Planning - Pitch

This is my pitch for my film idea.

Planning - Script - Feedback

Following from my first script draft, I received feedback suggesting how I may be able to improve.

Comments that were common included: 

• The need to name characters - this is important because, in a script, it gives the character more importance in the film, whereas just calling them "MAN 1" implies that they are just bystanders who  almost have no real significance. However, in my opening, I want to make it clear to the audience that these two character are incredibly important in the film. Therefore, the need to give them names are important. Here are my name ideas: 

MAN 1 will be called Sean Saunders, which he will be referred to as 'Mr Saunders' during this opening extract. 

MAN 2 will be called Hugh Banes which he will be referred to as 'Dr Banes' throughout this opening extract. 

• Application of correct structure/text - this will make the script an easier read, as well as making it more professional and understandable. This is an important aspect of script writing which I must get the hang of.

Other comments I received were: 

• "I think one flashback would be better, as you risk confusing the viewer" - this is a good suggestion because the idea is to present my ideas clearly. This is definately something which I will take into account. They also added "if you are going to use two, perhaps only use sounds for the first one and build up to a full flashback for the second. Again this is something I will think about as it's adding tension to the film as it's building up the sequence. 
• "I like how you've started and ended the film in the same way by referring to the lamp. This makes me feel like it has a meaning, and makes me want to watch more" 
• "Good use of a close up on the watch. It's planting seeds for further into the film" 

Planning - Audience interview

This is a short interview this a few people who I believe fir into my target audience group. I have asked them a few simple questions to get an idea of what sort of films they are into, and whether they would be interested the genre of my media product.

Planning - Script - First draft

This is my first draft of my script. In this draft I have tried to use the structure and style of the script mentioned before, which I found relativity difficult as I had to keep adjusting and readjusting things so as to only include what is really necessary.
As the is a first draft, I am willing to make changes and to modify it if any comments are made in which I can use to develop this idea further.


FADE IN:

INT. DARK ROOM - NIGHT

A lamp flashes on and reveals a man (MAN 1) sat in a chair on one side of a table. His face is bruised. He is handcuffed. There are lots of pieces of paper on a table in front of the man. A knife sticks out of the table. At the other side is a second man (MAN 2). His face is hidden beneath shadows.

MAN 2

Is he dead? 

MAN 1 nods.

FLASHBACK, screams are heard. Distorted visions of a river's rapids are seen. 

MAN 2, bites off pen lid and ticks a sheet of paper. As he removes the lid he grins. 

MAN 2

Your father would be proud.

MAN 1, raises his head. His voice is raised. 

MAN 1 

You don't speak about my father like that, I thought we had a deal. 

MAN 2, chuckles gently. He pauses.

FLASHBACK, more screams. A figure can be seen looming over the river.

MAN 2, pulls out a picture from his coat pocket. 

MAN 2 

I need you to do one more thing. 

MAN 2, he slides a picture across the table. He is wearing a silver watch, MAN 1 looks at the picture. He looks up and shakes his head slowly. MAN 2 smiles gently. He mutters under his breath. 

MAN 2

Pity. 

MAN 2 reaches over to the lamp in the center of the table. He flicks the switch. 

FADE IN: 

EXT. TOURIST DESTINATION - DAY

One man is taking a picture of a statue. His camera flashes. 

Planning - Script Writing

In class, we have begun to analyse the art of script writing, in preparation for the script we will be writing for our 2 minute film opening.
Script writing has a certain format which must be followed, in order to get a realistic view of how long the film will be, and for it to be clear and easy to follow.
Here is an example of the format for which to follow when writing a script:

Our first attempt at script writing was to produce the first minute of our 2 minute film opening. Problems I found when writing my script was keeping to this format, which is arguably the most important aspect. I had to keep referring to an example. However I feel that this is something which I will be able to overcome with practice.

Alfred Hitchcock - Case Study

In Alfred Hitcock's famous thriller - Psycho, 1960 - he encorporates many different techniques throughout. Thesae techniques allow us to subconsciously see into the rest of the film. They force our minds to make judgements, and provide extensive detail into the matrix of the film. Throughout this essay, I will be analysing Hithcock's techniques in three diferent scenes, and exploring just what makes this film one of the greatest in cinema history.

