only is it gripping but it suggests the idea of possession and people hiding behind disguise.



This image could also be used for a poster as the image is an unusual low angle shot and the doll being raised up high, suggests that dolls have a key role to play in the film, which in Doll Face the doll plays the key weapon for our protagonist

Evaluation Questions

4. Who would be the Audience for your Media Product?

The typical target audience for our media product ‘Doll Face’ would be teenagers from fifteen plus because the horror genre appeals too many teenagers enjoyment of being scared and our cast is young therefore the audience can recognise and empathise with the central figure of the girl, as they may be dealing with similar issues. Also we chose a doll to be a weapon of the protagonist which is an everyday childhood object therefore the films represents the sinister aspects of childhood, and allows us to subvert the audience response as dolls are often seen as cute playthings whereas, in our film dolls are represented to be evil and possessive objects, which should be avoided.

Evaluation Questions

3. What Kind of Media Institution might distribute your Media Product and why?

Our production company: Limited 2009 produced the independent low-budget film Doll Face in 2009. The categorising of Doll Face being an independent low-budget is because; the cast we used were unknowns, we used pre-existing locations (such as the interior of a mansion house, the exterior of a garden and the interior of a workshop) and our company was responsible for the whole product (shooting, editing, creative design and directing) therefore we didn’t rely on any external agencies to assist in our final product.
Our film was an un-commissioned piece therefore our finance situation was limited, we constructed the budget on available resources and allowed £15,000 for the one hour film including location, cast, costumes and editing production (alone our opening/title sequence cost £1, 000). However if we were able to distribute our product I think the company Arrow Films offers the most appropriate distribution network because they distribute in British low budget horror releases, that have a limited release date within London and the South East and within two months release onto DVD.

Evaluation Questions

2. How does your Media Product Represent Social Groups?
In our media product the social groups we presented were; young women, predatory middle-aged men and the representation of women in the form of dolls. We classified these groups through dress, tone of voice, behaviour, movement and appearance.

For the young-women we chose an actress (Sophie Wilson) who is quite, small and petite with a fresh young pretty looking face and portrayed innocence. This is a very stereotypical representation of women in horror films, as typically women are seen as weak characters in vulnerable situations against a predatory male, for example in the opening of Wes Craven’s 1996 Scream a young innocent looking girl is attacked whilst being alone in her house. In our opening sequence we dressed the actress (Sophie Wilson) in a pink fluffy dressing grown to emphasize to the audience her innocence and vulnerability which would juxtapose with the costume of the Scary Doll-Maker who we dressed in a big black jacket and dark trousers.
For the scary Doll-Maker, we chose a middle-aged actor (Simon Wallis) who was broad and tall, to represent a typical predatory male which is common in most horror films (including James Wan’s 2004 Saw). In our opening sequence, we wanted a tracking shot of both the young girl and the Doll-maker walking to show the contrasts of Victim and Predator. We asked both the actors to have completely different behavior and movement; for the Doll-maker we asked our actor to have a rather dominating stance (shoulders back, clenched fists), we also wanted his movement to look unusual and slightly robotic to suggest that in some way he was disturbed. This contrasted with the body language of the young girl which we thought should use soft gentle movements and wide eyes to emphasize to the audience her naivety.

Also whist filming we wanted to portray these representations through the shots we choose. For example in the workshop, we used close-ups of the doll-makers hands to show how he dominated over these very small dolls which in-turn creates phallic references (stroking the dolls face and body and dressing the doll) suggesting that he could have dominance and control over young women as well.
Furthermore, in our opening sequence we showed the representation of women in the form of dolls. In the workshop we chose a variety of different looking dolls all however, were small, pretty and had a slight glazed look over eyes. We wanted this glazed look to suggest to the audience the idea about how things can become possessed.

Evaluation Questions

1) In what ways does your media production use, develop or challenge forms and conventions of real media productions?

Our product is a two minute opening/title sequence from the short independent film ‘Doll Face’ released in 2009 directed by Clare Dodkins. The plot is about a women becoming possessed by a china doll (given to her by a stranger) after tragically miscarrying a child. Once becoming possessed she loses all her family and friends and in attempts to escape her problems becomes a violent murderer and in the final sequence the doll is laying next to her when she kills herself.
The target audience for the product would be fifteen plus, although we utilized dominant conventions of Horror Films in our film including; a female victim in vulnerable situations (similar to the opening sequence of Wes Craven’s 1996 Scream, in which a young girl was chased and murdered), violence, fear, possession, death and the use of inanimate objects with strange powers (dolls).The plot at times is quite challenging therefore the target audience needs to be older to understand its complexities, therefore I would suggest a 15 certificate.
The music we chose for our opening sequence also conforms to many horror films as we used orchestral music and discordant notes similar to the opening soundtrack of William Friedkin’s The Exorcist released in 1973 which uses elements of the 1971 Cello Concerto by Polish composer Krzysztof Penderecki, as well as some original music by Jack Nitzsche. Also in our opening sequence we tried to use creative and unusual shots including an interior pan to reveal strange disfigured dolls and a blurred focus pull to create confusion and build suspense.

