Pilot

This is the pilot thriller we made today as part of the development process. This short pilot is aimed to help us realise our capabilities and any potential problems, and mainly just bring our idea to life a little bit. Of course, this pilot is on a much smaller scale to what our final film will be and is both filmed and acted by the group instead of using a cast at this stage. Nevertheless it is another step making our project happen. We followed the our storyboard and manage to have it finished within a lesson. I'm sure that the basic elements of a few of these shots will be seen in the final thriller.

Final Storyboard...

With only a short period of time before the execution of our thriller, we had to sit down as a group and finalise our storyboard. This meant we reviewed previous storyboards and made necessary adaptations. The storyboard gives us confidence going into the shoot as at this stage it is the only physical thing we have relating to our thriller, but it gives us something to work from, a guide we can revert to. We are almost certain that we will include shots in our thriller that aren't on the storyboard but they will come spontaneously during the shoot when we have an eye for where we are shooting.

The Big Decisions

With our thriller shoot soon approaching, now felt like the right time to review our idea and make any big decisions that were necessary. These decisions may appear rather futile but can make a big difference to the entire feel of the sequence.

The first of these was raised by Adam (Teacher) in a production meeting when we were analysing our idea. It was suggested that one of the bullies was in fact a girl. Adam thought that this would be interesting as it just makes the entire scenario much more embarrassing for the boy. I initially agreed with this as I felt it removed from the brutality of the scene and instead replaced it with just a boy who is being put to shame. However, when it was suggested that we actually make the girl the most horrible and violent of the bunch it changed my mind. Seeing this behaviour from a girl if anything increases the brutality of the situation as it gives us an idea of the hostile environment that the boy is living in.

Another decision is whether a sugar glass bottle should be used to smash over the boys head. We had seen this done in other pieces and thought visually it might look good. However, culturally we felt this was the wrong kind of violence to what we were trying to portray. After all these are teenagers and the type of violence must reflect that. We thought this was the act of drunk men in a pub rather than urban teenagers in a skate park and it detracts from the realism of the piece.

The final major decision of the sequence was whether we would have an extra scene at the end. In terms of the narrative it was suggested that we could have a scene at the end in with the boy returns to his home bruised and bloodied and yet is drunk father offers him no sympathy. This scene would give the audience more of an insight into the boys life. However, I felt this was too much insight and gave the audience too much narrative for the opening sequence. Also, we have planned to finish the sequence with the boy lying on the ground. This felt like a very natural way of ending the sequence as well as also being pleasing aesthetically. To then start a new scene in a different setting before we even see the opening titles would detract from the flow of the sequence.

Product Research: Kidulthood

 

Kidulthood is another example of a film based upon urban British culture that also features bullying and violence. This in particular is relevant to us as it is a more modern representation than anything else we have seen so far. It also introduces the idea of cyber bullying with the phone. This is possibly something we could incorporate into our opening sequence to give a representation of the modernity of the situation and represents the form bullying can take today. It also shows many good examples of modern day dialect and slang, which is something we will have to ponder.

Product Research: Barnardo's Advert 2

This is another Barnardo's advert made earlier than the last. This is different to the other advert as it actually shows footage of domestic issues instead of just dialogue about it. This also uses music to juxtapose what is happening in the mise en scene which something that we are interested in. This creates an interesting mood for the audience as it stills the action in a way and  creates more sympathy for the character at the heart of it.

Product Research: Banardo's Advert

This is a very well made Barnardo's advert that was released two years ago. Despite not resembling our sequence filmically, this advert captures excellently the troubles of a teenage boy that is vulnerable and alone. In one of the younger versions he speaks of bullying and a slightly older we can see he has anger and  violence issues. These are two factors that mirror the protagonist of our film. In the opening title we see him bullied and then in relation to the rest of the film he goes on to have issues with anger and ends up in a young offenders institute. We can draw inspiration from the way this advert creates sympathy for its leading character.

Product Research: 'We Are From Venice'

This is a former media music video entitled 'We are from Venice' made by some past A2 students from my college Hurtwood House. In its camera work, this video has captured what we want for our opening title perfectly. The shaky camera and fast pace is superb, combined with the mise en scene in terms of the dingy location and urban looking costumes. We want to make a sequence that is threatening in the way that this is.

Product Research: 'Green Street Hooligans' 2

This is a later scene from the same film 'Green Street Hooligans'. The main factor that I would wish to draw from this is the way the director has chosen to use music to juxtapose the events of the scene. This is something I would be interested in doing, using sad and slow music ad then paring it with horrendous violence. Of course the violence in our scene would be not nearly as harrowing as in this one, but the effect of the music would be the same.

Product Research: 'Green Street Hooligans'

In this scene from 2005 film 'Green Street Hooligans' that depicts the modern state of football hooliganism in England. However, in terms of its violence it is something great to work from as it is filmed in such an appropriate way for its content. When the violence begins the camera work becomes very shaky with no shot held for a long period of time. The instability is purposeful as it disorientates and goes as far as is possible in putting the audience in the scene. This is something I would like to emulate with our sequence, as well as a similar setting if possible. Also, as I already knew of this film, it was from this scene that inspired me to include the 'credit card in mouth' action or 'Chelsea Grin' into our first storyboard. It is a gruesome action that would cause the audience to grimace.

First Story Board

Today we spent the lesson constructing our very first storyboard for our thriller. Storyboarding is a hugely important task as it gives us a definite and clear idea of the way in which we plan to shoot our thriller. It helps in making sure that everyone in the group understand the concept. However, it can sometimes be difficult translating an image of how something looks in your head onto paper. This is a first draft of many before our final storyboard. It is understandably rough. However, it is a move in the right direction and proves that our idea is developing practically.

'Wimbledon' Opening Title Analysis

Coopers choice of music in this sequence is very appropriate. It is light and playful representing how this is not a film to be taken too seriously, being a 'rom-com' after all. However, there is a monotonous tone to the music which could easily relate to the protagonist of the film, an ageing professional tennis player who has fallen out of love with the game. Over the top of this track is a consistent noise of a tennis ball being hit reinforcing how the sport is at the centre of the romance that will soon occur, and actually proves to be the stumbling block in their relationship.