Scene 1

The first scene I will be analysing is the policeman scene; as Marion stops for the night at the side of a country road, she is joined by a menacing-looking figure of authority. At the begi8nning of the scene, a long shot is used. It seems to suggest someone is looking at her from a distance, which would reflect the idea of paranioa which the policeman would inflict on her currently fragile mind. The mise-en-scene of this shot tells us a lot about Marion's current mental position. The clear skies and peaceful fields that are involved in the shot connote freedom, as the countryside seems to offer a place that's away from the rest of civilisation. This therefore provides a paradise that enables her to clear her conscience. \nevertheless, the car proves to look out of place, as the black colour of the car is in total contrast to the surroundings. This suggests Marion is trying to almost disappear into the background, however is unable to because of the byrden she possesses.
As the policeman approaches the car, one thing I noticed was the use of binary opposition - strong, authoritive figure of the policeman compared to the vulnerable, fragile Marion. This really emphasises the position she is in, which enables us, as the viewer, to recognise her almost as a victim. This of course would reflect the proceedings of the film. A reaction shot is also used of Marion, after the policeman knocks on her window. Hitchcock used this shot to allow us to see the panic and paranoia that she felt as she saw the policeman. It positions us with her, and allows us to almost sympathise for her. This shot also ends up being a close up of Marion';s face from an angle so as the viewer is looking down onto her. This again puts her in the spotlight and emphasises her vulnerability. Hitchcock emphasises the importance of expression Marion's vulnerability and innocence for the majority of the time she has in the film.
As the policeman peers into the window, an incredible POV shot is used og him. This shot defines his position of authority as the threatening close up puts us oin the shoes of Marion. He is almost peering into her life, as the car symbolises her cinfinement and inability to escape from the situation she has got herself into. The mise-en-scene is also a key focus in this shot. The large, dark shades seem to cover a lot of his face, whic almost inflicts fear, as you are unaware of what lies behind them. In addition, the square-jawed, patriarchal WASP looks reflects the traditional steriotypical figure of authority, of which is typical of this time period.

Scene 2

The second scene I will be analysing is the scene of which the troubled Norman Batesd invites Marion into his parlour for a comforting supper. The mise-en-scene used in this scene is crucial towards the regognition of Norman's state of mind, whom at this time I suspected little of him in terms of mysterious behaviour. The use of stuffed birds resonates the feeling of threat of which Norman may be towards the innocent and unsuspecting Marion Crane. This is created by the birds seeming to be pouncing on prey, such as the first POV shot shows when Marion enters Norman's parlor  This enhances Marion's vulnerability, as well as reflecting perhaps Norman's inner predator.
Another technique used in this scene is the incredibly well manoeuvred shot - reverse shot sequence. To start with, Marion is accompanied by the lamp - the only light source in the room. This could perhaps reflect Norman's conscience, as he is seeing her as almost shining a new light onto his monotonous life. This nevertheless leads to her abrupt death, as the mother inside of him takes over to destroy any feeling he may had for her. As well as that, the shift to a low angle shot on Norman suggests that he has suddenly become dominant and powerful. This occurs after Marion addresses the way that his 'mother' speaks to him, therefore perhaps reflecting the protection of which he provides for her. This change in angle also creates a completely contrasting mise-en-scene to the previous shot. Firstly, the birds in the background seem to be overlooking the conversation, which could echo the power which the mother has over Norman, especially as it arises over a concern involving her. This therefore leads the viewer to believe that she is always watching them, which in a way she is, and results in the overpowering of Norman over Marion of which we experience is some elements of the scene. Secondly, the nude picture behind Norman connote innocence as well as being exotic, which is in contrast to the menacingly stuffed birds. This contrast could reflect the two sides of Norman's troubles psychological state of mind. On one hand you have the murdering, mysterious mother side to him which is represented by the owl, whereas on the other, you have Norman's charming, caring self of which has been expressed towards Marion and is represented by the pictures. They could also be foreshadowing events later in the film, as they link to the events in the shower scene which of course follows on from this scene.