However not all aspects of our product conformed to stereotypical horror films. The doll we chose was female, pretty and looked innocent with blonde hair, pink rosy cheeks, big eyes and red lips, when in fact it plays the main evil protagonist of the plot. The lighting we chose in our opening sequence was very naturalist (for example for the workshop we only used one point lighting in the direction of the sunlight) compared to other horror films which usually use dark lighting (for example William Friedkin’s The Exorcist released in 1973). We wanted minimalist lighting to increase the reality of our horror film.

Tom Holland’s 1988 American horror film Child’s Play heavily influenced our plot as similar to ‘Doll Face’ the film used a strange inanimate object (doll) to be it’s main protagonist however in Child’s Play, Chucky (the doll) was actually a murderer whereas, in Doll Face the doll is merely a visual reflection of the women’s psychotic state of mind after tragically losing her child. (http://www.youtube.com/watch?v=UDV-DVWUvrA)
Overall our media production uses both the stereotypical forms from the horror genre (atmospheric music, victims and death) but also challenges these forms (as our main protagonist was a female doll).

Thursday, March 5, 2009

DOLL FACE: THE FINAL CUT

ANALYSIS OF OUR FINAL CUT

DENOTATION OF THE FILM:
Shot One: Black screen and white printed font ‘Limited Productions’
FADE INTO:
Shot Two: Mid-tracking shot of girl walking up the stairs
CUT TO:
Shot Three: Wide exterior tracking shot of man walking through a forest
CUT TO:
Shot Four: Mid-shot of girl opening a door
FADE IN:
Shot Five: Black screen and white printed font ‘A Clare Dodkins Film’


PARTIAL DISSOVLE OF LETTERING INTO:
Shot Six: Exterior establishing shot of man walking through the forest
CUT TO:
Shot Seven: Black screen and white printed font ‘Sophie Wilson’
PARTIAL DISSOVLE OF LETTERING INTO:
Shot Eight: Interior low angle long shot of girl holding onto a sink
CUT TO:
Shot Nine: Interior wide-shot of a dark workshop
FADE IN:
Shot Ten: Black screen and white printed font ‘Simon Wallis’


PARTIAL DISSOLVE OF LETTERING INTO:
Shot Eleven: Over the shoulder mid-shot of girl looking into the mirror
CUT TO:
Shot Twelve: Extreme Close-up of doll’s face being painted
JUMP CUT TO:
Shot Thirteen: Over the shoulder mid-shot of girl applying makeup
JUMP CUT TO:
Shot Fourteen: ECU of a hand stroking the dolls face
JUMP CUT TO
Shot Fifteen: ECU of women applying lipstick


FADE IN:
Shot Sixteen: Black screen and white printed font ‘Original score by James Tunstil’
PARTIAL DISSOLVE OF LETTERING INTO:
Shot Seventeen: Close-up of doll being painted
CUT TO:
Shot Eighteen: Eye line shot extreme close-up of women applying mascara
CUT TO:
Shot Nineteen: Extreme Close-up of man sewing
FADE IN:
Shot Twenty: Black screen and white printed font ‘Production Designer Tom Leader’


PARTIAL DISSOLVE OF LETTERING INTO:
Shot Twenty-one: ECU of nail polish bottle being opened
CUT TO:
Shot Twenty-two: Mid/high angle mid-shot of man piercing doll’s body
CUT TO:
Shot Twenty-three: Close-up focus pull on doll and women’s face
FADE IN:
Shot Twenty-Four: Black screen and white printed font ‘Executive Producer Sinead Melloy’
PARTIAL DISSOLVE OF LETTERING INTO:
Shot Twenty-Five: Handheld close-up of the dolls from a raised angle

FADE IN:
Shot Twenty-Six: Black screen and white printed font ‘Producer Mortiz Riewoldt’
PARTIAL DISSOLVE OF LETTERING INTO:
Shot Twenty-seven: Eyeline close-up of dolls face
FADE IN:
Shot Twenty-Eight: Black screen and white printed font ‘Director Clare Dodkins’
PARTIAL DISSOLVE OF LETTERING INTO:
Shot Twenty-Nine: 120 degree pan to the right of dolls

