Final Piece:
Preliminary task:
Evaluation:
Evaluation post.
Production:
Group. Reflection on initial shoot
Group. Reflection on secondary shoot
Group. Reflection on final shoot
Group. practice shoot session
Logistics:
Group. Schedule
Group. Location recce
Group. Story board
Group. Animatic
Group. Call sheet
Group. Rough cut
Research:
Group. Pitch
Group. Reflection on pitch
Horror convention research; analysing a clip from poltergeist
Analysis of horror opening sequence
Technical analysis of opening sequence of 'Ghost Ship'
Group. Reflection on test shoot
Group. Initial ideas
Group. Concept development
Group. Horror genre audience survey
Group. Results from audience feedback
Title sequence analysis
Audience feedback:
Wednesday, 7 May 2014
8295- Tom Midgley
Final Production
Preliminary Task
Evaluation
Production
Group. Reflection on initial shoot.
Group. Reflection on final shoot.
Group. Reflection on shoot.
Logistics
Group. Animatic
Group. Storyboard
Group. Call sheet
Research
Group. Pitch
Group. Reflection of Pitch
Technical Analysis
Group. Test Shoot
Group. Review on Test Shoot
Horror Opening Analysis
Second Horror Opening Analysis
Group. Treatment
Institutional Research
Group. Survey
Group. Audience Research Feedback
Thursday, 1 May 2014
8316 - Jack Rodgers
Jack Rodgers - 8316
Tunbridge Wells Grammar School for Boys - 61985
Media Studies Coursework
Final Piece:
Preliminary Task:
Evaluation:
EVALUATION LINK
Production:
Group. Reflection on Initial Shoot
Group. Reflection on Shoot
Group. Reflection on Final Shoot
Logistics:
Group. Call Sheet
Group. Story Board
Group. Location Reccie
Group. Rough Cut
Research:
Group. Pitch
Group. Reflection of Pitch
Technical Analysis
Group. Review on Test Shoot
Group. Test Shoot
Group. Initial Ideas
Horror Opening Analysis
My Own Pictures Related to Horror
Second Horror Opening Analysis
Production & Distribution of a Horror Movie
Group. Concept Development
Group. Treatment
Group. Horror Survey
Group. Scheduling
Opening Title Analysis
Group. Audience Research Feedback (Results)
Friday, 14 March 2014
Friday, 28 February 2014
Tuesday, 11 February 2014
Thursday, 6 February 2014
Group. Reflection of Final Shoot
Reflection of Final Shoot
Where and Why?
On the 5th of February 2014, we as group re-visited the site in Otford to which we filmed at. This was done due to the feedback that we were given once we had put the rough cut together.
What was Done?
In this final shoot we decided we were to gather a variety of shots of our location to which we were to use in correlation to our main title, which we would create in Premiere and Photoshop. Another reason to why we re-visited our site was to gather various shots to which we could add into our opening to enable it to run through smoothly, these included of the candle section, the shutting the cupboard door section and the revealing of the book section.
How it Went?
Personally we believed that the shoot went well and we used the tripod efficiently to create steadier shots, which was a target for us achieve in this shoot. Yet when looking at the shots in Premiere after the shoot we established that some of our continuity was out, therefore due to the fact our deadline is fast approaching and we will not have any other time to re-visit the site to get more footage, therefore our editing of these shots must be precise to enable the opening to flow well and overall look better.
Tuesday, 4 February 2014
Group. Rough Cut Review/Feedback
Rough Cut Review & Feedback
Purpose:
The purpose for our rough cut was to gain some sort of feedback for others which would give us an idea about how we would change our opening so that it will overall look better. The rough cut also gave us an idea bout how long the opening would be, what shots worked and didn't work and also the cutting rate to which the opening is compliant with.
Positives:
- Various people explained that we had some good angles in our footage to which we had shot from, giving a nice feel to the opening.
- Our location and set design also stood out for people who viewed the rough cut, as they explained that it gave a very sinister feeling to the surrounding.
- Others believed that the jump scene was very well built up and scared some audience members who watched the footage even without sound.
- Some people said that the lighting in the caravan worked especially well, this was because we shot in the morning rather than at dusk like our previous first attempt of shooting the opening.
- Continuity in our opening proved to be one of our biggest strengths, not one audience member (to which we showed the opening to) explained that they were dazed or confused by any parts of the short opening.
