We needed to have back up cast incase some of our ideal cast were not able to attend our shooting day. In doing so we had to select candidates who were not just fitting for the role but were cohesive with the other cast memebers.
Wednesday, December 16, 2009
The Development of The Folder - Cast List
Our group were all on the same page in regard to types of characters we needed for acceptable and idealistic representation with in our piece. It was necessary we had specifically typecasted people and stereotypical ideals of characters. We needed to source people who we felt were fitting for our piece and that gelled well as a cast.
The Development of The Folder - Group Members and Task Allocations
The first task in our folder that we felt it necessary to approach was the Task Allocations list to make sure that everyone was aware of thier roles and the groups expectations of each other.
We all assessed our character traits of each other and from there suggested suitable roles for each other with in our work. We found it necessary to take into account the charactaristics of each member, and we allocated the roles accordingly. In doing so we were faced with some difficulties, however after overcoming them the cohesiveness of our group started to become more apparent and our work started to become more solidly sustainable.
The Development of The Folder - Research Sources
Once our final idea was finalized, we furthered our inspiration by looking into internet images, newspaper stories, films that we have studied and the way in which they use sound, lighting, music, atmosphere, narrative ideas and casting.
We were heavily inspired by Quentin Tarrentino and his use of camera angles and soundtracks within his pieces.
We were heavily inspired by Quentin Tarrentino and his use of camera angles and soundtracks within his pieces.
We then looked deeper in to his productions. We were mainly interested in Reservoir Dogs and Pulp Fiction. Even the poster image defined how we wanted to present our sequence. The images represented portray the gangster, old school realism we want our sequence to reflect.
We were heavily influenced by the movie 15 minutes. This is seen through the two antagonists of our piece. From the link and the picture below we can see the progression of our casting and choice of appropriae figure. Also the malicious nature of both characters relates to the violence that is emplyed by both of our male leads within our thriller.
Wednesday, December 2, 2009
The Development of The Folder - Accounting of Storyboarding the Initial Concepts
Once we had established the sequence of shots, we moved to the storyboarding process. The necessity of storyboarding roots from the convenience in production and post-production. We as a group divided up the shots to be translated into storyboard means, and represent in more visual terms our necessities of production and construction. We have to outline all details of each shot to ensure that everyone within production is on board with the concepts and production we are producing.
The story board is presented as follows:
The story board is presented as follows:
The Development of The Folder - First Group Meeting
Group Members:
Ben Marks, Millie Sherring & Leo Faulks
The Concept:
The idea revolved around the works of Quinten Tarrentino. It plays on the sequence from Resovoir Dogs that plays on the juxtaposition between the music that is uncharactaristic of the action within the frame.
It begins with a woman and her Ipod, jogging down a street. She waves non-challantly to a group of people at the bus station. She continues down the road further and is punched out and the screen turns to black. She wakes up in a warehouse type space, and there are power tools all around her. She is looking scared at the sight of all the tools, and starts to try to escape - but she notices that she strapped down to a try and her mouth is taped over. Two mafia-esk men walk in and start to torture her slowly with the power tools. One by one the power tools come into frame and her position is slowly lowered to show her vaunrability in the sequence. The final show is of her completely tortured and facially wrecked from all of the torture.
Set & Props:
Set - A plain road, and a warehouse (school studio)
Props - Power Tools, Ipod, Chair, Duct Tape.
Ben Marks, Millie Sherring & Leo Faulks
The Concept:
The idea revolved around the works of Quinten Tarrentino. It plays on the sequence from Resovoir Dogs that plays on the juxtaposition between the music that is uncharactaristic of the action within the frame.
It begins with a woman and her Ipod, jogging down a street. She waves non-challantly to a group of people at the bus station. She continues down the road further and is punched out and the screen turns to black. She wakes up in a warehouse type space, and there are power tools all around her. She is looking scared at the sight of all the tools, and starts to try to escape - but she notices that she strapped down to a try and her mouth is taped over. Two mafia-esk men walk in and start to torture her slowly with the power tools. One by one the power tools come into frame and her position is slowly lowered to show her vaunrability in the sequence. The final show is of her completely tortured and facially wrecked from all of the torture.