Scene 3

The final scene of which I will be analysing is the famous shower scene. Hitchcock used an incredible number of techniques in this scene; therefore I am going to pick out the most important and influential, in my view.

First of all, the use of white tiles in this scene connotes innocence and cleanliness, which really reflects Marion's state of mind at this point. She finally seems to have overcome all of her troubles, and the white, stainless tiles echo the 'clean slate' from which her new life can be built on. This subtle technique used by Hitchcock again reflects how he uses the mise-en-scene to allow the viewers to see into Marion's head. This is perhaps one of the main contributors towards making this film one of the best in cinema history. In addition, the white colour almost leaves an empty space for someone or something to fill. This leaves us to believe that an event is going to happen, which increases the tension and anticipation of the audience. This masterpiece of a scene has influenced cinema right until this day. In fact, recent programs such as 'The Simpsons' have manipulated this into their own work.
Another technique used by Hitchcock in this scene is the use of the rule of thirds. This is used twice in this scene, the first being a dramatic irony, where the silhouetted figure of the killer opens Marion's bathroom door. This effect gives the viewer a feeling of fear, as the shower curtain distorts the figure making it almost ghost-like. This technique also focuses on the shot onto the figure, especially as the camera pans towards it. this creates expectation and also vulnerability as we are being forced towards the danger. In addition, it creates another binary opposition; the clean, white, innocent Marion is in contrast to the dark and mysterious body on the other side of the shower curtain. This allows us to sympathies for her, as we know that no good will be resolved from the presents of this mysterious body. The second time the rule of thirds is used is after the stabbing, where Marion only fills a small proportion of the screen. The technique, in this case, is almost distancing her from the 'clean slate' from which the tiles represent. This is shown as she has her back to them, and therefore distinguishes her from her new life. In this film, this technique is used to very good effect. Hitchcock doesn't overuse them, which gives off an even greater impression in the times that he does.
Another technique I picked out as one of the most important in this scene is the use of accelerated montage during the stabbing sequence. The flash-cuts increase the pace of the sequence, and therefore entices the viewer. There are also many different shot types included in the montage. One of which is a top shot. The shot, in this case, is used for disorientation as it gives a completely different angle on the proceeding events. In addition, extreme close-ups of Marion's face connotes pain, both mentally and physically, as it emphasises the straining of her mouth. As well as that, a low shot is used of the killer, which expresses the dominance and danger which it radiates. This technique is a crucial one in considering why this scene is an notorious as it has become.
In conclusion, lots of influential techniques have been used in all of these three scenes in Psycho. They are the pinnacle in determining why this film is as famous and as well-known as it is.

Preliminary task

In this task, we were asked to produce a sequence involving evidence of match-on-action, application of the 180 degree rule and shot-reverse shot whilst two people are having a conversation.
The evidence of match-on-action was present as one character opened the door - we used one shot to show him opening the door, and cut to a close up of when the door is opened. This proved quite effective, and I am quite pleased with how the editing turned out.
The evidence of the 180 degree rule was present during the conversation between the two characters. This rule enabled the editing to be professional, without disturbances in the eye-line match. The shot-reverse shot technique was also used during this conversation, as there was a cut between both characters in relation to who was speaking.
All in all, I think this task proved to be quite successful, as it seemed to flow continuously, and included all of the key aspects which were expected on this sequence.

Ident - WEB productions

This is my finished production company ident. The company name, as stated in my earlier post, is WEB productions. I kept to the same template as that which I created as a rough guide. This is something which I found helpful, as it enabled me to stay on track and keep the sequence concise and appropriate. I also found that I am beginning to feel comfortable with this sort of software. For this task, we used Adobe After Effects, which is fairly different to Adobe Premier Pro which I have been using for most of my other production work.
Things I found challenging when doing this task was keeping everything in time, and making the key frames fit into their approriate places. This, I believe, I will be able to over come with more practise with the software.
If i was t6o do this task again, I would have perhaps added sound as, as shown in my research, would have enhanced it, and perhpas made it more professional.

