Monday, 9 May 2011

Diary

Sunday 5th dec 2010

Today we filmed all the shots of the man running through the town, and began planning our next shootings, the main thing I came away with today was the knowledge that it won't be as easy to get people together to film as we thought, as our main actor works in the week it will be hard to find times appropriate for all.

Monday 6th/Tuesday 7th dec 2010

We started to log our logging sheets and finished off story boards.

Wednesday 8th December
Emily and Rebecca filmed after college at Evans House. They had to film the shots of the man running through a building and into the empty room. They couldn’t film the shots of the girl in the room at the same time because the girl who was going to act in our film was not available.
They found a room which they could use for filming, and decided to work backwards; they filmed the shots of him in the room first and then went back through the corridors filming him running towards and away from the room as they went. This was because they thought that the shots in the room were most important, so it made sense to capture those first. This also meant that they could spend more time experimenting a little with camera angles and positions as they knew they had filmed the most important shots.
Again, another problem was that they had to spend some time at the beginning of the session finding a room which they could use to film, which is time they felt could have been saved and used to film more shots in. Also because it was dark they couldn't film the establishing shot of the building or any shots of him entering the building from outside.
Thursday 9th dec/Friday 10th dec 2010

We could not start to log the footage that we had filmed on the Wednesday as we had to continue with the paper work needed for our blogs. This included finishing the production schedule and scanning the location sheets and story boards onto the computer so that we could add them to our blogs.

Monday 13th dec 201

Unfortunately we missplaced the log sheets which we had completed, and as a result we fell behind on our schedule due to rewriting our log sheets.

Tuesday 14th dec 2010

we continued logging footage from our previous shoot, and James- who couldn't be there to shoot- went to shoot the footage of the trapped girl.
   Once we had footage we had at last enough footage of each shot, and all footage on top would be a chance to fine tune shots. we also got a range of shots on this shoot, as we realised we didnt have alot of range in our original shotlist.

Thursday 16th dec/ Friday 17th dec 2010

We had paper work to be finished for the blogs, and so allthough we had not logged all of our footage, we felt it was more important to keep our blogs up to date, and so we completed character outlines and shooting scripts.

Tuesday 4th Jan 2011

We began capturing footage of our thriller onto the computer, this was a difficult task, as we had not captured fully since the begining of the year, with our preliminary task.

Thursday 6th Jan

The work we had done on capturing our film would not open on our computer, so we had to repeat a large section of work today.


Friday 7th Jan


Today I spent most of the lesson starting to the film together in Premiere. And finished the thriller.

This is our prelim video, it's poor editing and camrea work show the stark difference between our initial work with camreas and editing and our final product.

Monday, 31 January 2011

Evaluation - What have I learnt about technology from the process of creating this product?



We also learnt to use the blogging platform Blogger, in using this we furthered our knowledge of technology and online blogging.