Set & Props:
Set - A plain road, and a warehouse (school studio)
Props - Power Tools, Ipod, Chair, Duct Tape.
Monday, November 23, 2009
Presentation of Thriller Ideas for Coursework
My initial idea:
My initial idea stemmed from the fear of the unknown, it started out as an exploration of human condition for the acceptance of innocence and the way in which people respond to innocence.
It originated with a man driving a car down a dark, usually bustling road, that was lined on both sides with cars with the driver dead in the front seat. The car driver continues down the road and sees the silhouette of a child. He is extremely scared, and thinks the child is in danger. He stops his car and waves the child over to his car. The child approaches slowly, as the child comes nearer it is evident that his pyjamas are covered in blood and that in his left hand he is hold a knife. The driver says something that is unaudible to the camera, the child simply replys with one line of speech "My mommy told me not to talk to strangers, The people in the cars didn't listen to thier mommies". The driver gets extremely scared and puts his car in gear, he looks up from the gear box and looks into the reer-view mirror. In the reer-view mirror is the child sitting in the back seat. The screen goes black. And the childs voice says "You didn't listen.. Did you?".
Props & Location
Location - It would be shot in its entirity, on a large suburben street.
Props & Cast - A car, A knife, A child, A middle aged man, Extra's in cars.
My initial idea stemmed from the fear of the unknown, it started out as an exploration of human condition for the acceptance of innocence and the way in which people respond to innocence.
It originated with a man driving a car down a dark, usually bustling road, that was lined on both sides with cars with the driver dead in the front seat. The car driver continues down the road and sees the silhouette of a child. He is extremely scared, and thinks the child is in danger. He stops his car and waves the child over to his car. The child approaches slowly, as the child comes nearer it is evident that his pyjamas are covered in blood and that in his left hand he is hold a knife. The driver says something that is unaudible to the camera, the child simply replys with one line of speech "My mommy told me not to talk to strangers, The people in the cars didn't listen to thier mommies". The driver gets extremely scared and puts his car in gear, he looks up from the gear box and looks into the reer-view mirror. In the reer-view mirror is the child sitting in the back seat. The screen goes black. And the childs voice says "You didn't listen.. Did you?".
Props & Location
Location - It would be shot in its entirity, on a large suburben street.
Props & Cast - A car, A knife, A child, A middle aged man, Extra's in cars.
Friday, November 20, 2009
Composing the Initial Shot Sequence for a Potential Story Board & WHAT IS A THRILLER?
After sever creative discussions that resulted in the complete finalization of our sequence, we took rough notes on the shot sequence, and added further input into the development and improvement of our concept. Once we had sustained our final line-up that conveyed the majority of our original demands of the sequence we added the necessity of the titles, therefore we embarked on creating original ideas to compliment our sequence for title placement.
The final sequence is intended as followed;
What is a Thriller?
A thriller is a genre of film production that plays on the emotional investment of the audience to become uneasy, uncomfortable and to feel fear. Thrillers rely deeply on the success of suspence in order to make the thrill come alive. Thrill stems from the early word "pierce" - This suggests that a thriller is created in order to pierce ones comfort zone and ensure they are in uncomfortable position whilst observing a thriller.
There are various subgenres of Thrillers:
Phycological Thrillers are those that toy with the mind of the audience, and generally suggest a mental abnormality in the protaganist or antagonist of the plot. They ensure that we become intellectually invested in uncovering the plot, however sustain fear at the same time.
Horror Thrillers usually involve great entertainment in regard to the blood and gore of a scene. The audience is welcomed to be replused and thoroughly shocked about the occurances of the sequence.
Supernatural Thrillers play on the unnatural, unknown things about our wider world. This revolves around the audeiences fear of the paranormal, and suggests concepts such a ghosts and spirits.