All things considered, however, I think that this has been a successful task.

Ident ideas - continued

I have had a change in ideas for my ident.
I thought that, because my chosen genre is detective and mystery, my ident will need to reflect this genre, and the idea I previously had, I thought, would not have been a suitable match.
However, I have come up with a second idea for my ident:

• It consists of a spider web, which connotes hidden secrets and mysterious happenings, as they are always in the corner, unseen and untouched. I feel this will reflect the genre well, as will therefore make this ident a more successful one. 
• It will also include the name 'WEB productions' as the company name. I felt this was a suitable name since it was relevant to the ident. 
• I have included a rough copy of my plan for this ident, which shows four simple stages of the ident. 

1. The first one shows a shot of a block of houses or a backstreet, which will sort of set the scene and create a sense of realism and reality into the ident. This somewhat reflects the title sequence of Hitchcock's North By Northwest, as the urban city-scape injects a sense of reality into the sequence. 
2. The second shows how the camera zooms out to focus onto the spiders web. 
3. The third introduces the production company name and the spider, which could become an important aspect in the company's ident. 
4. The final stage shows how the background, including the web, disapear leaving just the company name and the spider. This makes these elements stand out, which, in my opinion, is important when making a successful ident.

Genre research - Detective and mystery - Title Sequences

Since I have chosen Detective and Mystery to be the genre which I intend to peruse, I have been researching title sequences of some films from the Genre.

• Alfred Hitchcock's Vertigo 

This, in my view, is an extremely effective title sequence. The use extreme close-ups on a face at the beginning of the sequence almost suggests someone is examining the person, which perhaps ties in with the detective - suspect scenario. Also, the ECL on the eyes connotes mystery as we, as the viewer, are almost thrown in with the assumption that this person has done something wrong, as when she looks around it almost suggests she's hiding from something. In addition, the use of a woman makes it all the more compelling as you feel she is more vulnerable than if you were to use a man.

Another aspect of this title sequence which makes it successful is the bridging shot between the woman's eyes and the notorious spiraling shapes which really begins to introduce the film. These shapes give the impression of falling, as we slowly zoom in on them it makes us feel like we are falling into them. This reflects the need to link the title sequence in with the story line.

This is something which I am going to need to do in order to make my title sequence an effective one.

In addition, the music in this title sequence is also effective. The constant increase and decrease in dynamics gives it an unpredictable edge, which not only makes it intriguing, but relates to the film in the sense that there are a lot of twists and unexpected turns in the plot. 

• Guy Ritchie's Sherlock Holmes (2009)

This is the end credit sequence from the latest Sherlock Holmes film. The effects used on this, in my view, make it very original and very effective. The transition from the real life to almost a sketch on paper reflects the genre very well. It connotes mystery as the drawings seem to suggest a plan of some sort, which pushes the viewer to make the assumption that something has/is happening. It almost makes the sequence incredibly dynamic. The freeze-framed action shots make the sequence engaging and perhaps reflects the action side of this genre, which links to the gangster roots of the genre.

Genre research - Detective and Mystery

I have been researching different film genres to try and help me decide which genre I am going to use for my final AS piece.
One film genre I am considering using is Detective and Mystery. Films in this genre include:

• Alfred Hitchcock's Rear Window

• Alfred Hitchcock's Vertigo

• Roman Polanski's China Town

Detective - mystery  films are usually considered a sub-genre of crime/gangster films that focus on unsolved crime. They emphasize the detective or person (usually an ordinary, plain-clothed policeman or detective) solving the crime through clues and exceptional rational powers. The detective studies the intriguing reasons and events leading to the crime, and eventually determines the identity of the villain (a murderer, a master spy, an arch fiend, an unseen evil, or a malignant psychological force). The central character usually explores the unsolved crime, unmasks the perpetrator, and puts an end to the effects of the villainy.
Suspense is added as the protagonist struggles within the puzzle-like narrative to gather evidence and testimony, to investigate all motives, and to discover the one essential clue or fatal flaw/alibi that betrays the identity of the culprit. The detective (or main protagonist) often succeeds in cleverly trapping the killer or criminal where law-and-order officers and local police officials do not. Intensity, anxiety, and suspense build to an exciting climax, often with the detective (or protagonist) using his fists or gun to solve the crime.