Tuesday, 25 January 2011

Section 12 - Analysis of Finished Film

  • The first shot is of a car rolling up to park, the drivers identity is hidden from the camera, so to create an air of suspense, the man gets out of the car, and walks to the boot, there he picks up a camera case and walks inside, the audience does not know that he is the killer figure at this point, but there is a feeling of suspicion in the scene.
  •  The next shot is of our protagonist running down a gritty alley way and jumping over a trolley, the point of this shot was to get straight to the point of him running somewhere fast, the urgency is shown in that he spares no time for moving the trolley, instead choosing to jump over it.
  •  The next shot is of our girl, the angles which we used for the last two shots make it look like he is running towards her, which he is, and so the audience will start to put things into place. Next we have him running through a high street, dodging people as he goes. People look at our protagonist strangely, which shows the transformed city model, as his world has been changed, but the passers by are going about their daily routine.
  •  Then we have another shot of the girl banging on the door, this shows the audience she is there against her will, and again things start to click inside the audience, by now, they know that he is trying to rescue her.
  •  The next shot is of our protagonist running down an alley, and smashing into a Big green electrical hub, this shot shows his carelessness and desperation, as any level headed person would slowdown to avoid injuring themselves.
  •  Another shot of the girl, this time, she is sat down, exhausted and given up, she calculates how she might be able to escape, this shot is quickly followed by another of our man running down the remainder of the alley, the frequent use of alleys and corridors in our film is reference to the mazes and labyrinths model, where in Greek Mythology, the hero would go through mazes and risk becoming lost to die, just to find and finish the beast within the walls.
  •  The next is an establishing shot of the building where we presume the girl is being kept, as we show a quick shot of her at the end of the shot, the audience then realises that the man who walked in from his car did so in the very same building, so it finally clicks with the audience that the ‘Killer’ is within the building, unbeknown to our hero. This idea, is scary, running through a burrow of corridors with the beast inside, around you, is a very scary thought.
  •  Now we show our Hero start to run through the building its self,  inside the building we switch to first person view for a short time, this is to show how hard he is working, as he climbs many stairs in no time at all.
  •  As he runs up the stairs the music changes, throughout the film so far we have used Dubstep, a kind of dance music, with heavy connotations of urban environment, during the suspense sequence, we find the music has changed, although still Dubstep, the beat used has been inspired by the breakdowns typical of Deathcore music, a style of Heavy Metal, breakdowns occur during the climax of a song, and are normally the heaviest part, in our film, we decided to use the breakdown to give this part a raw feel, and also, the synths used in the song  sound similar to that of a heart monitor, giving a nice idea that his heart rate is irregular due to the adrenaline and stress.
  •  Finally, the music cuts out as he opens the door, only to find the girl is not there, we show his despair as he staggers out of the room, we then show that the girl is still captive, in the same room as ever. We bring back the original music, in an attempt to show that the struggle goes on, and that metaphorically, he is where he started in the film.
  • The screen goes black, and we see the title ‘Justice’ the fonts we used in our graphics were always calm, and calculated, which I think suits the Thriller genre best, as opposed to horror type graphic used by some productions.

Friday, 21 January 2011

Section 11 - Audience Feedback

1.       On a scale of 1 to 5 how would you rate the quality of acting?

2.       On a scale of 1 to 5 how effective do you think the location was?



3.       On a scale of 1 to 5 how well do you think tension is built?

4.       On a scale of 1 to 5 how effective do you think the music was?  



5.       On a scale of 1 to 5 how engaged in the storyline was you?


6.       On a scale of 1 to 5 how professional was the editing?

7.       On a scale of 1 to 5 how good was the continuity of the clip?



8.       On a scale of 1 to 5 how effective were the title graphics?


9.       On a scale of 1 to 5 how effective was the lighting?


10.   On a scale of 1 to 5 how diverse were the camera shots?


11.   On a scale of 1 to 5 how well was the convention of partial vision portrayed?


12.   On a scale of 1 to 5 how well was the convention of mazes and labyrinths portrayed?


13.    On a scale of 1 to 5 how well did the clip build a sense of suspense?


14.   On a scale of 1 to 5 how well did you understand the narrative?

15.   On a scale of 1 to 5 how well did you relate to the characters onscreen?

In order to gather feedback about our thriller from our target audience we formed a questionnaire. We wanted to ask for feedback on the key elements of our thriller, such as the conventions of the thriller genre, lighting, sound and narrative. We asked 20 members of our target audience to fill in our questionnaire.

Question 1 - On a scale of one to five, how would you rate the quality of acting?
We asked 20 members of our target how they would rate the quality of acting in our thriller. We felt this was important as good acting is what many members of our target audience look for in a thriller. 8 people chose '3' and 8 people chose '4' which tells us that the majority of people in our target audience thought that the the acting in our thriller was good; this tells us that we choose the right actors for our thriller.
Question 2 - On a scale of one to five, how effective do you think the location was?

We thought that it was important for us to ask our target audience whether or not they thought we had chosen an effective location for our thriller, as the location is a significant part of the film. Therefore it was important to us that we chose the right location. 7 people chose '3', which we felt meant that our location was reasonably effective, particularly as the majority of people chose '3' or higher to answer this question.
Question 3 - On a scale of one to five, how well do you think tension was built?

Tension is an important part of any thriller, so we decided to involve a question about tension when gaining audience feedback. 9 people chose '3' to answer this question, and the majority of people chose '3' or higher. This tells us that we successfully managed to build tension within our thriller opening.
Question 4 - On a scale of one to five, how effective do you think the music was?

