Firstly i starred in the production, as i was the double act for the character ‘Connor’ as we needed to film within the school. In addition, as part of the props I put forward the idea of having the couple kiss at the restaurant for the wedding which represents the romance they shared which later contrasts with the destruction of their marriage. Finally, to create the correct atmosphere for the genre, i used my phone torch to put a soft spot light on Ariadne to produce tension and heighten the main character’s expressions and vulnerability.
With the contribution, I made sure that I had input in decision making, camera work, editing and music. The main role I played was leading everyone in the group and the production in the sense that I had the dominance of how things would be processed and the approval or development of actions that had been done by the Felicity and Sophie. The production originated from my idea of a emotionally damaged female looking at photograph in a darken basement/cellar. This was then further developed by the group, creating an opening sequence based on an abusive relationship.
Felicity and I contributed equally with the editing as well as making the music. We both did the credits but I overtook the last credit -'Don't Look Back'- with an enlarged red, chalk font to make the title stand out from the theme colours of the primary credits. I included the blur effects and the different colouring of a slight hint of black and white colour to emphasize the distinction between the flashbacks and reality. With the music, I meticulously found one of the two main types of music we included which had connotations with the genre of thriller. I also included a fade in and fade out effect to make the music flow as we had complications with the audio in the sense that it was far too long and therefore had to cut it down to the minimum in order for it to correspond with video, especially with the logo and the film title. However, the camerawork and props were the least amount of contribution compared to the decision making, editing, and music. I did have control of the camera when it came to filming of the silhouettes of the two actors and even though I was in power for a short period of time, I would have liked to made the scenery a lot lighter so the camera would have captured the shadows a lot darker which would have made the beginning of the sequence a lot more effective. Furthermore, while filming, I had multiple suggestions on how we should convey the character's vulnerability via camera shots such as a slightly low angle when she is about to be beaten. I would have liked a lot more shots of the actress, Ariadne when she is lonesome as it would not only lengthen the production but underline her weakness. While Felicity was in charge of the camera, both Sophie and I swung our phone lights to create an uneasy feeling to the atmosphere which was suggested by myself as originally I had my heart set on having a shot of a swinging light from the ceiling but unfortunately did not have this facility. Concerning props, I made sure that trainers were used when there are close ups of the character's feet slowing and dramatically coming down the stairs to reiterate his masculinity. In addition, I printed off pictures of Ariadne (with permission), and happy occasions - which were crumpled up- to match the idea of reminiscence and to make the scenario more realistic to the audience instead of using images of individuals that do not link to any of the characters involved in the production. Firstly in the production of this opening sequence, I contributed to the making of the music with Roopie. To begin with i first found a base tune to base round the music round, i went for quite a neutral tune with could be easily adapted and added to. I added to the base tune by finding accompaniment tracks for example a piano tune then drum beats towards the end to be in time with the opening title ‘Don’t Look Back’. I tried to gain tension through out the sequence yet dull the areas with the flashbacks so there is a contrast in the music as well as the filming.
I also did the camera work and props for all the opening sequence,first starting with the filming for the wedding and restaurant sequence in the clip. As i work at Francesco’s in Windsor, i was able to use this location in our production. I first supplied the dresses that both Ariadne and Ashlie wore, the flowers they were carrying and the rings placed on the fingers. I thought the wedding ceremony would look better filmed on the balcony however i found some difficulty filming this section without some camera shake as the camera was placed on the tripod and was fairly stiff. This restricted me from following Ariadne and Ashlie fluently. Working through this i then filmed the close up of putting the rings on, this was much easier to film as i had the tripod however we were going to include some sound of the couple saying ‘I Do’ consecutively however the sound did pick up on the filming so i decided to cover it with the music. The rest of the filming in the restaurant was fairly simple as it involved same level shots of the couple either at dinner or kissing or simply talking to family or friends. If i were to film Ariadne and Connor at dinner again i would use two separate shots instead of the same continuous shot as I believe this would add more to the sequence also conveying different expressions. The next section of filming took place on the stage at school where we closed the curtains so it was pitch black then used torches on our phones to create eerie, cellar-like lighting displaying how she is now trapped and highlighting her expressions and inability to move as the light is solely on Ariadne. To create different angled shots in this part of the sequence I decided to place the camera in awkward places for example on a tripod on top of a take to get a high angle shot which shows how weak Ariadne is now portrayed and how helpless she now is. I also done a extreme low shot of when Connor walks down the stairs as i was literally laying on the floor to get the camera as low as possible. This portrayed how the man now had dominance and was the superior and stronger out of the two characters. Finally, equally with Roopie, we both contributed to the editing of the production. One of the main difficulties we found was combing the music with the opening sequence as the music was far too long, after a considerable amount of editing to the music we combined the two and fit them together. Another difficulty i uncovered was matching the title of the opening sequence to the film as there was a specific beat in which each word was meant to appear. Our Story Board
Each image represents a different section in the opening sequence. The first and second pictures convey how Victoria is gathering her necessities and running out of the house while her husband is watching. The third and fourth photographs portray how she believes to have found a safe hiding place however he recaptures her and takes her back to the house. Finally the fifth and sixth images demonstrate the several flashback which occur and conclude with her being beaten by her husband again. We adapted the storyboard by changing the sections in the forest and in the house as the sequences would be too long, we started from when she was having flashbacks and then added in a man walking down the stairs into the basement. - Goes to the cinema twice a month - Uses social networking sites -Likes shopping - Aged 16+ - Loves going to parties - More likely to be teen who watch - Likes magazines sources for newsagents or shops - Listens to music Using our research we found that teenagers are more likely to understand the plot and become more involved within the film therefore are target audience is the ages between 16-19. In addition to this we also found that most horror films are certificated either a 15 or 18 which earlier links with our discovery of older teenagers being able to understand and maybe even relate to some scenes within these genres of films.
1. Establishing shot of the house. 2. Close up of girl grabbing bag and putting food into it. 3. Tracking shot of girl running out of house and toward the forest. 4. Medium close up of man watching through the window. 5. Wide shot of girl running throughout the forest. 6. Extreme close up of girl running. 7. Wide shot to show she has found a place to rest in the forest. 8. High shot to show her vulnerability in that place. 9. Close up to see the man grabbing her from behind (see expressions). 10. Wide shot to display how the man is dragging her through the forest back to the basement. 11. Medium Shot of man throwing her in basement and tying hand to make her stay. 12. Close up of her retrieving pictures from her pocket and looking through them. 13. Flashbacks when looking at different images. 14. Zoom out shot from flashback bringing her back into reality. 15. Close up of him grabbing her and torturing her again. Throughout actually filming, we had to change the shot list. We firstly did this by taking out the beginning scene of running through the house then through the forest. We did this because we decided that the sequence looked much better when you go straight into the flashbacks. I then came up with the idea of filming silhouettes at the beginning of the sequence which gains tension for the audience and makes them thinking about whats going on before the film has even started. Are aim really in the opening film was to just give a hint away when the actual film started the audience would be shocked and overwhelmed by the outcome. We finally added much more shots into the scenes, for example the silhouette scene, which was a close up of the two shadowed figures. The step scenes which are various scenes within the sequence with display an extreme close up of trainers walking down the stairs. Then finally we the following shot of Ariadne walking up the stairs in the restaurant to get married.
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AuthorFelicity 2008 Archives
April 2014
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