If I used this genre, I would be keen to introduce a likable, sort of innocent character to whom people would be able to relate to as the detective/policeman. I believe this would engage the viewers, and make it a more effective opening. This is used in Hitchcock's Rear Window as the viewers are positioned with the policeman/detective, which allows them to get to know the character, and then allows them to sympathies with him when the film comes to its famous climax.

Ident idea

I have come up with an initial idea for my production company Ident.
I thought that I could have a drop appearing from a stalectite, located in an eerie cave, which drops to the floor and as it does so, a burst of light appears showing the company's name. The idea reflects the sort of mysterious, thriller genre which I am considering to persue.
I used the image below as a sort of template for the setting of my ident.

I am yet to decide a name for my production company, however I have begun to play around with ideas, as I am currently working on the idea of the water dropping and bursting into light.

Fart Shoes - Foley work

This exercise involved filming a short sequence which involved the addition of foley sounds. I have found that, throughout some of my other filming tasks, that background noise has quite a large effect on the quality of the sound that is produced. Therefore, this exercise is important as I have been able to practice this skill in preparation for my final AS piece.
What I found good about the use of foley sounds was that you can manipulate them into anything you want. For example, in this piece we came up with the idea of 'fart shoes' as the product demonstrated to the Dragon's Den. In addition, you can introduce other sounds, such as a voice over of a previously recorded voice recording, which allows you to be a lot more creative than without it.
Note to self: Foley work is crucial for a professional, clearer sounding film. I will need to incorporate this into my own work.

Production company ident research

I have been researching three idents from three different production companies, in preparation for my own original ident.

Warner Brothers Pictures production company

Firstly, I looked at the Warner Brothers ident. The beginning of this ident involves a shot of warehouses, in a wavy sort of effect with a tangy orange tint. The connotations of this include a dreamy state of mind, which may have a link towards the type of film genre that this production company will be promoting. Furthermore, the industrial side of this section of the ident suggests a sense of reality and the process of which is taken to produce these films.

Another section of this ident which interested my was the use of a logo, which in this case has made this ident incredibly notorious as a successful production company. The logo actually involves a rather simple design. The golden boarders and text make it almost powerful, and the blue background, along with the sky, connote freedom and therefore making it eye-catching and easy to watch. The use of a logo is certainly something which I will think about when creating my own ident.

Universal Picture

The second ident I looked at was the Universal Picture's, which, in my opinion, is one of the greatest and well known in the film industry. Whenever I see this ident at the beginning of a film, I know the film is going to be good.

This ident includes something which everyone can recognize and relate to - the earth. This is one of the things, in my opinion, which makes this ident so remarkable. The use of something which someone can relate to is something which i am keen to use in my own ident. Also, the use of bold, 3D text also makes this ident stand out and be recognizable. 

Channel 4 idents 

I personally find these idents extremely effective. To start with, the quirky, clever alignments of objects to produce the '4' shape is incredibly original and recognizable. 

For example, this ident uses street signs and lights to produce the shape. 

These idents are very different from the ones I previously researched, because, firstly, I feel they're much more 'down to earth' - in some cases quite literally. For example, the Universal Pictures ident has this sort of Sci-fi, extraterrestrial feel to it. Similarly, the Warner Brothers Pictures ident has a sort of cartoony feel to it. This ident is in contrast, which made me realize there is an almost unlimited number of ways in which I could create my ident. Also, it includes the busy urban feel, which allows many of us to relate to it. This could link with the type of media which follows on from this ident. For example, the ident suggests a documentary will follow, as reflected by the 'down to earth approach'. 

