Tuesday, 6 March 2012

Group: Titles

What information are you going to include on each title?
The titles we are going to include are:
  • Studio: Adams Independent Pictures presents
  • Production company: a Red Robbins production...
  • Principal actors: Tatum O'Leary, Harriet Burton, Heather Robbins
  • Original score by... Ellie Saunders
  • Production designer: Anna-Chloe Thorniley 
  • Editor Freddie Jack Bransby
  • Director of photography: Francesca Fenner
  • Executive producer: Marie Moriarty
  • Story by: Adrianne Wade
  • Director: Rozzy Adams
  • And the main title card: GUTTED
On each of the titles, we will state the role in the production and the name of that person. Though as this is not a real film, we have invented names for the studio, production company, composer, etc.

How many titles?
12

What are you going to do with your film title?
The film title, 'GUTTED,' will be displayed over the last clip of the opening, in a large red font. The font we have chosen is called Skin & Bones, which gives a bloody look when in red. It is a sans-serif font, and will be capitalised.


Are you going to animate it in some way?
We are considering animating it in some way, but we would like to keep the title simple and punchy, so we feel that complicated animation may make it loose it's effectiveness. So any animation we did choose would be something simple, such as the text getting larger before it fades.

Monday, 5 March 2012

Group: Next Film Shoot

Schedule for second shoot
Sunday March 11th 3:00-7:00
Arrive at prep location: 3:00pm
Make-up and costumes: 3:00-4:30pm
Arrive at location (Woodbury Park Cemetary): 4:45pm
Shooting: 5:00pm onwards

Actors
Sophie: Hatty Burton
Imogen: Heather Robbins
Alexis: Tatum O'Leary
Zombies: Freddie Allaway, Jo Cheek, Ellie Wade, Chloe Saunders

Props
  • Two camcorders for the characters
  • Special effects (tray, foil, latex intestine props)
Costume
Alexis: Plain t-shirt, hoodie, ripped jeans, converses
Imogen: Vest top, leather jacket, denim shorts, ripped tights, plimsolls
Sophie: Button-up shirt, jeans, cardigan, trainers
Zombies: Ripped, bloody clothes

Planning Ahead
  • Making gore props (Friday March 9th)

HR: Technical analysis

Mimic 3: Sentinel (Petty, 2003)


Camera technique
Mise-en-scene
Duration of shot
Slow zoom in from long shot to a medium long shot
Fade in to a man with his back to the camera, a beam of light is projected to the wall. He is moving his arm as if he is sawing/grating something, then a bit of blood spurts onto the wall then fades to a blackout
14 seconds
Big close up of the ground, still shot
The screen is still for a few seconds, then some glasses are dropped on the ground, blackout
10 seconds
Handicam used to track the boy, zooms in on him
A small boy is followed through a dark place, he is wearing a bright orange hoodie and beige trousers, every few seconds looking behind him
20 seconds
Extreme close up
ECU of an eye looking through a camera lens
4 seconds
Ped up and ped down
The small boy notices a pair of glasses on the floor and picks them up and cleans them
14 seconds
Close up
Shows the boy putting his glasses back on
5 seconds
Tracking shot


Shows the small boy walking towards a dead bird and touching it


9 seconds


Big close up, fast cutting rate


Shows the bird covered in blood struggling


3 seconds


Ped up, from bird to the boy
Shows the bird flailing about and the reaction of the boy at a low angle
3 seconds
Shot-reverse shot
The boy is backing away from the bird, and the camera cuts to a close up of the bird’s dead carcass, then a silhouette of a man is shown behind the boy, he is in shadows so we cannot see his face to create enigma
8 seconds
Birds eye view
See a quick overview of the area and the man walking up to the boy, still in the shadows
3 seconds
Close up
Boy turns around to see the figure behind him
2 seconds
Camera moves in over the shoulder
Camera moves into a shot of the figure’s shadow covered face.
4 seconds

 Think about the soundtrack.  How many layers of sound are there?  How does it help establish an enigma / create dramatic tension?
There are many layers of sound, noticeably the faint music in the background and the diagetic and non-diagetic sounds. The increased volume of the glasses dropping, camera shutter and wing flapping from the chicken shock the audience as they are not expecting the noise to be that loud. The high pitched music in the background creates tension as the audience are waiting for the crescendo in the piece of music when the antagonist approaches but they are put off by the diagetic and non-diagetic sounds.
3. What have you learnt from this technical analysis?  Reflect on the filmmaking techniques used and how effective they are at 'hooking' the audience.
I have learnt that music should be used accordingly and not thrown in there to try and create tension. The footage should be able to match up with the footage or otherwise the desired effect of making the audience anxious will not be successful. With all the different lines of actions and shots, it reels in the audience as it is more interesting to watch. The way in which the filmmaker has been able to create tension is by the use of sound mainly because it is distorted so that helps to connote fear of the unknown and helps to make the situation of the boy being watched by the man in the window more tense.


Friday, 2 March 2012

HR: Zombie Makeup Tests





These are two makeup test that we could use for the zombies. One of them is more of a muddy, rotting and decayed one (hence the brown and black makeup) and the other is more of a bloody, bruised, infected look (hence the fake blood and purple). For the hair, we shall backcomb it so it looks messy. We decided to do a makeup test before actually filming so we can see how they look on camera compared to real life.
Here are some still images

RA: Further Research

In planning for the chase sequence, I have researched other similar scenes that we can draw inspiration from. One sequence I researched that was very useful was a scene from Harry Potter and the Deathly Hallows part 1 (Yates, 2010) featuring a chase through a forest.



Techniques used in this scene that I feel we could replicate include the combination of long shots and close up, the use of tracking shots, the fast cutting rate, and the use of inventive angle shots, such as low angle and canted angle.

Group: (1/3) Developing Concept

What did you achieve today?
As we have already drawn out a story board and turned it into an animatic, we will be able to quickly do each shot without having to sacrifice lighting from outside. We have added extra information and ideas underneath each frame so when we get to the shoot we will be able to know what we are going to do.
What did you decide in terms of your first shoot?
For our first shoot, we have decided we are going to do it in chronological order as we are planning on filming outside at first. Also, the lighting will be best at 5:00pm as the sun is setting, so it won't be too light or too dark. For the rest of the scenes, we will film inside so we don't have to worry too much about the outside lighting as we will be using artificial lighting from the house lights.

Group: Animatic



This is the animatic we have made of our storyboard.
What is the purpose?
The purpose of creating an animatic was to test whether we will have the correct amount of footage so that the opening is an appropriate length. It was also a good opportunity to test out any effects we might want to use with our footage, such as experimenting with different lengths of takes and cutting rates  to create the most effective atmosphere for a horror opening.

What did you learn in this process?
This process was really useful in learning what lengths of takes and cutting rates work in our opening. We found that it was a combination of short and long takes that worked best; initially very fast for the establishing shots of the corpses to set the tense atmosphere, then slower to build tension as well as giving our protagonists prevalence so that the audience are positioned with them, then fast again during the chase scene to create a paced and suspenseful climax to the opening.

How useful is this exercise?
It is important to remember that our storyboards, although detailed, will not be exact for the footage that we end up filming. The shots may not be the same, or there may be a different number than suggested by this animatic. However, it was very useful to see that we have approximately the right number of shots for a two minute opening. This exercise has also enabled us to visualise our finished opening a little better, which will be useful when filming in our upcoming shoots.