A key theme in the success of thrillers is sustained theme of voyeurism. The word voyeurism derives from the French word 'voyeur' which translates as 'someone who watches.' This suggests that a character is watching or stalking thier "pray" in order to torture or kill them. This plays neatly into the hands of a successful film technique - dramatic irony. Dramatic Irony is when the knowledge of the audience is greater than the knowledge of the on screen characters. This undoubtably hightens the thrill and suspense within a film. Another charactaristic of thrillers is the concept of the audience becoming sadomastic, this means that the audience takes pleasure in the horrific misfortune of those within the sequence. If the audeience sustains sympathy for the character before they are tortured or murdererd, the plot usually because more emotionally investable and therefore, creates more thrill.
The final sequence is intended as followed;
What is a Thriller?
A thriller is a genre of film production that plays on the emotional investment of the audience to become uneasy, uncomfortable and to feel fear. Thrillers rely deeply on the success of suspence in order to make the thrill come alive. Thrill stems from the early word "pierce" - This suggests that a thriller is created in order to pierce ones comfort zone and ensure they are in uncomfortable position whilst observing a thriller.
There are various subgenres of Thrillers:
Phycological Thrillers are those that toy with the mind of the audience, and generally suggest a mental abnormality in the protaganist or antagonist of the plot. They ensure that we become intellectually invested in uncovering the plot, however sustain fear at the same time.
Horror Thrillers usually involve great entertainment in regard to the blood and gore of a scene. The audience is welcomed to be replused and thoroughly shocked about the occurances of the sequence.
Supernatural Thrillers play on the unnatural, unknown things about our wider world. This revolves around the audeiences fear of the paranormal, and suggests concepts such a ghosts and spirits.
A key theme in the success of thrillers is sustained theme of voyeurism. The word voyeurism derives from the French word 'voyeur' which translates as 'someone who watches.' This suggests that a character is watching or stalking thier "pray" in order to torture or kill them. This plays neatly into the hands of a successful film technique - dramatic irony. Dramatic Irony is when the knowledge of the audience is greater than the knowledge of the on screen characters. This undoubtably hightens the thrill and suspense within a film. Another charactaristic of thrillers is the concept of the audience becoming sadomastic, this means that the audience takes pleasure in the horrific misfortune of those within the sequence. If the audeience sustains sympathy for the character before they are tortured or murdererd, the plot usually because more emotionally investable and therefore, creates more thrill.
Monday, October 12, 2009
Account of Shooting Preliminary Task & Introduction to using Final Cut Pro
ACCOUNT OF SHOOTING PRELIMINARY TASK
We filmed in the old editing room. This worked incredibley well for our location because of the entrance door, and the 180 degree rule was easily obeyed due to the parellel wall perpendicular to the camera. Although we initially were sceptical about the location due to the lack of reality of the room in relation to the script, and also the initial lighting of the room was generally quite ambiguous to the connection of the script. Filming was a task in which we all took a share in being a part of. The three of us all equally took turns in the production of our sequence and in doing so, we all took away quite alot from the production. In the production pattern - Bella, Laura and I all actively particpated in the shooting of the sequences and the direction of the camera angles and movements.
We had hard lighting affects in our location to focus the attention on the characters and to emphasise the camera angles and shots. Our lighting allowed us to experiment with shots, and sharp angles that defined the roles of the characters. The two characters were headlined with two main spot lights.
Camera Settings-
-Focus- Ensuring we had a clear shot.
-DBS set to 0 to ensure the correct lighting.
-Shutter speed.
-Aperature of 2.8
Tripod-
-We had to bubble the camera and ensure that the tripod was not casting shadows within the frame.
Lighting -
-We had to ensure that the lighting was the same in every shot, so that when edited the sequence was not broken by awkward changes in light settings.
Camera Angles-
1. Our first creative shot was of Actor A's mouth, This displayed a scence of authority with in the roll of the two actors and also portayed a domineering part in the success of the role suggestion.
2. Shooting A at a low angle and B at a high angle, forces the audience to make the contrast between the powerful A and the inncoence of B.
Planning-
In the planning of our production we made sure that we shot all of the same angles through the same shot to avoid camera hassle and issues with tripod set up, and also to sustain the exact same camera shot in every similar angle.