Negatives:
- In some of the opening shots the footage tends to be slightly wobbly, this is something which we must fix later on in this week by using equipment such as a tripod to cancel out this from happening.
- Another point raised was the fact that we need more reaction shots of the stock character of the opening. Through this we can then as an audience be able to connect with the character, which might help build tension in the opening.
- Throughout our rough cut although very little people noticed it we had some shots missing which would enable the opening to flow smoothly.
- Although we had no sound (no sound added at all) to the rough cut, the audience to which we showed the rough cut to explained that sound would have to be spot on for the tension to build in the right fashion leading up to the jump part of the opening at the end of the scene.
- Although the footage we have gathered so far was good when looking at the rough cut the time exceeds the maximum time of approximately 2:20 by a long distance, as it reached at time of 3:10. Therefore later on in the editing process of the production of the opening we must consider timing of the opening and possibly cut the end montage sequence out, and turn to placing our credits in the actual footage of the piece.
What needs to be done:
Through this feedback we as a group were able to establish some key factors to which we could improve our opening. For the footage itself, we have decided to re-visit the site in which we shot at to repeat opening shots and some shots that didn't work so well in the opening. In addition to this we have decided to cut out the final montage part to our opening and instead use, programs such as Photoshop to insert various layers of text and imagery in the opening which will result in a nice outcome and finish to the piece. Sound on the other hand is more or less already sorted, all we need to establish is what scraps, bumps and creeks we need for the opening and possible go and record the different sounds one lunchtime during this week. Despite these issues i am proud of how the rough cut ended up to be and believe that with enough work and effort from the three of us, the end result will be at a good standard.
Group. Audience Feedback
Q1. What is your age?
Q2. What is your gender?
The response we received on this question was not the one we
were expecting, as the results show that more females responded to this survey
than males. However, two entrants skipped this question so they cannot be
accounted for, and there was only a difference of one person, suggesting that
our target audience is mixed.
Q3. How often do you watch horror films?
Q4. What do you consider the most iconic horror location?
From our point of view, we received a very encouraging
result from this question, as we found that most people considered an abandoned
cabin the most iconic horror location, which is very similar to our location of
a derelict caravan.
Q5. What do you consider to be the most iconic horror antagonist?
This was another encouraging result for us from a scare perspective, as the most prominent response for this question was a spirit or demon, the exact type of stock antagonist we will be using because of our supernatural sub-genre.
Q6. Name the scariest
film you have seen
Q7. Who would you consider to be an iconic horror protagonist?
We did face issues from this question.
The results from our partakers show that a young girl would be considered the
most iconic horror protagonist, where as we were keen to use a homeless young
male as our protagonist to convey the extremities of vulnerability in society.
Q8. Which of these titles portrays the most sinister atmosphere to you?
Our contributors chose “The demons
she summons” as the title portraying the most sinister atmosphere. Initially
this was the title that we favoured the most as well however after discussion
with our teachers, their knowledgeable advice
was that this title appeared to reveal plot too much, losing the sense of
mystery that is regarded with supernatural horror. “Desolate” was the next most
popular title but we felt that its meaning wasn’t one which linked closely to a
horror film, although it does have elements of intrigue. Therefore we favoured “Demonica”.
This is a punchy and meaningful title, revealing the name of our antagonist
without revealing any plot constructions and portraying a sinister feel with
the indication of a demon within the name.
Q9. Please respond to this treatment,
giving your opinion on whether it will scare effectively or not. (Treatment can
be found on blog as a separate post).
Over all, as with our other required response
question we received a very encouraging response from our survey takers, the
large majority of whom told us that they found this narrative chilling and
stating that it had good potential to scare effectively. However, the issue
that we did not consider when creating this question was that we had no gage to
measure what people considered scary – as one person’s scary could be another’s
tame rom com. We should have implemented a ranking system to give ourselves
more accurate responses, but this is something we can learn for next time.
