Sophie Bennett 1289
Claremont Fan Count School 64680
Welcome to my blog!
I am Sophie Bennett, and I have worked with Agatha Parry 1150, Demi Collins, 1290 and Kate Bradford 1208.
I hope you enjoy my blog, which contains my work on the G321, the titles and openings of a fictional thriller film which I have named "The Unhinging".
My preliminary exercise follows immediately underneath and my evaluation questions are above.
Friday 27 March 2015
PRELIMINARY TASK
Today my group (Demi, Agatha, Kate and I) started our preliminary task.
- our group first planned and made up a short preliminary film
- our film was about 2 police officers/ detectives who have found 2 items that we found at the scene of a crime.
- we had to think of different aspects when filming, such as the use of voiceover, music, editing and camera angles ( e.g. panning)
- to edit we used iMovie, by dragging in the scenes to the part where the software puts together the scenes. When editing we came across a few minor problems, such as editing the scene at just the right time, we also had to crop some of the end bits for each scene. For example, when doing the shot reverse shot we need to make sure that we edited so that there was no background noise, such as doors opening and closing and the camera crew talking over us, so it was important that we didn't have that in our preliminary.
- we used various shots, such as match on shot, shot reverse shot, and over the shoulder shots
- the positives were that we successfully worked well as a team and came up with an idea quickly
- the negatives were that we took quiet long to film the whole film as many people where using the room aswell and so we had to wait. We also had to film some of the scenes a few times in order to get the camera angle just right.
 | |
| screenshot of the making of our preliminary film |
 |
| Editing our Preliminary Film |
FINAL FILM OPENING
Today my group and I completed our film opening. Click the play button to watch the video
Thursday 26 March 2015
FINAL EDITING
Today my group and I were able to finally finish our editing for our film opening, "The Unhinging".
In todays lesson we were able to decide on the font, which was Century Gothic.
We then used these fonts to put the name of the people who were involved in making the film.
When placing these names on a scene we had to ensure that the text was positioned in a way that the text didn't distract the audience away from the action, but at the same time was easily visible and clear to read.
We also finished the soundtrack that we added onto our film. We found a good melody that we used as a basis of creating a mash up. So, when editing our film we ensured that we changed and altered the original soundtrack to make it our own and to make sure that it fits accordingly to the film opening.
Furthermore, we were also able to add in our distributor company, Warp.
In todays lesson we were able to decide on the font, which was Century Gothic.
We then used these fonts to put the name of the people who were involved in making the film.
When placing these names on a scene we had to ensure that the text was positioned in a way that the text didn't distract the audience away from the action, but at the same time was easily visible and clear to read.
We also finished the soundtrack that we added onto our film. We found a good melody that we used as a basis of creating a mash up. So, when editing our film we ensured that we changed and altered the original soundtrack to make it our own and to make sure that it fits accordingly to the film opening.
Furthermore, we were also able to add in our distributor company, Warp.
EVALUATION Q1 FORMS AND CONVENTIONS
1) Suspense is a key code in thriller films. To convey this, the camera quickly pans right as soon as the audience sees India running towards the locked gates. The quick pan emphasises India's haste and rush to run away from her kidnapper. The panning shot prevents the audience seeing India's face clearly, therefore emphasising suspense & uncertainty.
2) A good thriller should engage the audience's emotions. By using camerawork we were able to develop a sympathetic relationship with the protagonist. Here, the mid shot of India trying to helplessly open the gates elicits our fear and pity. A brief tilt pan then focuses on India sprinting up the steps, signalling her urgency.
3) To reinforce the suspense in this thriller film we included an over-the-shoulder shot, with the camera being placed behind the kidnapper. This shot of the antagonist restricts the audience from seeing his face, therefore hiding his identity making him seem more mysterious. The camera was hand-held, therefore denoting a certain kind of realism as it makes the audience feel as though they are part of the action. It also denotes an imbalance and unpredictability. The camera then slowly zooms and tilts upwards, following Jacks movements. A quadrant is evident towards the end of this scene, with Jack taking up two quarters of the screen, whereas India taking up only one quarters. Thus, emphasising Jacks authority, power and dominance. The lighting in this scene is quite dark, therefore creating a sense of precariousness.