JUMP CUT TO:
Shot Thirty: Eye-line ECU eyes lift up to the camera
JUMP CUT TO:
Black screen and white printed bold font ‘DOLL FACE’

CONNOTATIONS SUGGESTED FROM THE FILM:
· The actress used (Sophie Wilson) was small and petite with a fresh young pretty looking face, suggesting her innocence and vulnerability of a victim. Also she is dressed in a white fluffy dressing grown which greatly juxtaposes with the costume of the Scary Doll-Maker who was dressed in a big black jacket and dark trousers to suggest the predatory male.
· The use of red in the sequence (nail polish and lipstick) suggests the idea of death and blood
· The use ECU’S and close-ups of hands create phallic symbols (stroking the dolls face) and suggests how the man dominates over dolls and in-turn will dominate over women
· The use of quick jump cuts creates pace and tension within the sequence

Monday, March 2, 2009

Editing Production

We began editing our rough footage on Wednesday 21st January. Before editing we needed to understand the software in which we were using, Final Cut Pro. Final Cut Pro is only available on Mac OS X, the software means you can log and capture video onto a hard drive, which can then be edited and processed.


Final Cut Pro has a variety of applications which are vital in creating a realistic and effective film. The software has a variety of standard editing functions (ripple, roll, slip, slide, scrub, razor blade and time remapping), it also has 99 audio tracks, a range of dissolves, basic 3D transitions, colour correction filters, mulit-cam editing and video and audio filters(keying tools, mattes and vocal de-poppers and de-essers).


After understanding the software, we initially began to look through our rough footage. After playing the footage a few times we began to digitalize (log) and select the shots that we wanted to use. This process was quite challenging because as a group we needed to agree unanimously on which shots we thought were more successful. Some shots were clearer than other to discard, for example one of exterior tracking shots wobbled, two of the focus pull shots were out of focus and due to the lighting continuity in the workshop many of our shots were either too bright or too dark. However not all the shots were as easy to discard, as at times our mistakes seemed to create an interesting shot, for example the focus pool we chose was not actually perfect and slightly blurred but in the context of our sequence, the shot looked effective as it created a confusing and un-nerving atmosphere.

Having chosen the shots and putting them into categories (exterior walking, interior workshop and interior bathroom) we began to put our chosen shots onto a timeline. We needed to make sure that between shot A to B there were Graphic (configurations, patterns of light and dark, line shape, volumes and depths, movement and stasis), Rhythmic (adjusting their screen duration and creating a steady rhythm) and Spatial (relating two points in space through similarity, difference, or development) relations between each shot.

Once creating a timeline of shots, we began to put in our credits. We chose an unusual, bold font on a black screen which would capture the audience’s attention and fit in the stereotypical genre of horror films. We then used fade in and dissolve to make the cuts look clean.After completing our credits we wanted to make sure that the footage and credits were polished, effective and created a successful narrative flow. After completing our footage we needed to find music that would heighten the atmosphere and create tension within the sequence which would compliment the genre. Luckily we showed James Tunstill (a music teacher at school) our film and he agreed to compose some music for us, which we then loaded onto Final Cut Pro and put on top of our footage..

Monday, February 9, 2009

Shooting Our Horror Opening Sequence

On Wednesday 14th January, our media group set off to Send to film the opening title sequence of our horror film. I really enjoyed filming and the day taught me a lot about the importance of organisation and being able to work as a successful group.
Our brief was to construct an opening title sequence of a horror film. We chose the location due to the gothic interior and the surrounding land was eeire(due to the isolation of other houses) which I know to be appropriate from my research for a generic horror product.
My role on the day was Director, I found this a challenge as i needed to be focused, organised, make decisive and on the spot decisions and direct the group in a postive way by the listening to their suggestions. I thought I was quite a good director and our group seemed to work really well toegther however I think as director I could have improved on my time keeping as at times I felt underpressure that we were running late to complete the shots.