Thursday, 30 January 2014
T.M. Analysis of 'The Number 23' Title Sequence
The Number 23 Title Sequence Analysis
0:04- 0:07
|
New Line Cinema Presents
|
0:09- 0:12
|
Contrafilm/ Firm Films Presentation
|
0:13- 0:15
|
A Joel Shumacher Film
|
0:16- 0:20
|
Jim Carey
|
0:20- 0:26
|
The Number 23
|
0:32- 0:36
|
Virginia Madsen
|
0:44- 0:47
|
Logan Madsen
|
0:53- 0:55
|
Danny Huston
|
0:59- 1:01
|
Rhona Mitra
|
1:01- 1:04
|
Lynn Collins
|
1:14- 1-17
|
Mark Pellegrino
|
1:24- 1:27
|
Patricia Belchen Ed Lauter
|
1:29- 1:31
|
Casting by Mali Finn
|
1:37- 1:40
|
Written by Fernley Phillips
|
1:41- 1:44
|
Linda Fields Hill
|
1:48- 1:50
|
Costume Designer Daniel Orlandi
|
1:56- 1:58
|
Editor Mark Stevens
|
2:01- 2:04
|
Production Designer Andrew Laws
|
2:04- 2:07
|
Director of Photography Mathew Libatique
|
2:10- 2:11
|
Co-producer Fernley Phillips
|
2:14- 2:17
|
Executive Producer Mike Drake
|
2:25- 2:28
|
Produced by Beau Flynn
|
2:31- 2:35
|
Directed by Joel Schumacher
|
The film title is first seen in the sequence 20 seconds in. The red type writer font accompanied by a number of x's above and below creates a sense of mystery and enigma due to the audiences lack of knowledge as to what the number 23 means. The font style also conveys an old fashioned time period, suggesting the number 23 has chilling historic significance. For example many historically linked events to 23 are shown; 'The Mayans believed the world would end on December 23rd of the year 2012. The title then fades out through bloody spreading spatters which immediately connotes the movie is going to be related to death and murder. The sequence includes a constant drumming in the background which keeps the pace fast moving, and keeping the audience in suspense, there are also sharp noises as well as increases of pitch creating tension.
Wednesday, 29 January 2014
J.R. Opening Title Analysis
Opening Title Analysis
True Detective Opening Credits
True Detective Opening Credits
Time
|
Text
|
|
00:02-00:04
|
Woody
Harrelson / Mathew McConaughey
|
|
00:04-00:06
|
Michelle
Monagan
|
|
00:06-00:08
|
Michael Potts
|
|
00:08-00:10
|
Tory Kittles
|
|
00:12-00:14
|
Casting by
Alex L Fogel, CSA
|
|
00:18-00:20
|
Music by T
Bone Burnett
|
|
00:23-00:25
|
Costume
Design jenny Eagan
|
|
00:27-00:29
|
Editor Alex
Hall
|
|
00:32-00:34
|
Production
Designer Alex Digerlando
|
|
00:42-00:44
|
Director of Photography
Adam Arkpaw
|
|
00:48-00:50
|
Co-producer Jessica
Levin
|
|
00:52-00:54
|
Producer Carol
Cuddy
|
|
00:54-00:56
|
Executive
Producers Steve Goblin, Richard Brown
|
|
00:58-01:00
|
Executive
Producer Mathew McConaughy
|
|
01:02-01:04
|
Executive
Producer Woody Harrelson
|
|
01:07-01:09
|
Executive
Producer Scott Stewdhans
|
|
01:12-01:14
|
Executive
Producer Cary Joji Fuknaga
|
|
01:16-01:18
|
Executive
Producer Nic Pizzolatto
|
|
01:20-01:24
|
TRUE
DETECTIVE
|
|
01:24-01:26
|
Created by
Nic Pizzicato
|
|
01:26-01:28
|
Written by
Nic Pizzolato
|
|
01:28-01:30
|
Written by
Nic Pizzolatto
|
Throughout this opening clip we see that the type face remains the same throughout and remains the same size despite the different credits shown. however their is some variation, unlike all the 'general' credits shown each for 2 seconds, the title is shown for approximately 4 seconds and is larger in size. The positioning of the text is generally at least a 250 pixels in from the sides of the footage, and is positioned according to what is happening in the film. This is what we plan to do in our opening. Another point to make is that the colour of the text is at a constant white throughout (other than the red title) this is a neutral colour and will fit in with any footage whilst shown. This is an important factor to pick up when we plan to make our own opening as a neutral colour such as white would be a good choice to make as it will fit in with our footage well, especially after it is darkened in after affects, meaning that it will be easily noticeable and easy to read. In addition to this we see that the text does not have to many effects on it other than a possible fade in and fade out show occasionally. This is due to the fact that the text is placed over a moving image and if made too complicated it will be virtually impossible to read, therefore this is why this is the case in this title sequence.
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