Title sequence editing work - Teletubbies

In this exercise, we tried to re-create the opening of the Teletubbies using Adobe After Effects. We started by mimicking the shape of the sun, using the pen tool and a blurring effect. We also masked the shape of the baby's head, to make it more accurate to the real thing. To make the shapes of the sun and the baby move at the same time, I used the parenting tool which enabled the shapes to move in sync with the face. This therefore enabled me to use a transition on all of the shapes at once. Another effect I used was the rotation of the sun's rays and the change of opacity of the baby's face. I did this not only to make it more like the real thing, but to make it more interesting and less monotonous. I also changed the opacity of the background as the sun rose, therefore making it seem like the sky is lighting up.
The addition of text was an original idea, which I introduced as it would be more true to my own future title sequence. I used the transition of the text, again, in preparation for my final film opening, as it is something which I am keen to use in it.
If I was to do this task again, I would spend more time on the continuoual development of the sequence to make it seem more professional and seamless.

Case Study - David Fincher

David Fincher Approaches his title sequence work by believing that "it's as much about it being a good title sequence as it is being a movie . This means he wants the title sequence to be part of the film. For example, his title sequence for Se7en provided important non-narrative information regarding the plot of the movie - such as setting and characters. He also believes they should almost be a sort of teaser into the film, enticing the viewer into the whole scenario. 

Examples of this include his work on title sequence for Se7en. The beginning of the sequence shows someone turning the pages of a book, which could perhaps reflect the beginning of a story. 

He also goes on to say in his interview, "I don't believe in decorative titles", and wants to make sure you get your "bang for your buck". This suggests he wants to provide action and get straight to the point, without the attractive titles or colours. 

David also states how his work has been influenced by Saul Bass, of whom we have studied previously. His work on "North By Northwest" really got him thinking about different ways in presenting information, which he states in his interview.

Se7en 

The first shot of this title sequence is a close up of an old, worn out book.

 This suggests there's a history behind the book, and there's perhaps more to it than meets the eye. Plus, the camera is focused on the book, as shown by the blurry background where only a silhouette of a hand can be seen throughout the shot. The connotations of this include mystery, which leads us into the thriller-style genre. The audio in the this scene is sustained and eerie which backs up the idea of a thriller genre.  The next shot breaks into a pitch-black background with rather disturbing fonts for the production details. This font seems quite disjointed and disturbing, plus it looks to be someone's handwriting, which leads the viewer think who the handwriting could belong to. Plus, the shot is backed up by the sound of thunder as the transition takes place. This sudden change in dynamic perhaps links to the film's unpredictability, and the sound of thunder connotes darkness and evil in present.

Then there's a cut to a pair of dis-figured hands on sheets of paper. The hands are extremely off-putting and gruesome, which again connotes darkness. The shadowing as well, on this shot, suggests there's perhaps someone there, but out of sight of the viewer. This leaves the viewer confused and perhaps disturbed that there may be someone there, but they are unable to see who.
The title sequence then goes on to show a montage of extreme close-ups of tools, but the cuts are so fast that we are unable to make out exactly what they are. This connotes mystery and suspicion as you are left wondering what this person may be up to, and why.
The disjointed and disturbing tone of this title sequence portrays a world of dark secrets and indescribable dis-comfort. The character is clearly troubled some sort of past event, which allows us, as the viewer, to predict what the film may contain.

Title Sequences - Saul Bass

This activity involved researching some of the Title Sequences Saul Base has created.

Firstly, am I going to analyse the Title Sequence of Anatomy Of A Murder (1959).

The first aspect of this Title Sequence I noticed was the use simplicity. This is a major aspect of Bass's work, as shown throughout all of his title sequences which I have studied. The use of very limited colour; black and grey, connotes a feeling of mystery as it's not giving much away. This links with his Title Sequence for Psycho as the same technique is used there. As well as that, the use of a silhouetted body part reflects death or murder. Plus, the use of the title of the film being embedded within the silhouette is again, a hint towards a murder-mystery thriller. This, in my view, makes this Title Sequence a successful one.