Our Shooting Timetable for the day

Arrive at location 9.30

10.00 Set up lighting-3-point lighting (using RedHeads and Blue Gel to get rid of the orange tungsten bulbs) and looked around location

Shoot bathroom scene 10.00-12.00

Reraranged lighting

Mores bathroom shooting

Shoot corridor scene 12.00-1.00

Lunch break 1.00-2.00

Recce outside 2.00-2.15

Assebmled track outside 2.15-2.30

Shoot outside scene 2.30-3.15

Moved lighting from inside the house to the workshop 3.15-4.00

Shoot workshop scene 4.00-5.30

Packed up equipment and drive back to Hurtwood 5.30-6.00

Overall i found the shooting day really enjoyable and taught me about the operation of the camera (Sony DV2000).
INTERIOR: In the bathroom interior shots we were able to achieve successful and appropiate framing devices. Simularly in the workshop interior we were able to achieve successful P.O.V shots of the doll maker with a hand held camera which i found really fun to shoot and looked really effective in editing. However whilst shooting in the workshop we found it a struggle keeping focused on lighting continuity as the diffused lighting was becoming dimmer within the course of two hours, which whilst editing was quite a challenge to overcome. Also at times many of our shots were out of focus such as the focus pull with the women and doll due to the lacking experience of the camera operater. If we had more time I would like to re-shoot a couple of shots to improve the texture of the mise-en-scene.

Wednesday, January 21, 2009

Horror Film Research: SCREAM




Scream is a 1996 film directed by Wes Craven and written by Kevin Williamson. The film revitalized the slasher genre in the mid 1990s, similar to the impact Halloween (1978) had on late 1970s film, by using a standard concept with a tongue-in-cheek approach that successfully combined straightforward scares with dialogue that satirized slasher film conventions. The film features many teen idols of the time, including: Neve Campbell, Rose McGowan, Skeet Ulrich, Drew Barrymore, Matthew Lillard, David Arquette and Courteney Cox Arquette

Horror Film Research: The Happening


The Happening

The Happening is a 2008 American apocalyptic horror film written, co-produced and directed by M. Night Shyamalan. It stars Mark Wahlberg and Zooey Deschanel. Production began in August 2007 in Philadelphia.
Box office performance
On its opening day, The Happening grossed $13 million. Over the weekend, the total gross came in at $30,517,109 in 2,986 theaters in the United States and Canada, averaging to about $10,220 per venue, and ranking #3 at the box office, behind The Incredible Hulk and Kung Fu Panda] Foreign box office gross for opening weekend was an estimated $32.1 million Total gross for that weekend was $62.7 million. The total gross of the film as of September 17, 2008 stands at $163.3 million.

Horror Film Research: REVIEW


Review on the Ruins
'An ambitious feature film based on a popular novel by Scott Smith came out in cinemas a few months back. The flick — which follows a small flock of young tourists on a deadly jungle jaunt as they become overrun with vile vines — bowed to mixed reviews, but overall fans of the novel were satisfied by the horror the invasive vines wrought. I am not saying it's a bad trip overall, but the intense, histrionic antics of the terrified characters contrasted with the inherent silliness of the setup does the otherwise competent cast a disservice.

Although the movie was rated R, Paramount Home Entertainment has miracle-growed the disc version, offering up a no-holds-barred unrated experience, complete with more skin, added gore and a truly different — and more downbeat, yet thoroughly ridiculous — alternate ending. I wish I'd had time to see The Ruins again, unfettered, to know if it hit my funny bone as hard the second time around, but unfortunately I was only able to watch it with the commentary by director Carter Smith, and editor Jeff Betancourt. Fortunately, their remarks and observations are quite interesting, given the material.

While Smith kept saying, "We were hoping it wouldn't come off as comical," I couldn't help but chuckle. And to be honest, I can't help but recommend this DVD to all horror fans — whether you're like me and think it's entertaining in its overly-earnest approach, or if you really do find the premise scary, there is no denying it's a well made film (kudos on the practical effects, the natural light stealing cinematography, and the meticulous attention to detail). Besides, wicked weeds are all the rage right now (see: the commotion-starting plant in Wall*e, the soul-sucking flora in The Happening, and the terrifying tree monster in Hellboy 2… can Chia Pet: The Movie be far behind?).

Smith and Betancourt's commentary helps point out some of the subliminal nuances (such as Mathias — a character whose legs will soon be thwacked off — dancing happily on the beach, the night before), and the fact that in the book it's based upon doesn't actually have any ruins in it and they were added to aid in the film's visual impact.The pair talks a bit about test screenings, and how they allowed themselves to be guided by that (personally, I think too many producers in the kitchen may have ruined this dish… but then again, the studio is king and if they want to meddle in a first time director's debut, they will). Smith keeps fairly mum, but Betancourt says test screening comments help him as an editor, so he knows where the static moments are, or when a character gets too redundant.'

MY PRESENTATION