Team Work-
To ensure that everyone was working in accordance with each other, we utalized the phrases of 'STANDBY, ROLLING AND ACTION' to keep everyone on thier toes and keep everyone involved in the production.
In conclution one can summate that the preliminary work taught us that the direction in a production is one of the most imperative keys to success. It also gave us a snippet into reality, and into how a production is actually formed and assembled. It opened my eyes to the realities of a film production and the genuine hard work and focus it takes to sustain a quality sequence.
INTRODUCTION TO USING FINAL CUT PRO
Final Cut Pro is a non-linear, professional, editing software application developed by Apple Inc. Therefore, The software logs and captures video onto a hard drive, where it can be edited and processed. The work must be checked in and out at your liesure, to ensure the protection and conservation of the editing process you are engaging in.
Within Final Cut Pro you create a Log Bin, which allows you to select the shots in the sequence that were unecessary for your final compilation of the sequence. Once all shots were chosen we then continued to process them through and allocate them slots on the timeline. The timeline allows the sequence to be fluid, and also sustains the appropriate music underneath the camera shot sequence.
We filmed in the old editing room. This worked incredibley well for our location because of the entrance door, and the 180 degree rule was easily obeyed due to the parellel wall perpendicular to the camera. Although we initially were sceptical about the location due to the lack of reality of the room in relation to the script, and also the initial lighting of the room was generally quite ambiguous to the connection of the script. Filming was a task in which we all took a share in being a part of. The three of us all equally took turns in the production of our sequence and in doing so, we all took away quite alot from the production. In the production pattern - Bella, Laura and I all actively particpated in the shooting of the sequences and the direction of the camera angles and movements.
We had hard lighting affects in our location to focus the attention on the characters and to emphasise the camera angles and shots. Our lighting allowed us to experiment with shots, and sharp angles that defined the roles of the characters. The two characters were headlined with two main spot lights.
Camera Settings-
-Focus- Ensuring we had a clear shot.
-DBS set to 0 to ensure the correct lighting.
-Shutter speed.
-Aperature of 2.8
Tripod-
-We had to bubble the camera and ensure that the tripod was not casting shadows within the frame.
Lighting -
-We had to ensure that the lighting was the same in every shot, so that when edited the sequence was not broken by awkward changes in light settings.
Camera Angles-
1. Our first creative shot was of Actor A's mouth, This displayed a scence of authority with in the roll of the two actors and also portayed a domineering part in the success of the role suggestion.
2. Shooting A at a low angle and B at a high angle, forces the audience to make the contrast between the powerful A and the inncoence of B.
Planning-
In the planning of our production we made sure that we shot all of the same angles through the same shot to avoid camera hassle and issues with tripod set up, and also to sustain the exact same camera shot in every similar angle.
Team Work-
To ensure that everyone was working in accordance with each other, we utalized the phrases of 'STANDBY, ROLLING AND ACTION' to keep everyone on thier toes and keep everyone involved in the production.
In conclution one can summate that the preliminary work taught us that the direction in a production is one of the most imperative keys to success. It also gave us a snippet into reality, and into how a production is actually formed and assembled. It opened my eyes to the realities of a film production and the genuine hard work and focus it takes to sustain a quality sequence.
INTRODUCTION TO USING FINAL CUT PRO
Final Cut Pro is a non-linear, professional, editing software application developed by Apple Inc. Therefore, The software logs and captures video onto a hard drive, where it can be edited and processed. The work must be checked in and out at your liesure, to ensure the protection and conservation of the editing process you are engaging in.Within Final Cut Pro you create a Log Bin, which allows you to select the shots in the sequence that were unecessary for your final compilation of the sequence. Once all shots were chosen we then continued to process them through and allocate them slots on the timeline. The timeline allows the sequence to be fluid, and also sustains the appropriate music underneath the camera shot sequence.
Friday, October 2, 2009
Practical Camera Production.
e established small groups, with the task of shooting a short sequence of shots representing a simple action field. The generalized task was to engage in a 20 second, simple second action sequence. Once all appropriate camera necessities were pursued through means of the tripod, camera set up and a simple established idea to pursue through production we could move on.