The music, or non-diegetic soundtrack, used in a thriller film is very important as it creates tension and the right atmosphere for the audience. We decided to include this question in our audience feedback questionnaire to learn if our target audience felt that our choice of music was as effective as we thought it was. As 10 people chose '3' and a further 9 people chose either '4' or '5' to answer this question, we felt that we had made the right choice in music for our thriller.
Question 5 - On a scale of one to five, how engaged in the storyline were you?

In the thriller genre it is vital that your target audience is engaged in the narrative of the film, so we chose to include this question. The majority of people (8) chose '3' to answer this question, but the rest of the feedback is spread evenly between '1' & '2' and '4' & '5'. This shows us that we could have perhaps made our narrative more engaging in some way, but that we still succeeded in this aspect.
Question 6 - On a scale of one to five, how professional was the editing?

How professional the editing of our thriller was is obviously an important aspect of the opening sequence we created. 8 people chose '4' as their answer to this question, which to us means that we managed to edit our thriller sequence effectively and that we achieved a reasonably professional look to our thriller.
Question 7 - On a scale of one to five, how good was the continuity of the clip?

The continuity of our sequence is something that we struggled with at times, so it was important for us to find out whether our target audience felt that the continuity of our film was good or not. Although 8 people chose '3' as their answer to this question, showing that the continuity of our film was reasonably good, again the rest of the feedback is spread equally between '1' & '2' and '4' & '5' which suggests that the continuity could have been better.
Question 8 - On a scale of one to five, how effective were the title graphics?

We thought that the title graphics of our thriller were an important part of our thriller and we wanted to ensure these were as effective as possible, therefore choosing to include a question about the graphics in our feedback questionnaire. The response was positive, as 9 people chose '3' as their answer to this, and a further 9 people chose either '4' or '5' as their answer. This shows us that the graphics we chose were effective.
Question 9 - On a scale of one to five, how effective was the lighting?

The lighting is another important factor in creating thrillers. We tried to use the lighting to the greatest effect during the creation of our thriller opening, so we chose to include this in our audience feedback questionnaire. 7 people chose '3' and 7 people chose '4' as their answers to this question, which is very positive feedback telling us that our lighting choices were effective.
Question 10 - On a scale of one to five, how diverse were the camera shots?

We felt that we tried to use a range of camera shots when filming and editing our thriller, as a diverse range is more effective. We therefore wanted to know whether or not our target audience felt the same way as we did. As 8 people who filled in our questionnaire answered '4' to this question, we felt that this meant that our target audience thought that we had used a diverse range of camera shots in our thriller.
Question 11 - On a scale of one to five, how well was the convention of Partial Vision portrayed?

Partial Vision is one of the most important conventions of the thriller genre that we wanted to include in our opening sequence, as it is very important for our narrative. Judging by the feedback we received, which was that 8 people chose '3' as their answer and 6 people chose '4', we felt that we had managed to portray the convention of Partial Vision effectively.
Question 12 - On a scale of one to five, how well was the convention of Mazes and Labyrinths portrayed?

Another important convention that we wanted to include within our thriller was the Mazes and Labyrinths convention. We felt that this would fit in with our narrative of our thriller. 7 people chose '3' as their answer to this question and 7 people chose '4' which tells us that we succeeded in using the Mazes and Labyrinths convention to good effect. 
Question 13 - On a scale of one to five, how well did the clip build a sense of suspense?

Suspense is an important part of any thriller, so we included this question in our audience feedback questionnaire. 8 people answered '3' to this question, which tells us that we managed to create suspense throughout our thriller, obviously making it a better opening.
Question 14 - On a scale of one to five, how well did you understand the narrative?

Another important factor in knowing if our opening is a good example of the opening of a thriller is whether or not our target audience understood the narrative of our thriller. However, as 7 people answered '2' to this question, this implies that our narrative was not very clear. The majority of people chose higher than '2', but our feedback implies that we could have made the narrative of our film clearer in creating it.
Question 15 - On a scale of one to five, how well did you relate to the characters on screen?
That the audience are able to relate to the characters on screen when watching a thriller is very important, so we understood that we needed to try to make the characters as relatable as possible when creating our thriller. As 8 people chose '3' as their answer to this question and the majority chose '3' or higher, this shows us that our characters were relatable.