The mise en scene emerges with a simplistic black screen with credits appearing on opposing sides of the screen after one another in time with the noise of the ball. Not only does this maintain the attention of the viewers eye by constantly moving their point of focus but it also relates to the game of tennis and the way in which the ball is hit to opposing sides of the court. We then see various time lapses of clouds moving across the sky. This helps establish the summery atmosphere of Wimbledon as an event, especially when followed by cuts of still images of tennis crowds. The clouds moving constantly could represent the constant flow of the protagonist life, reinforcing how he is getting too old - a prevalent theme in the film.

In terms of camera the sequence largely consists of shots of tennis audience members. Cooper does something interesting by playing footage of a crowd watching the ball fly across the court and then cutting back to the start of the same clip to give the impression that they have watched the ball go back. The cuts are concordant with the soundtrack creating something rather comical. This reinforces that it is a comedy by setting the mood right from the opening sequence. The short length of cut could easily convey the short length of career in professional sport, something that the central character is coming to terms with in the film.

This is not only a very well made and original opening sequence, but also is a fine example of Kyle Cooper's versatility as a filmmaker. There is very little that is similar in this sequence to the previous two analysed. This is the reason why he has and is still have such a successful career, he has the talent to adapt his skills to various different genres and still produce a suitable and effective opening sequence.

'Wimbledon' Opening Title Sequence

'Spiderman 2' Opening Title Analysis

The trailer starts with just music. The music chosen by Cooper is ominous and appears as though something important is coming. It is not written in the minor key, but does have a dangerous sense of grandeur. After starting with just violin, it picks up later in the sequence with more instruments and a quicker tempo therefore creating excitement for the oncoming movie.

In the mise en scene, we initially see the classic marvel trademark appear on screen. This establishes that it is a movie originating from the Marvel series of comics. This in itself acts as a pre-sold element as the film already have a audience based in the fan base of the comics. Doing this also establishes a relationship with other Marvel films suggesting to the audience that if they like them then they will like this too. There is also of course a strong theme of webs throughout the sequence which separates different shots. Not only does this have obvious spider connotations but also relates to the way in which comics are separated by lines. This reference back to comics is reinforced by how the shots replicating those from the previous film are sketched. The majority of the film has a red colouring. This relates back to Spiderman's iconic costume but also infers that danger is coming.

The editing and camera work correlate heavily with one another in this sequence. There is very little if any cutting in the scene. This creates a constant flow of motion which of course relates to Spiderman as a character and the way he flies through the air. This fluidity is reinforced by the camera work. Not at any point is the camera in a fixed position which aids the audience in feeling as though they are soaring with the films protagonist. 

Like all good opening sequences should, this one is not only visually interesting but is also in keeping with the themes, plot and identity of the film. However, unlike some others it gives very little away as to the plot and heavily relies on it's music and motion to stimulate the audience. 

'Spiderman 2' Opening Title

'Se7en' Opening Title Analysis

Possibly the most immediately obvious feature of Kyle Cooper's critically acclaimed Se7ev opening title sequence is his use of music. The soundtrack for this sequence is instantaneously unsettling. It is in the minor key and is slow, it creates a sense amongst the audience that something bad is always about to happen. Sound effects have also been added for effect. There are metallic clicks that could possibly be the turning of a safe lock, the first reference of a crime being committed. There is also various different high pitched screeches which resemble that of a human in pain further enhancing the morbid feel of the sequence. Part way through the sequence the beat of the music notably picks up that brings the sequence to a climactic end.

Cooper uses camera to engross the audience in his sequence and the actions that are asking place. Throughout the entirety of his sequence Cooper uses very acute angles that are mostly ECU's.This therefore, makes the work of the ambiguous man seem even more intricate and personal. It also in some cases makes what he is dealing with not immediately obvious. This ambiguity only increases the enigma of the scene and forces the audience to question who he is and why he is doing this. Cooper also in no way adheres to the 180 degree rule. This in some cases may disorientate an audience member as the camera angles switches from one side of the man to the other. However, this is completely intentional as this sequence is supposed to be ultimately unnerving.

 

Cooper's use of editing and mise en scene in this opening title are undoubtedly what makes it a masterpiece. The mise en scene is constantly filled with objects and actions that have strong connotations to crime such as the tearing of skin to remove fingerprints. However, nothing more than the mans hands ever enter the frame meaning that his identity remains unknown, therefore encouraging the audience to show interest in what is to come in the film. Cooper purposely uses dim lighting that has sinister connotations. He also experiments with shadow and its movement across the frame in order to withdraw details. Throughout the duration of the sequence we also see the credits arise. The font of the credits is messy and reckless which could be a representation of the featured character. It also resembles the mans handwriting from the paper he is writing on reinforcing the link between them.

 

The topic of the credits then brings us to Cooper's editing decisions. The text somewhat flickers after first making an appearing in the frame. This allows it to move position and even change size. The text is never on the screen for too long before disappearing. This makes the audience feel as though they have seen something they shouldn't have, which relates to crime and witnesses. This short duration of screen time is also reflected with the general cutting of the sequence. No shot is held for more than 3-4 seconds. This adds pace and intensity to the sequence and once again may disorientate the viewer and only allow them a glimpse of the horrific details. Cooper also inserts drawings or writing that fill the frame. These only arise for a second and the correlation between them and what is happening is unclear. However, they appear to have been scribbled frantically and naturally arise suspicion in an audience that is now keen not to miss anything.

 

The fact that this sequence was so well received is no surprise. You would struggle to find a better example of a piece of filmmaking that combines the four elements in such a precise way so that they complement one another without the audience even being aware. As well as this, the sequence outlines the major themes of the film without giving anything away and establishes a mood for the film to build upon later.

'Se7en' Opening Title Sequence

Kyle Cooper Demo Reel

Kyle Cooper: An Introduction

Kyle Cooper (51) is a highly rated title sequence designer from Massachusetts, USA. After graduating from Yale University where he studied graphic design independently with Paul Rand, Cooper then went on to work within the field of motion picture title sequences. He established himself with his work on film Seven (1995) staring Brad Pitt and Morgan Freeman. This work received critical acclaim and the New York Times Magazine hailed it as "One of the most important design innovations of the 1990's". Since then Cooper has gone on to direct over 150 film title sequences and has also breached the walls into the worlds of gaming and television advertising. Cooper has also broadened his web by being the founder of two of his own internationally recognised film design companies 'Imaginary Forces' and 'Prologue Films'. His work establishes the title sequence as a fundamental and more importantly interesting element of a movie. His body of work communicates dynamism, versatile and genius and goes a long way in helping establish the creating of a title sequence as an art form in itself.