This Title Sequence also uses background music, which includes many brass instruments playing high-pitched, disorientating notes. The music is also in free-time, until 50 seconds into the sequence. This suggests the to viewer that there is no pattern, perhaps linking to the mystery and suspicion that will be involved in the film. Therefore the music, in my view, is a good asset to the title sequence as it backs up the idea which is created by the graphics. I am very keen to use this idea within my own Title Sequence.

I am also going to analyse another Title Sequence created by Saul Bass for the film North By Northwest (1959).

Again, the start of this Title Sequence reflects the idea of simplicity as the plain green background doesn't really give anything away, and the introduction of straight lines is an intriguing aspect. In addition, the 3D effect may also create a sense of disorientation, which connotes the confusion which could be created in the film. It also adds depth to the sequence, perhaps reflecting the complexity of the film. Another aspect I found interesting is the transitions of the text - vertical transitions, in my opinion, creates a sense of mystery as you are unsure where the text has gone, and whether it's going to return. There is also huge emphasis on the text, as the plain background offers no other visual outlet. As the sequence progresses, the background begins to fade into a visual match of an urban office block, which brings the viewer back to reality.
As well as that, the second shot (of which involves a lap dissolve) puts the viewer almost within the action of the city. The height of the shot almost provides a POV shot of someone in the scene, as well as setting the scene for the film.

Music plays a huge role in this title sequence. Even from the start; fast, high-pitched motifs are played to connote an exciting yet perhaps sinister feel. Also, a range in dynamics is used in the sequence, as a gradual build up allows the viewer to feel vulnerable, due to an increased tension.

The final Title Sequence I am going to analyse is Bunny Lake Is Missing (1965)

The first thing I can note about this title sequence is the almost soothing tone of it. A quiet melody line is played at a leisurely pace, which connotes no real confusion or danger. However, the sharp ripping sound of the paper really stands out, which contrasts the accompanying music.
Plus, the graphics in this title sequence are really eye catching and intriguing. The ripping and tearing of the paper connotes a feeling of searching for something or that something's missing, which keeps the viewer intrigued as you are unsure of what may lay behind the paper. Also, the use of black connotes mystery, whereas in contrast, the revealed white connotes safety and innocence. This could reflect the character's state of mind as they're trying to tear their way through a dark, mysterious event to reach the security of the place beyond it. 

Shot - reverse shot exercise

This task involved creating a conversation between two characters, including the shot-reverse shot technique. An important aspect of this was the use of the 180 degree rule - the camera stays on one side of an imaginary line that runs between the two characters. I also used a master-shot, both at the beginning and at the end of the dialogue. I included these because, whilst editing, I thought it would give a sense of scene and setting, whilst showing both characters that were involved in the clip.

What I found a problem during this exercise was the diegenic sound was drowned out by the heavy wind. Therefore, the use on non-diegenic sound would have enhanced the clip.

Welcome to my AS Media Studies Blog

Welcome to my Blog! This is where I will be documenting my progress throughout the AS course. It will contain first drafts, ideas, inspiration and final pieces of my work throughout the year!!

Homecoming - Editing

This clip is the beginning of a film in the thriller genre, titled 'Homecoming'.

I edited it using the Adobe Premier Pro software, which I find relatively simple to navigate. The spectrum of effects that are available to you enables complex editing - perfect for this task.

 At the start, I used a panning shot showing a reaction shot of one character, then a walking shot of another. I used this because it allowed the whole shot to flow within the early stages, therefore keeping the pace slow.

I also used a cross-cut to a shot of the sun. The first time I used to I edited it into black and white. I used it to disorientate the viewer, echoing the mystery of the thriller genre.

The next shot I used was a master-shot of the shadows, as one character is giving something to the other. I hoped this would disorientate the viewer, much like the cross-cut to the sun, and put emphasis onto this transaction - leading the viewer to believe that it's a significant point in the clip. I also used a shadowing effect to really define the movements and give a surreal feel. 

The next shot included a straight cut to a hand slamming on the desk. This cut is quick, unlike any of the previous cuts, which introduces pace into the film. This is much like some cuts in a clip we studied of Hot Fuzz - quick cuts and short shots inject pace into a film (e.g. the shooting shooting scene).