4) The mid shot of India allows the audience to see her fear, anxiety and distress as she calls the police. Again, the camera is hand-held to convey a sense of disturbance and brutality. The slight unsteadiness in the camera also denotes India's insecurity and vulnerability. As the camera zooms out, the antagonist comes into the scene, who then raises up a gun in line with India's head. This greatly suggests that India is in grave danger and her life is in jeopardy. Thus, creating suspense and tension for the audience.
5) A point-of-view shot of Jack is used, allowing the audience to be involved in the action. It also gives the perspective of Jack, reinforcing that the protagonist is being watched.
6) A wide shot is used here, allowing the audience to clearly establish the scene and to see India quickly running away from her kidnapper. The audience is unable to see India's face, therefore further building up the suspense and mysteriousness.
7) Here, the camera is directly above the protagonist, who is lying on the ground, still. The camera slowly zooms into India's face to show her cold, pale and lifeless face. The use of a hand-held camera creates a slight sense of dubiousness but also sorrow.
2) A good thriller should engage the audience's emotions. By using camerawork we were able to develop a sympathetic relationship with the protagonist. Here, the mid shot of India trying to helplessly open the gates elicits our fear and pity. A brief tilt pan then focuses on India sprinting up the steps, signalling her urgency.
3) To reinforce the suspense in this thriller film we included an over-the-shoulder shot, with the camera being placed behind the kidnapper. This shot of the antagonist restricts the audience from seeing his face, therefore hiding his identity making him seem more mysterious. The camera was hand-held, therefore denoting a certain kind of realism as it makes the audience feel as though they are part of the action. It also denotes an imbalance and unpredictability. The camera then slowly zooms and tilts upwards, following Jacks movements. A quadrant is evident towards the end of this scene, with Jack taking up two quarters of the screen, whereas India taking up only one quarters. Thus, emphasising Jacks authority, power and dominance. The lighting in this scene is quite dark, therefore creating a sense of precariousness.
4) The mid shot of India allows the audience to see her fear, anxiety and distress as she calls the police. Again, the camera is hand-held to convey a sense of disturbance and brutality. The slight unsteadiness in the camera also denotes India's insecurity and vulnerability. As the camera zooms out, the antagonist comes into the scene, who then raises up a gun in line with India's head. This greatly suggests that India is in grave danger and her life is in jeopardy. Thus, creating suspense and tension for the audience.
5) A point-of-view shot of Jack is used, allowing the audience to be involved in the action. It also gives the perspective of Jack, reinforcing that the protagonist is being watched.
6) A wide shot is used here, allowing the audience to clearly establish the scene and to see India quickly running away from her kidnapper. The audience is unable to see India's face, therefore further building up the suspense and mysteriousness.
7) Here, the camera is directly above the protagonist, who is lying on the ground, still. The camera slowly zooms into India's face to show her cold, pale and lifeless face. The use of a hand-held camera creates a slight sense of dubiousness but also sorrow.
EXAMINAR UPDATE OF TITLES
For the order of credits in a film opening it is determined by guild rules. These are SAG, the DGA, WGA and other unions.
The order in which credits are billed generally follows their importance to the film, just not linearly. First is usually the motion picture company, followed by the producer, then the "a film by" credit. Then finally we see the Title followed by the cast. From there we reverse gears on the whole "order of importance" guideline and work backwards to the director.
1) The production Company presents - in our case "RAZZLE RAINBOWS PRODUCTION" presents
2) A...production - PARRY PRODUCTION
3) A... film - BENNETT FILM
4) Title - THE UNHINGING
5) Lead Cast
Therefore, the list of importance is flipped and work backwards to the most important role of the Director.
6. Supporting Cast
7. Casting Director
8. Music Composer
9. Costume Designer
10. Associate Producer
11. Editor
12. Production Designer
13. Director of Photography
14. Executive Producer
15. Producer
16. Writer
17. Director
As a group, we decided that we would name ever person for each role listed above as we wanted our film opening to look professional and efficient making use of the correct list of credits.
STORYBOARD
Below are pictures of the storyboards that my group and I drew out as part of our planning process.
Subscribe to:
Posts (Atom)