Thursday, 6 January 2011

Section 6 - Character outlines and shooting script

Shooting Script

1. A black screen, can hear both heavy footsteps and heavy breathing; conveys a sense of panic.
2. Fades into shot, low angled camera, man runs towards and past the camera, continues diegetic sound of footsteps and breathing, fast paced music begins.
3. Cuts to wide shot of him running (tracks from behind).
4. Close up of his feet running; implies speed.
5. Close up of his face, panicked/concerned expression.
6. Mid tracking shot as he runs, see him from the side.
7. Camera cuts to a shot of a young girl in a room, high angled and took from the top right corner of the room, no sound, and black and white; in order to imitate CCTV footage.
8. Camera cuts to the shots of a man running, tracking shot from the side shows him running past buildings (transformed city), non-diegetic sound returns. 
9. Full length shot of him running towards the camera head on, tracking out.
10. Cuts to a point of view shot of him running.
11. Establishing shot of the high-rise building at a low angle shot, to elongate it further and convey importance.
12. Running up towards the building, from behind.
13. Cut to him reaching for the handle.
14. Matching action, opening the door.
15. A cut to the same CCTV footage style shot of the girl banging on the door of the room she is held hostage in, again no sound.
16. Girl looks straight up at high angled camera.
17. Mid shot, slightly low, of him entering the building. All previous shots (apart from shots of the girl) have been external shots, they are now internal.
18. Pans across to him running to the foot of the stairs.
19. High angle of him running up the stairs.
20. Low angle, tracking shot of him running from behind.
21. CU of his face, looking side to side, displays confusion.
22. Point of view shot, camera pans from side to side.
23. Walks into shot.
24. CU of him walking to the door.
25. High angled shot of a girl in room, see her banging on the door, no sound.
26. Point of view shot, girl’s view of the door (inside the room).
27. Mid shot of him walking towards the door (outside the room).
28. Mid shot of her trying to open the door (inside the room).
29. Close up of his hands on the door (outside of the room).
30. Close up of her face.
31. Point of view shot as he opens the door.
32. Close up of his face, see confusion.
33. Point of view shot of the empty room (apart from table, timer and note).
34. Medium-wide shot from behind table of him walking towards table.
35. Close up of him picking up the note and unfolding it.
36. Close up of the shocked expression on his face, he turns.
37. Mid shot of him from behind as he drops the note and runs out of the room.
38. High angled shot of note falling, sees writing on note (slow motion), tracks out and becomes CCTV footage.
39. Camera tracks out to see screen showing the empty room. Can see a man’s shoulder, appears to be watching the screen.
40. Fades to black screen, see title of film ‘Justice’.

Character Outlines

There are four main characters in our thriller Justice; the 'hero' (Kyle Baldwin); the 'victim' (Lucy Baldwin); the 'villain' (Matthew Drake); the detective (Ian Randall). Randall is the only main character who does not feature in the opening sequence of the film as he is first introduced to the audience when Kyle Baldwin returns to the police station after failing to find Lucy.