Exterior Inspirations

Now that we have settled on a final idea we can start to explore exterior sources for inspiration. This could involve watching films specifically based upon advise and review or drawing inspiration from films I have personally already seen. This type of work is on-going and will continue to help our idea develop so it can expect to be seen throughout the course of my blog.

After compiling our first storyboard and understanding our concept their were two films that personally jumped out to me that bore resemblance to it. These were ' Green Street Hooligans' (2005)directed by Lexi Alexander and 'This is England' (2006) directed by Shane Meadows.

Both of these films I had seen before and stood out to me as sharing a similar identity to what we are creating. They are both independent films, and despite 'Green Street Hooligans' actually being made by an American production company, they both are centred in urban English areas that are represented in strong ways. This relates to the personal struggle of our protagonist who has been give a tough start in life being from a rough area and having unsupportive careless parents. Both of these films contain a hefty amount of violence. This mirrors our film as our protagonist is beaten up in the opening sequence. Much like Warp Films 'This is England' our film is one that wouldn't necessarily have a very definable target audience, something that is characteristic of a British film production company. However, it would have a extremely definable personality and gritty sense of realism much like 'This is England'. This would be its USP.

In terms of the opening sequences of these films, much like ours the protagonist in 'Green Street Hooligans' is making a journey from one place to another, a common feature in opening sequences. However, with 'This is England' the opening titles consist entirely of legitimate television footage from the era in which the film was set. This is of course to acclimatise the audience to what was happening and possibly convey so cultural and political messages before the film has even started. This has given me some ideas to possibly add something similar into our opening sequence, or perhaps even just a cut away to his family in other locations. However, this requires more thought.

First Storyboard

After our initial production meeting, the group had following meetings in lesson time. It was at this point where Adam (teacher) would join us allowing him to offer his thoughts on the way the idea was developing. After telling him that we had settled on our political thriller idea based around a assassination, he immediately disagreed as he much preferred the idea following the life of a young, unsupported boy who is beaten up by a group of bullies on his way home from school in the opening sequence. We analysed the potential of this idea and where it could go and after lengthly discussion agreed that this is in fact the idea we will move forward with. The main reason is that Adam helped us to understand how first idea was very 'American' and could have easily been done before. Where as with the other idea, he felt it was much more a British idea and had more personality because of that. This is of course a huge change in direction but it is better to make it at this stage rather than further down the line.

After settling on a final idea, now came the task of starting to storyboard.  Storyboarding is a hugely important process that takes an idea from the brain into something of substance and gives everyone in the group some clarity. It took us approximately two hours to create our storyboard with pictures for each shot accompanied by a detailed shot description. This gave us a chance to work out our key shots and where we could include important elements such as music and slow motion. This is of course only the first draft and will almost certainly be subject to change, but I am glad that we have created a solid base for us to work upon.

What is a Thriller?

As we will be creating opening sequences to our own thrillers, it is useful for us to know exactly what a thriller is. It is difficult to state a clear definition of a thriller because thrillers cross over many genres. Some of these genres include horror, political, sic-fi, crime and many others. Sometimes these genres can combine with one another to make something called a hybrid. Thriller revolves around anticipation and suspense. The aim of Thrillers is to keep the audience alert and on the edge of their seats. The protagonist in these films is set against a problem - an escape, a mission, or a mystery. 

Some of my favourite thrillers include Argo (political thriller), Pulp Fiction (crime/drama thriller) and Vantage Point (political thriller).

As you can see, I personally am fond of political thrillers as they create a interesting environment for dramatic conflict and in no other genre is status utilised so well. This may explain why my first idea and the idea we have thus far chosen to go with is also a political thriller. 

'The Shining' Opening Sequence Analysis

The sequence opens with the display of the Warner Brothers trademark. This is a hugely established corporation and a pioneer of modern cinema. This immediately adds credibility to the production. Next we have an establishing helicopter shot that lets the audience know where the story is taking place. This shot hovers over a lake with a small island in the middle. This echoes the theme of isolation that will later resonate in the movie. Also, this shot and others in the rest of the sequence make it quite clear that we are in the middle of nowhere, disconnected from civilisation. After this we move to a birds eye view. It is in this shot in which we first notice the car. However, because of the height of the shot the car looks minuscule. This therefore reinforces the idea of loneliness in comparison to the great size of their surroundings that we cans see. It communicates to the audience that whoever is in this car is vulnerable. I feel one of the main purposes of this sequence is to establish the fact that someone is making a long journey into obscurity. The place and reason for this journey is not established to the audience which obviously leaves them questioning as to who is in the vehicle and why they are making a clear effort to travel to this secluded place. To establish something simple yet leave important and interesting information is a device for intriguing the audience and a wise decision from a seasoned director such as Kubrick. We then see further helicopter shots where the camera is brought up in closer to the featured car. The car is a light shade of blue, which isn't a colour which conveys anything particularly sinister. This is in fact a theme that runs through the entire sequence. The surroundings though they may seem vastly secluded are very picturesque and beautiful, and not at all lacking in vibrant colours. The shots though they are moving, do not seem threatening and the cutting between them is smooth. However, the element that really makes this sequence is the soundtrack. The ominous and dark music completely changes the complexity if the sequence and instils unrest in the viewer. If you were to watch the sequence on mute you wouldn't guess it was a horror movie but the music gives a strong impression that something sinister is about to occur. Rolling credits then start to appear on screen in a slightly chilling blue. The font is completely simple and to a contemporary audience this may seem dated but me must not forget that this is a movie made over 30 years ago. The font size and screen time is the same for the title of the movie and the name of it's star Jack Nicholson. This suggests that they value his performance and are using his name to help market the film. This is by no means a ordinary horror film opening sequence but through his use of music and camera work Kubrick manages to unsettle the audience while also hitting at some of the themes of the oncoming film.

'The Shining' Opening Sequence

'Dont Look Now' Opening Sequence Analysis

Another opening sequence we analysed in class was 'Don't Look Now', a horror film made in 1972 by Nicolas Roeg. This is a very well made opening sequence that naturally creates unrest within the audience most notably with its editing. We were told to focus upon the editorial elements of the trailer.