Employing the use of a PD170, our group entertained the successful and careful use of the equipment. We set out to shoot the simple sequence of someone entering the refectory, picking up an apple, biting the apple, and exiting the frame with the apple in possession. I was utilized as the person engaging in the camera frame, and my partners were shooting the sequence. Although not involved heavily in the camera use, I took just as much from the experience educationally as those I was involved in the production with.
To begin, we bubbled the camera to establish a camera frame that was not skewed or of titled nature. We then added the supplement of colour bars to regulate the light within the production. We then moved into the refectory to begin production. We started with the use of a wide angle, which provided a clear show of the full background and subject. We then moved into a mid shot which further developed the focus of the subject, and finally we moved into a close up to supplement our production and obtain a final focused development of the subject and the action in which it pursued. With the main shots covered and pursued successfully, we decided to develop our knowledge and experiment with the concept of an over the shoulder shot, which although we executed unsuccessfully was an experience which I learnt from. These mistakes furthered our experience to ensure that in further production one does not disobey the 180 degree rule. The 180 degree rule sets the means that if a conversation is being executed between two people then the proximics of the camera were not to exceed the 180 degree margin between the two subjects of the conversation – This idea is to maintain a stable and straight forward sense of direction in the sequence. For example if one is shooting a football game from a specified side of the 180 degree boundary, and then the side is changed it appears as though the player is now running back on themselves.
Once everyone had completely finalized their sequences we reconvened in the Edit room and observed the work of our peers. There were some apparent successes and some epic failures. The failure of one group was due to the elaborate development of a plot, as apposed to the creativity in the development of camera shots. In contrast another group revelled in success with the whole basis of their production being the creativity of the camera shots and developing the movement of these shots, as apposed the development of an obsequious plot that leaves little to desire in regard to camera action and shots.
In conclusion, from this lesson I obtained the motion to develop camera shots and find the creativity in them, in opposition to the establishment of an idea that revolves around the movement in the frame instead of the movement of the frame.
Employing the use of a PD170, our group entertained the successful and careful use of the equipment. We set out to shoot the simple sequence of someone entering the refectory, picking up an apple, biting the apple, and exiting the frame with the apple in possession. I was utilized as the person engaging in the camera frame, and my partners were shooting the sequence. Although not involved heavily in the camera use, I took just as much from the experience educationally as those I was involved in the production with.
To begin, we bubbled the camera to establish a camera frame that was not skewed or of titled nature. We then added the supplement of colour bars to regulate the light within the production. We then moved into the refectory to begin production. We started with the use of a wide angle, which provided a clear show of the full background and subject. We then moved into a mid shot which further developed the focus of the subject, and finally we moved into a close up to supplement our production and obtain a final focused development of the subject and the action in which it pursued. With the main shots covered and pursued successfully, we decided to develop our knowledge and experiment with the concept of an over the shoulder shot, which although we executed unsuccessfully was an experience which I learnt from. These mistakes furthered our experience to ensure that in further production one does not disobey the 180 degree rule. The 180 degree rule sets the means that if a conversation is being executed between two people then the proximics of the camera were not to exceed the 180 degree margin between the two subjects of the conversation – This idea is to maintain a stable and straight forward sense of direction in the sequence. For example if one is shooting a football game from a specified side of the 180 degree boundary, and then the side is changed it appears as though the player is now running back on themselves.
Once everyone had completely finalized their sequences we reconvened in the Edit room and observed the work of our peers. There were some apparent successes and some epic failures. The failure of one group was due to the elaborate development of a plot, as apposed to the creativity in the development of camera shots. In contrast another group revelled in success with the whole basis of their production being the creativity of the camera shots and developing the movement of these shots, as apposed the development of an obsequious plot that leaves little to desire in regard to camera action and shots.
In conclusion, from this lesson I obtained the motion to develop camera shots and find the creativity in them, in opposition to the establishment of an idea that revolves around the movement in the frame instead of the movement of the frame.
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