Kyle Baldwin:
  • 40 years old
  • (family) father to Lucy Baldwin
  • (work) ex-partner to Matthew Drake, partner to Ian Randall 
  • average height, light blonde hair, beginning to turn grey
  • for work he wears a suit, but outside of work he usually wears jeans, t-shirts and a leather jacket, although when it is cold he sometimes wears a thinner hooded jacket as well
  • works as a police detective, having worked his way up being a uniformed police officer
  • he wanted to be a police officer from being a very young child, and achieved this at the age of 18 when he joined the police force, and by the time he was 21 he had been promoted to detective
  • however, he was not content with being law enforcement, and at the age of 22, he became involved with a criminal gang dealing drugs which lasted 3 years, during which time he bought and supplied drugs
  • his partner on the police force, Matthew Drake, discovered that he was involved in drug crime, and threatened to arrest him, but Baldwin panicked and framed Drake for all of the drug crime
  • he faked eveidence etc. so that Drake would be punished for the crimes, and he would be free
  • he stopped his involvement with drug crime after the inccident but continued working on the police force
Lucy Baldwin:
  • 16 years old
  • (family) daughter to Kyle Baldwin
  • average height, blonde hair
  • usually wears jeans and shirts
  • no connection to Matthew Drake or Ian Randall
  • does not know anything about her father's past involvement with drug crime
  • despite her father's efforts, she does not want to go into the police force when she is older
  • she wants to leave the city
  • tries not to be involved in her father's career in any way, as she believes that something bad may come of it if she does
Matthew Drake:
  • 50 years old
  • (work) ex-partner to Kyle Baldwin
  • taller than average, dark brown hair, very few grey hairs
  • always wears a suit, whether he is working or not
  • grew up in a bad neighbourhood, surrounded by crime, and was introduced to the idea of 'vigilante justice' at a young age
  • although he was bullied severly by teenagers as a child, he gathered his own small gang and became one of the most feared in his neighbourhood by the age of 16
  • however, subconsciously, he was afraid of himself, and at 18 decided to join the police force; he was unwilling to give up the power he already weilded, but felt that it was better to have the law on his side, and also to restrict himself by the law
  • being highly intelligent and efficient, and being from the same background as many criminals, he played a leading role in solving many crimes and was quickly promoted to being a detective
  • having no family left, and being a misanthropist whenever he was not working, his work became the single focus of his life and what was most important to him
  • at the age of 31 he was partnered with Kyle Baldwin, with whom he solved many crimes
  • he was shocked to discover Baldwin's involvement in drug crime, and tried to threaten him in order to end Baldwin's involvement in drug crime; however this did not work, and he was instead blamed for the crimes
  • he was convicted, fired from the police force and sent to prison
  • during the time he spent in prison and the years afterwards, he despised Baldwin for what had been done to him, and began to plan his revenge
Ian Randall:
  • 40 years old
  • (work) partner to Kyle Baldwin
  • average height, light brown hair
  • wears suits for work, jeans etc when not working
  • has no criminal record and has never been involved in criminal activity
  • does not know of Baldwin's criminal involvement
  • has been Baldwin's partner for 5 years
  • has no connection to Matthew Drake
  • he became a police officer in his late 20s after trying several different careers including careers in teaching and psychology
  • he uses his background in psychology to help to solve crimes
  • he is more reserved than Baldwin, mainly keeping himself to himself, but not in the same way that Drake does

Sunday, 2 January 2011

Section 5 - Treatment

Synopsis:
He went into the police force to ensure that justice prevailed and now he’s taking justice into his own hands.
She was just an ordinary girl who was in the wrong place at the wrong time.
He has a secret and a countdown to save a life…