The sequence opens with a shot of a lake that is being rained upon. This holds for a matter of second before than zooming in close to the water and lets the title appear. There is nothing particularly interesting about this water meaning the only reason for keeping it on screen fro so long would be that it will later become significant in the film. We then experience a cross fade to a shot of what appears to be some window blinds with sun leaking through them. This accompanied by only the humming of an unseen man. This creates an element of enigma as the audience don't know where they are and who the man they can here is. It leaves us asking questions on seconds into the trailer. This then cuts to the same setting as we saw the lake. However, it is no longer raining heavily communicating that it is now a different day. Here we see a small girl wearing a red jacket. The colour red immediately gives connotations of danger and may also relate to the fairy tale of Red Riding Hood essentially based around a young girl being lost and in danger. We also see what is assumed to be the girls brother playing separately on his bike. A white horse also runs across the girl. This gives a theme of purity and is perhaps something that would be ridden on the way to heaven. There is also a shot in which e see the girl and her house in the background. This demonstrates to the audience how far she actually is from a responsible adult further conveying how she is in a dangerous situation as she is playing near water unattended. However, these signs are juxtaposed by the non-diegetic music we hear which is light and very similar to a lullaby. On its own this music would be pleasant but when paired with the footage it certainly creates a feeling of unrest amongst the audience as if something scary is imminent.

We then cut to indoors where we see a man and woman indoors. The woman is sat by the fireplace reading while the man is examining slide on a projector. The man and woman despite appearing to be a couple are not presented as having a strong relationship. The are not sitting at all close to one another, the woman is shown with her back shown to the man for a very long period of time and the director has also avoided using two shots with them both in the frame to give the impression they are not close.

Over the next minute or so the director chooses to cut between the two scenes as we see the couple talking and the girl playing with a ball outside. At one point when returning to the girl the director chooses to use a shot where we only see the girl reflected through the water. This means that it looks as though she is in the water, this foreshadows what is to come. There is also an interesting and repetitive use of match cuts, where actions in the two settings are mirrored. For example, the fatally throws her ball in to the water before cutting to the man throwing his cigarette packet to the women. The young boy runs over some glass on his bike just as we see the man accidently drop his glass and spill water over his slide. This gives the impression to the audience that there is perhaps a link between the two places. The fact that the boy runs over some class also offers him a distraction meaning he will unaware of any danger that his sister may find herself in.

After spilling water on his slide we then see a close up of the previously focused upon red figure start to run and stain the slide. This running red liquid of course connotes blood but also relates to the girl outside. The audience may have previously questioned early whether the red figure in the slide is in fact the girl. It was made clear that the director wanted us to focus on the figure earlier in the sequence as we saw and eye line match as the camera panned so the figure filed the frame. After seeing this, the man appears to have a supernatural epiphany as we see how he believes his daughter to be in danger. He then precedes to walk out of the house to find her. We see a shot of the little girl falling into the water. The fall is in slow motion and is very stylized. The man continues to run towards the lake as he sees what has happened. He then dives into the water to save her. It is here when we return to slow motion to see the man lift the girl out of the water. Once again this is very stylized as the lighting is darker. The director actually breaks the 30 degree rule here as he makes cuts between short distances of the man. However, I perceive this to be intentional as it disorientates the audience in the climactic moment of the sequence. We then see the man exclaim a colossal 'NO!. Unfortunately to a modern audience this is quite amusing because of the way this has been mocked and stereotyped since the film was made. This does remove some of the seriousness but tom its original audience it would have been quite effective. Furthermore, the curvature of he girl around the mans body strongly resembles the curve that the red stain ahs taken on the slide further emphasising the link between the girl and the ambiguous figure.

'Dont Look Now' Opening Title

First Production Meeting

In today's lesson we as a class were allocated a entire hour long period to hold our first production meeting, after having been split into our groups for our upcoming Thriller projects. I was put in a group with Arabella and Brandon respectively. In the lesson we were instructed to discuss ideas for our videos and if possible result in choosing one. 

We initially decided that it would be best to give each member of the group time to deliver all four of their own ideas, from a task that was given to us the previous week. Doing this allowed us to try and visualise each sequence from the description of the group member. Firstly, a good idea should engage and appeal to us. It is only after that we should ponder the logistics of the idea and whether it is feasible. A balance between these two is good. After hearing all twelve ideas we realised we would have to narrow them down in some way. We initially decided to do this by narrowing down the sixteen to three different ideas that we all agreed that we liked. These were;

1. My political thriller idea in which a president of Russia is poisoned mid-speech and consequently dies on the spot.
2. A sequence in which a girl is followed on her way home by a stalker, we see the shots through the eyes of the stalker.
3. A film based around the life of a troubled teenager where in the opening sequence he is jumped and severely beaten up by a group of bullies, only to return home to parents who barley acknowledge this and tell him to stop being so weak.

We could see that these ideas are all completely different yet despite this all feasible in terms of shooting. Next came the task of choosing our final idea. Neither of us could decide upon an idea conclusively so we thought that the most simple, diplomatic way to solve this was by creating a pros and cons list for each idea. This offered a visual clarity on what was good and bad about each idea. 

1. Pros - This is an idea that immediately looks fresh and original compared to others. It hasn't been done before and has a very unsettling and dramatic element to it.               

       Cons - We have a lack of adults at our disposal for shooting meaning that show of the audience during he speech would become difficult.

2. Pros - In terms of logistics, this sequence is easy to shoot with no foreseen complications.

       Cons - It lacks originality in it's story line. It is predictable and will have been done before.

3. Pros - It is a scene that could visually be really interesting and could be shot in various ways using quick cuts and slow motion.

       Cons - It hasn't been entirely thought out, especially in relation to the rest of the film. 

When looking over the pros and cons as a group we could clearly see that no idea was without its faults. So in the end it came down to a vote based on which idea we found most exciting and interesting as individuals. Through this process, we settled on idea one as it was something we all felt was unique and could be effective if done well. This vote was conclusive with every member of the group voting for the first idea. When telling Adam, our teacher, the news he was less confident being more of a fan of idea three as he was weary of the potential filming issues with idea one. However, as a group we all felt we were capable of the challenge and decided to do number one. Of course, we are still in very early stages of production and this decision may be subject to change but it is reassuring to know that we have other ideas to fall back on. Thus far, I am happy with the way the group have worked in concordance with making the best possible sequence being each persons priority.