Treatment:
The first screen the audience see is just black, and they can hear diegetic sounds of heavy breathing and running footsteps. The black screen fades showing us a road, and in the distance can be seen a man (Kyle Baldwin) running. He runs towards and past the camera; as he does the non-diegetic soundtrack begins. The music is fast-paced and dramatic, giving a sense that something is wrong or that something important is/has happened. Close-ups of his feet and of his face as he runs are used to show his speed and his panic. He continues to run down the street.
The scene changes and both the diegetic and non-diegetic sounds stop as the camera cuts to a shot of a girl (Lucy Baldwin) in a room. The room is empty and she is banging against what we assume is a door and appears to be screaming, although we cannot hear her. She paces a little, before returning to the door, and continuing to try and escape.
The scene changes again, and returns to shots of Baldwin running. Both the diegetic and non-diegetic soundtracks begin. We see him running past buildings and past cars, so we assume that he is in either a town or a city. He runs towards one particular building, at the end of the street, opens the door and runs inside.
The camera then cuts back to a shot of the girl in the room, still using a high-angled shot but this time from an opposite corner of the room. No sound can be heard, but we can see her from behind, still trying to open the door. She stops again, glances around the room as if she is looking for something to help her open the door, but the room is empty. She continues to try to open the door. Then she stops and looks straight up at the camera.
The camera cuts to a shot of Baldwin running up some stairs inside the building he has just entered. The music/sound comes back as he runs. He reaches the top of the stairs and stops. He looks around slowly, as if he isn’t sure which way to go. He keeps focusing on the door straight in front of him. Taking a deep breath, he walks towards the door in front of him.
There is one very quick shot of the girl inside the room (sound cuts out). She is trying to open the door.
The next shot is of Baldwin (sound comes back in, now including diegetic sound of a ticking clock); he opens the door, and walks into the room. He stops and looks from side to side looking confused. The room is empty apart from a piece of paper, on the floor, so we cannot see what it says. The next shot is high-angled and taken from the corner of the room (similar to the shots of the girl – both types of sound stop).
The camera tracks out (diegetic sound returns – normal breathing etc), and we can see two images on television/computer screens: one image is of Kyle Baldwin in the room with the clock on the table; the other image is of Lucy Baldwin in the other room, still trying to escape. The camera continues to track out and we see part of a silhouette of a man, who is watching the two screens.
As the film continues, we see Baldwin return to a police station, staggering in as he is very tired. He walks straight through the station into an office, where a detective comes out to meet him. Detective Ian Randall begins speaking to Baldwin, and we realise that Baldwin is a police officer as well. Baldwin shows Randall the piece of paper he is still holding in his hand. On the paper is an address, which has been handwritten.
Baldwin explains to Randall that he found the note in his home, and that his daughter Lucy is missing. He explains how he found the address but that when he reached the building, there was nothing and nobody there. He also tells Randall about the room with the clock on the table and from his pocket he pulls out the piece of paper he found on the table. Unfolding it, we see the words ‘where we last talked’ have been written on the paper.
Randall begins an investigation into the disappearance of Lucy, and asks Baldwin to try to think of someone who would kidnap her. He tells Randall that he cannot remember anyone who would have a grudge against him, but as the narrative progresses, we realise that he is lying. He spends his time looking through old files about a drugs scandal, and Randall becomes suspicious. He begins to follow Baldwin, as he suspects that he knows more about the person who has kidnapped Lucy than he is saying.
Randall follows Baldwin to another building and watches as he enters the building. When he doesn’t come back out, Randall also enters the building and finds Baldwin kneeling on the floor in a room which is empty except from a table with a clock and another piece of paper on top of it.
(As the narrative is unfolding, we repeatedly are shown shots of Lucy in the room, and we see her from the perspective of the kidnapper. She is always in the same room, which implies that the kidnapper is playing a game with Randall and Baldwin as he begins to leave notes which only lead to another empty room, and never to the room where Lucy is being kept.)
Baldwin confesses that he believes the kidnapper to be Matthew Drake, an ex-police officer whom he was the partner of 10 years ago. He tells Randall that he got involved in a drugs scandal, but blamed it on Drake, who was then thrown out of the police force and sent to prison. He believes that Drake is holding a grudge against him and wants to punish him by harming Lucy. Baldwin shows Randall the piece of paper that is on table, which has the words ‘only 3 days left’ written on it. He tells him that Drake’s trial for the drugs scandal lasted for six days, and that three days had already passed since Lucy had been taken. The two return to the police station, planning to discover more about Drake, as they believe they might be able to discover something which will help them find where he is keeping Lucy.
On the sixth day since Lucy was taken, a letter arrives at the police station, giving instructions as to where the two detectives can find Lucy. They follow the instructions and are led to a third building, inside of which is a room set out like the other rooms Baldwin had been led to. There is another piece of paper there, and following the instructions on here leads them to another room, and so on, until eventually, when it is almost the end of the day the two detectives are lead to a courtroom. Baldwin identifies the courtroom as the one where Drake was sentenced to prison.
Inside they can hear Lucy shouting and screaming but all they can find is a television screen which is playing a video of her trying to escape from the room she is in. They hear a voice, which Baldwin recognises as Drake’s voice, and turning around they see him sat in the judge’s chair. Both detectives raise their guns, but Drake threatens that if they shoot him, they will never find Lucy.
Drake forces the two detectives to ‘attend’ a fake trial, all the time threatening to hurt Lucy if they don’t do what he asks. He forces Baldwin to confess that he was the one who was involved in the drugs scandal and that he was wrong in blaming Drake for it. He tells them how he felt about being thrown off the force and about his time in prison, and then why he kidnapped Lucy. This was because his career was the most important thing in his life, and Baldwin took it away, so he wanted to punish Baldwin in the same way. Drake feels that justice failed him, so he wanted to take justice into his own hands.
He tells the two that he has removed all traces of his existence from their computer systems and that they will never be able to track him down; he compromises with them that if they let him go, he will tell them where Lucy is. They agree, as they cannot think of another way to get Lucy back. Drake gives them instructions as to where to find her, and then leaves. Neither of the detectives see where he is going.
They follow the instructions Drake gave them, and find Lucy in a room, surrounded by drugs. They realise that Drake has murdered her with a drugs overdose. Behind her on the wall is written the word ‘JUSTICE’