Initial Thriller Ideas

As we are now embarking on our Thriller opening sequences we were told to invent ideas for four film ideas in their entirety and then explain what the opening sequence for that film would be. These ideas not only had to be creative but also feasible for what we could achieve in only one day.

1. It is a political thriller. The plot is based around an independent anti-government organisation who reek havoc by anonymously assassinating various world leaders in order to gain power. We follow a highly specialist police team faced with there most difficult challenge ever to identify and capture the organisation before the world is left without power or direction.

The title sequence will be set in a public speaking/conference room (theatre) that is lit strategically so that the size is not obvious. This is to make it appear bigger than it is. In the centre of the stage there is a podium and there is a row of photographers crouched in front of an audience of government officials and senators. On the back wall is a Russian embassy flag. There are several establishing shots before an adult emerges wearing a suit. He is suggested to be the prime minister of Russia and proceeds to give a speech in which he gesticulates heavily. No diegetic sound is heard but there is some classical music playing over the top which contrasts what is about to occur. We see various different shots going close to his face and from behind him facing the audience. Mid way through his speech the prime minister goes to take a sip from some water on the podium. Only seconds later this appears to have an immediate effect on him. We experiment with extreme close ups of the way his facial expression changes as well as those in the audience. We then have a shot with the camera on the floor as we see the prime minister fall to the floor in slow motion and then his mouth starts to foam and purple veins emerge from his head. His eyes remain open in a piercing look as he is now dead. The music stops at the same time as the screen goes black to create a sudden and definite end before the title of the film appears on screen from a fade.

2. The film follows the life of a man who as a child was declared medically insane and a danger to society after committing a horrific crime as a teenager. We follow his struggle through a young criminals institute and then the challenge he faces after rehabilitating himself and becoming a successful scientist completing astounding work as well as starting a family of his own. It is the aim to challenge the resolve of the audience and create controversy as to whether they root for him or not as he is neglected by society for his past convictions despite do no harm any longer.

We see an establishing shot of an empty looking school later in the evening. We then have a pan across a mundane looking classroom to then see a teacher tied to a chair with his mouth gagged and a bloody gash to his head. As soon as the teacher comes into shot music starts, that is dark and murmuring. The camera then continues to pan round until we see in the corner of the room a boy (15) sharpening a pencil with a razor blade sitting on a chair staring intently at the teacher. He is sitting next to a tall lamp that is flashing on and off as it was used to smash round the teachers head. The boy is wearing head phones. There is a extreme close up to his face where he see his gaze. The teacher opens his eyes and begins to orientate himself at which point the boy removes his headphones making the sound decrease as we realise that the music was what he was listening to. He then walks around to the teacher and starts a monologue in which the audience learn that he is a very intelligent student who has massive scientific potential and enormous pressure from his farther. We learn from him that he is a reserved and shy boy who was wrongly put in detention. This amongst other things has caused him to snap which is why the teacher is in this position. After establishing the scene, his character and bringing the audience up to speed he then stabs the teacher in the chest and lets him die. The actual stab does not have to be seen. Then a cleaner walks past outside the room, sees what has happened and continues to run away in panic clearly going to tell someone. We see her run away in a over the shoulder shot of the boy before he then turns on himself to face the camera and expose his numb yet menacing expression. The screen then cuts to black.

3. A drama/thriller based on the life of a middle aged heart surgeon who is enduring a tricky divorce and starts to have a midlife crisis with quite extreme anxiety issues. He then gets caught up in quite a public court case after losing a patient due to improper surgery caused by his excessive shaking and nerves. Will he or won’t he be convicted of manslaughter?

The scene will be a flash-forward to the event where he loses a patient. It will be set in an operating theatre and lighting will be specifically used to darken most of the background meaning that minimal medical props are needed. The lighting will be bright and impactful to covey not only the sterile environment but the high intensity of the situation. The majority of the shots will be based around the man in attempt to avoid the patient as of course there are limits in terms of prosthetics and make up.  We will see an extreme close up of the man as sweat drips down his brow as e is becoming stressed and starting to shake mid surgery. The beeping of a heart monitor will be a constant throughout the scene. This beeping will suddenly alter because of a jerk from the man. We will then get reactions shots from other nurses as they tell him to stop operating and let someone take over. He snaps back a refusal as he wasn’t to prove he is ok. The beeping then changes to a long constant to show the patient is dead. We have a close up on the monitor to show this.

4. This is a crime thriller based around one of the world’s most successful assassins. The assassin is characterised by the fact that he has only one hand. Over the course of the film we follow his journey to understand that despite being paid to kill he is an good man simply making a living, who has a family and kids who believe he is a well-paid banker. The assassin of course makes enemies and these enemy’s put his family in danger and put him to the test.

This is a far more traditional opening sequence where effectively nothing is revealed, similar to Se7en. The sequence displays various different mini scenes in which miscellaneous people suddenly are killed. Their murderer is never revealed and is seen at most in a shadow. The only thing we ever see of him are his hands, or hand more specifically. Many of the shots are POV to put the audience in the assassins shoes and give the sequence and edgy archaic feel. The music throughout is highly paced and not overly morbid, yet it does have dark undertones.

 

Coursework Defined

Video

Preliminary exercise: Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.

Main task: the titles and opening of a new fiction film, to last a maximum of two minutes.

All video and audio material must be original, produced by the candidate(s), with the exception of music or audio effects from a copyright-free source. Both preliminary and main tasks may be done individually or as a group. Maximum four members to a group.

Preliminary Task

Second Edit

This week we had our second chance to edit in the suite. We would once again be working on our preliminary task. At the start of the lesson we were instructed that we would only have this lesson to complete the task and if not then we would have to leave as much or as little that we had completed. This added a certain element of pressure to the lesson as everybody wanted a finished film.

We immediately separated into our groups in which we had been working with for about four weeks now. We then set about loading up our half edited videos and 'checking out' them from the schools hard drive as we had learnt the week before. Similarly to the second time we filmed, the entire process ran far smoother this time as we had done it all before and there wasn't anything more we had to learn at this stage. 

While continually swapping in order to allow everyone a chance to edit, we set about cutting together the rest of our preliminary task. This was more simple straight from the start as our footage was already categorised into our 'rush bin' and 'log bin'. We sped through the remainder of our footage problem free,  only stopping to consult one another on editorial decisions which we could all agree made the most sense. These including being quite specific in what shots to cut from and too to gain the right mix between making them appear seamless yet also not to keep reusing the same shots therefore lowering the interest. 

However, just only 20 minutes before the end of the lesson when we were in the process of inserting our last clip we realised we had a problem. In our film our storyline was based around a completely ambiguous argument in which I storm out. The audience then realises that the argument was based around Phoebe not being able to turn on the projector on the ceiling. However, we realised that we didn't have a transition shot from her watching me leave the room and then trying to turn the projector on. This left us with a jump cut that just looked unsettling for the audience as there was no showing how she got there. Looking through all our footage we realised there wasn't much we could do to compensate for this. We couldn't even revert to the wide as we shot the scene and the end shot on different takes. After discussing this with Matt, the only thing he could suggest is that we zoom in on Phoebe's over the shoulder shot as she watches me leave meaning that she is longer in the mise en scene. Therefore this gives her a theoretical chance to change her position and try to reach the button. This helps the audience piece the action together meaning we can include the projector shot so that our film was not completely lacking in meaning. However, this did also mean that the shot we zoomed in on was left extremely blurry compared to the others. We were not at all happy with this but it was the best thing we could do with the footage we had.

After all, this process is supposed to be a learning curve and everyone in the group learnt first hand the implications you can have if you don't cover all possibilities and get enough footage to help yourself with problems in post production. We completed our preliminary task which is the main thing and we will take this knowledge into future tasks so we don't make the same mistakes.

'Kill Bill' - Burial Scene

'Kill Bill' Burial Scene Analysis

This week we started to look at the implications and effect of sound. A great place to start is with a scene from Quentin Tarantino's action movie Kill Bill. In the scene main character Beatrix is hammered into a coffin fully conscious by her enemy played by Michael Madsen.

The scene starts with full light. We establish that Beatrix is within the coffin and incapable of releasing herself with a group of men nailing in the lid of the coffin. We see extreme close-ups of each nail as it is hammered in reinforcing the threatening nature of the situation. Throughout this section we hear a western genre, stylised whining sound. This old fashioned and classic sound is juxtaposed with the rather contemporary storyline. Not only is this use of music classic Tarantino as we can see in some other of his films such as Django but it may also connote that this is old style face off resembling one you would find in a Western, despite this being a full throttle action film. One notable part of this song is where it the tune goes down in the scale, possibly representing how she will soon be falling down into the earth. The song also has a undeniable sense of finality and grandeur. This could suggest how it is Beatrice's last defeat, and how her end is nigh.

Along with the close-ups of the nails we also hear the sound of the nails being suppressed into the wood of the coffin. This happily overpowers the music at certain points not allowing the audience to be distracted. The diegetic sound induces more reality into the scene and helps the audience to imagine this horrific situation. The light we can see within the mise on scene corresponds with the nails being hammered in. The light goes completely out when the last nail is hammered. Something else noticed is that the sound of the final nail is actually louder than those that preceded it. When combined with the cutting of light to total blackness and the instant stop of the music this has quite an impactful effect on the audience. It is not something they would necessarily see coming. It once again reinforces the idea of finality.

After this big moment the audience is left with complete darkness. Leaving the audience with a black frame is a dangerous move from a director, especially considering the amount of time this is for. Doing this runs the risk of loosing the audiences attention at what is a crucial part of the plot. With no visual stimulus the audience could become distracted remarkably quickly and are therefore not engrossed in the action. This means, that the sound is now relied upon to maintain interest. The worrying sound of the final nail and the halting of the music is met by a whimper by Beatrix. This then subsides leaving only her intense and heavy breathing. This solitary yet griping sound demonstrates to the audience how she is now alone and beyond help. In actual fact the lack of image increases the interest and focus of the audience. If an image were to be shown then realism would be sacrificed and the audience may even be questioning why we can see her if there is no source of light. The lighting makes the scene entirely realistic and the sound of her frantic struggle puts us there with her, we are forced to imagine this happening to ourselves. This naturally gives us a sense of chill and unrest. It works perfectly. It is bold decisions that only a few directors would take and it is this sort that makes Tarantino differ from the rest. In each of his films we can find at least one editorial, or scriptural decision that most would shy away from.

For a series of minutes following the initial shock we hear sounds which the audience can easily detect to be that of moving Beatrix's coffin and lowering her int the ground. At this point we still can't see her on screen yet because of the accuracy and detail of this sound, it is almost as if we can. We pair her cries with our own image of her being shaken by the unsympathetic transportation of her rivals. As an audience we listen with intent to try and decipher what is happening. Without an image the sound is the only element we have to arouse our focus. By this sound we are lead into a few moments of utter silence, before the crush of soil hits us as it does Beatrix. This is a strange moment often featured in horror films where the audience share the fear and shock with the characters. This reinforces how the director wants his audience to feel what Beatrix feels, at the same time that she feels it. This drop is then followed by further crashes of earth each time the impact and volume slightly decreasing as it would in reality. This also shows how step by step she is being further removed from life and therefore her chance of survival. Eventually, Beatrix turns of the light of her torch finally giving the audience something to look at. However, this is not something that has been missed.

This is a master class and perfect example of how sound can be manipulated in order to choreograph the way an audience will feel. Despite being in a packed cinema, I wouldn't be surprised if each member of the audience feel just as isolated as Beatrix when watching this scene.

'The Shining' Opening Sequence

Our First Edit

This weeks practical lesson involved the class being integrated with yet another timeless practical skill; editing. We were taken up to the schools filmmaking sweet where Matt(media teacher) gave us a short brief about what we would be doing in the lesson. He explained how all the footage from last weeks filming lesson had already been downloaded onto he schools server and was ready to be edited.

For the next 45 minutes, there was a two and fro between Matt demonstrating how to complete a certain task on the editing software and then us completing that task with each filming group sharing a computer making a communal process. The software that we used was Apples Final Cut Pro. This is a well know and respected editing software known for its speed and easy to use layout. Despite its reputation it is rarely used for things such as feature length films with Avid being the preferred software. Despite this it is used with some such as award winning film True Grit. However, this film had a relatively short space of time between filming and release so quick editing was needed which is why Final Cut was chosen.

Some of the simple things we learnt in the lesson was the essential skills needed to cut a shot scene together well. The first of these was all about the ability to organise your footage. With a lot of footage from a shoot being organised with it is essential to not getting confused and also saving time. Organisation is done using 'Bins' which are literally files that you can create which will duplicate pieces of footage and store it. The first was a 'Rush Bin'. This is where you put all the raw footage that hasn't been edited in anyway yet. It is useful as it is something you can always revert back too if you are not happy with what you've got or you have accidently lost some footage. From the 'Rush Bin' we can then sifter through our footage to find what clips we are interested in using for the film. The ones we think we will use we then transport to the 'Log Bin'. With this technique we know have a clear distinction between raw footage and footage ready to be edited.

After this came the actual editing process which I found far more simple than initially anticipated. After quite a detailed demonstration from Matt we then set about doing it ourselves. The software displays two screens, one where you can see the clip you are currently editing and one where you can see the film in its entirety. Below this was then a timeline detailing the changes between clips and sound. Simply you choose a clip from the log bin before then cutting it appropriately and then dragging it down to the time line to slot in with the rest of the film. If you later discover the cut was not accurate enough you can click on the clip in the timeline and then re-cut it on the first screen. After this you can then view it on the second screen to ensure you have changed it correctly.

The element of the editing that I actually found most challenging was just the decision element. When looking through our footage as a group we had to analyse the shots and decide what we thought the best order would be, and also at which point we should make our cuts. This raised debate when the group discussed whether we thought it would be boring to watch if we had three head and shoulder shots consecutively. To combat this we reverted back to our wide shot to apply variation.

On the hole I was very satisfied with how the lesson went. A skill that had seemed very technically overwhelming in fact wasn't so bad.



Above: The Final Cut Pro Layout
Below: Me, editing in the suite yesterday.

Opening Sequence Analysis Presentation

Skyfall opening sequence harrry from hurtwoodhousemedia5

Filming The Preliminary Task

Yesterday, the class completed our preliminary task. This included shooting a very basic scene that has been reproduced by the school for some years for this task. The sheet contains a fairly detailed storyboard documenting the simple dialogue and required shots. These shots included a wide shot, close ups (head and shoulders) on each of the two characters to feature in the scene as well as over the shoulder shots for each. The dialogue was specifically ambiguous therefore allowing us to construct our own meaning and intention for what was being said.

Firstly we were separated into groups. I was with a group including Phoebe, Kate and Arabella. This was good news as they were the people I had worked with when doing the other filming tasks. Although we don't have much filming experience thus far, familiarity and comfort with other members of the group would certainly prove helpful as Matt has told us that making films is "10% doing stuff, and 90% communication." Firstly we set about creating meaning in our scene. Myself and Phoebe volunteered to act in the scene. We decided that it might be quite comical if we made the argument a over-dramatic argument about how Phoebe couldn't reach the on button for the projector. Similar to last week the story for the sequence is not really relevant as at this stage its all about gaining practical experience but the group was all happy with the idea. We then as a group analysed the storyboard and made a rough plan of the order of shots that we would do. At this point we realised that we could do two completely different shots without even moving the camera. The significance at this level is minimal but at a grander stage the ability to do this on a real shoot will save the crew having to move all the equipment an extra time therefore saving time and consequently money.

We then started to shoot. The first shot we went for was a wide. We shot the entire scene in the wide first. This is common as if something appears to be wrong in another shot when editing you can always revert back to the wide and it will still make sense, it will just be slightly less exciting. Before shooting we of course made all the necessary checks such as white balance and focus. We also started to use the filming terminology as instructed and just like we were told it did feel more natural this time. Also we gained more of an appreciation of how using the terminology would minimise people making mistakes as it means that everybody is in tune with everyone else. Communication increase cohesion.

 

After shooting the wide we then cancelled them off the sheets and went for the close-ups. As said earlier we could actually shoot these without moving the camera. All it took was a simple zoom using the lens and it immediately appears as though the camera is far closer. Close ups will always ben important for making films as it gives the audience a chance to be impacted by the facial expressions of the actors. They will often be used at times of emotional climax in scenes for intensity but will very rarely be used for a long period of time so that they don't sacrifice their effect. Myself and Phoebe took over filming when doing each others close ups to give us a chance to operate the camera when we weren't seen in shot.

 

Finally, we took on the over the shoulder shots. This involved moving the camera and in some cases laying down markers for the actors to walk into to prevent them ruining the shot. These were done impressively quickly. Over the shoulder shots give the audience a chance to see the characters perspective without having to go into a POV and consequently loosing some of the surroundings. As the group finished with quite some time to spare we decided we would stray slightly from the story board and add a shot at the end of Phoebe's hand desperately and comically trying to reach the projector button.

 

Overall, I was very happy with how the group worked. Of course I am yet to see the footage but we worked very quickly, hopefully without loosing any quality. Obviously there were times of distraction and laughter in the group but at the end of the day these practical experiences are supposed to be educational but also fun.

 

*The storyboard we were given for the task.

*These are photos of us completing the preliminary task.

Initial Filming Experience

In this weeks practical media workshop we had our first opportunity to actually use the cameras. Eventually in this lesson we would be constructing our own filmed scenes without dialogue but first we had to educated on a few more rules and customs of filming in a professional capacity.

First of all Matt (one of the schools filming practitioners) split us in to groups of four and then trusted us with the task of taking the cameras out of their cases and erecting them on to their tripods. Thankfully all of us managed to retain this information from last week and managed to do this without a need for query. Then Matt on his own demonstrated the kind of thing that we would be doing in our groups. He filmed a very short scene, in which he walked into shot, stoked a plastic bird, picked up a remote control and then left. He showed us the way that this should be filmed from various different zoom lengths and angles in order to have numerous options when editing and also make the scene more complex and interesting when finished. For example, when editing if you were to find out in post that one of the shots was unusable, then it would not be the end of the world as there would be others that you could use to construct the scene. As for the other reason, the scene would be quite numbing for the audience if it was all filmed from one shot. Using different shots makes it more diverse and all together more watchable. During this demonstration, Matt also told us about the terminology that is protocol when filming professionally. Some of these were;

‘Stand by’ – When the director of a production is ready to start shooting he will shout 'stand by'. This call must then be echoed by relevant members of the crew and those who don't make input to assume their positions and remain quite. People who should repeat this are the camera man to mark up the shot and prepare for filming and the sound man to put the boom into position and make sure the microphone is ready.

‘Roll Camera’ - This is obviously what the director will say to the camera man when he requires to him to cue rolling. The camera man will often reply with 'rolling' to affirm the command has been understood.

‘Cut’ – This is obviously an iconic part of film making and one that barley needs explaining. The director will shout this when he is happy that the scene has finished or something has happened which means the crew need to 'reset'. It is very important that the crew only stop what they are doing after the director shouts this do avoid mistakes that may later occur in post.

‘Continuity Person’ – A continuity person is script supervisor, who keeps track on parts of the film that has been filmed. This individual notes any deviations between what has been filmed and what appears on a script. Also, he or she keeps track of props and blockings, in addition to ensuring there is continuity from one shooting to another.

After picking up these little industry phrases we then took our group of in to a secluded area of the studio to shoot our small scene. We had a very quick brainstorm where we decided to shoot a scene in which I walk into shot, sit down on a sofa at which a girl is sat, I then attempt to woo her and she comically stands up and walks away. Of course this material is not exactly Oscar worthy but that was not the intention with this exercise. It was simply to familiarise the group with the most basic of techniques for film making. The story was practically irrelevant.

We then got under way with our filming. We assigned roles for each member of our four person group. We had a director, camera man and two actors. I volunteered to be one of the actors. We then started to shoot the scene. We started from a wide and filmed the whole scene first before going in for head and shoulder shots and even an extreme close up to emphasis the comical facial expressions at some point. For continuity reasons we laid down markers during the process. Here we could notice how we would put what we learnt last week into practice in terms of focusing and changing the white balance. We were also continuously reminded to use the terminology we had been told about. Despite feeling slightly silly doing this it will soon become second nature.

After being allowed around fifteen minutes do this Matt called the groups back so he could one by one plug our cameras into the television so everyone could watch their groups footage back. This gave us an opportunity to see what we did well and what we didn't. For the most part what our group produced was very promising with considered angles that were all filmed cleanly. This workshop was satisfying and provided another step in becoming experienced film makers.

First Camera Tutorial

The first practical lesson of our media course featured the group visiting one of Hurtwood's filming studios. This was a blacked out room bearing a green screen wall and various different filming equipment. We were first given an introduction by Matt, a strong figure in the schools media department. It is him and a few of his colleagues who would be teaching and aiding us in a practical sense throughout the duration of the course.

After introducing himself, Matt then introduced us to the bulk of the equipment we will be using in our first year. The first of these was the tripod. We unpacked it from its package and were told how to construct it, and the intricate ways it could be moved and would therefore move the camera. Then of course came the camera. We were told that in our first year we would be using a Sony NX5 (pictured above). The NX5 is a HD camera that is very capable and can be used professionally but in comparison to others is fairly cheap. We were carefully instructed on how to correctly mount the camera onto the tripod and the way that it could be maneuvered. After this came a various different tutorials on the basic camera functions and the ways of operating its most basic features. The first of this was obviously how to switch the camera on which was with a button situated to the right of the eyepiece. Most of the buttons are well labeled so if you are to forget exactly which one you are to press it is not the end of the world. We were then told of the extendable and adjustable screen that erects from the camera which you can use if you prefer this to the eyepiece.

Next came any filming cameras most basic traits aside from recording, to zoom and focus. The controls to both these features are defined wheels on the lens of the camera only a couple inches apart. These were pretty much self explanatory to use. You adjust the camera’s position using the handle to the tripod, zoom in or out by turning the wheel to a distance you are happy with and then turn the second wheel until subject is in focus. As long as you remember which of the two functions is further away and which is closer then you should have no trouble. One extra switch Matt old us about away from the lens was the MD filters. This is a slider positioned on the side of the camera with three modes. With each mode it is like the camera putting an extra pair of sunglasses on. It is a ay of shading the camera from light if there is too much affecting the shot, it simply dims it down slightly.

The final thing we learnt how to do was changing the white balance on the camera. It was explained that changing the white balance is an essential part of obtaining a warmer looking shot with richer colours. Matt pointed out how in some of our frames the colors looked slightly pale and blue. Changing the white balance is a way of counter acting this. Firstly you must zoom in on something that is completely white so it fills the whole frame. Then we used the brightness wheel situated furthest back on the lens to adjust the brightness to make it as white as we possibly could. You then press the button entitled ‘WHIT BAL’ on the left hand side of the camera. There is a slight flashing on the screen for a couple of seconds before a change occurs. After this you can then zoom back out and refocus to find that the whole frame has been made much warmer and more aesthetically pleasing with the traces of blue being changed to oranges. Of course the things we picked up in this workshop are the most basic of features but it is these that we are likely to use every time we pick up a camera and will hopefully become second nature to us.

Semiotics - Denotation and Connotation

Connotation and Denotation are two principal methods of describing media texts. Connotation refers to the wide array of positive and negative associations that most things naturally carry with them, whereas denotation is the precise, literal definition of something.

These two definitions can prove very useful when analysing a media text. It is advised to possibly make a denotation/connotation grid separating two areas. The first area (denotation) would simply identify what is happening in the mise en scene specifically, for example there is cut to a close up of a cigarette lighter. The second area (connotation) would dictate what meaning or message we could draw from that such as the lighter will later become important to the plot and the close up is foreshadowing this event.

Due to us growing up in a generation entirely surrounded by media, there are certain objects or scenarios that society has projected that we naturally identify and associate with a certain meaning. It is been trained into our phycology and we may not even realise it. It must be said that the majority of these are negative such as knives, blood and guns. But it is even more specific than this. The type of gun used will immediately communicate what genre of film it is. This means that connotation can be a tool for a filmmaker to establish something within the film without actually having to say so in dialogue.

Applying this method helps us to look at media with logic and there are few better ways of breaking down a text to decipher meaning.

A Little Introduction

 

Hello, my name is Harry and this is my Media Studies AS level blog that will document my progress and development over this course. I have lived in Cyprus for ten years before returning to England three years ago to train at the Sylvia Young Theatre School and then arriving here at Hurtwood House to complete further studies. With my Dad being a helicopter engineer I don't hail from a particularly media based background. However, as you might guess over the last few years I have had a large involvement in media, taking Media at GCSE and doing bits of professional work in the media industry through my previous schools agency.

 Over the course of the year this blog will be a  hub of everything I learn and will state how successful I was in doing so. I hope you enjoy reading it and you don't find it too snooze worthy. Cheers!