Wednesday, 26 November 2008
Monday, 24 November 2008
Preliminary Filming Project Script
Setting the scene: We will start the opening by using an ECU of the door handle as the first man turns it. Then we will focus on the Robert (man1) as he sits down opposite to other man (Steve(man 2)) in the opening. They will talk to each other using MSN Messenger. We will use a voice over which will speak the words on the computer monitor. While communicating, one of men’s computers abruptly shuts down and the monitor presents a screen saying ‘Will restart in 5, 4, 3……’
Then the man whose computer fails says ‘Why does it always shut down’. Then he leaves the room.
Script
Robert (man 1) sits downs at computer and logs on
Robert (man 1) “Have you got everything I need”
Steve (Man 2) “Yes, I have it on me”
Robert (Man 1) “Then where is it?”
Steve (Man 2) “Check your inbox!”
Then Robert’s (Man 1) computer crashes.
Robert storms out of the room with Steve looking at him confused.
Then the man whose computer fails says ‘Why does it always shut down’. Then he leaves the room.
Script
Robert (man 1) sits downs at computer and logs on
Robert (man 1) “Have you got everything I need”
Steve (Man 2) “Yes, I have it on me”
Robert (Man 1) “Then where is it?”
Steve (Man 2) “Check your inbox!”
Then Robert’s (Man 1) computer crashes.
Robert storms out of the room with Steve looking at him confused.
Wednesday, 12 November 2008
Working Titles Production Company
Working Titles is a British film production company with its headquarters in London. They produce feature films and some television programmes. They work with other film and TV production companies such as Universal Pictures and BBC films.
The company was founded in 1984 by Sarah Radclyffe and Tim Bevan. It is currently owned by Tim Bevan and Eric Fellner. The company received mainstream recognition after the popularity and success of the film "Four Weddings and a Funeral".
In 2004 they made a profit of £17.8 million. Since 2007, all of Working Titles films have been distributed by 'Universal Pictures', who have a 64% stake in Working Titles. The remaining shares of the business are owned by private investors and the company's founder, BBC Films. Also, the company runs a smaller low-budget film brand called WT2. WT2 is abbreviated for Working Title 2. To date, WT2 has produced a small number of films with British origin, which have included; 'Billy Elliot' in 2000 and 'Shaun of the Dead' in 2004.
More films that Working Title’s have created include; About a Boy, Captain Coreli's Mandolin, Hot Fuzz and Pride and Prejudice just to name a few.
The company was founded in 1984 by Sarah Radclyffe and Tim Bevan. It is currently owned by Tim Bevan and Eric Fellner. The company received mainstream recognition after the popularity and success of the film "Four Weddings and a Funeral".
In 2004 they made a profit of £17.8 million. Since 2007, all of Working Titles films have been distributed by 'Universal Pictures', who have a 64% stake in Working Titles. The remaining shares of the business are owned by private investors and the company's founder, BBC Films. Also, the company runs a smaller low-budget film brand called WT2. WT2 is abbreviated for Working Title 2. To date, WT2 has produced a small number of films with British origin, which have included; 'Billy Elliot' in 2000 and 'Shaun of the Dead' in 2004.
More films that Working Title’s have created include; About a Boy, Captain Coreli's Mandolin, Hot Fuzz and Pride and Prejudice just to name a few.
Monday, 10 November 2008
Friday, 7 November 2008
Media Thriller Opeining Project - Props and Costumes
For our filming project, we had to think about the connotations of the props and costumes our characters will be using, and how they will come across to the audience. With our sub genre being crime thriller, we thought it would be fitting to have one dominant character (Man 2), and one not so dominant character (Man 1).
The setting where Man 1 will be located is an old run down house that used to be lived in by squatters, so the house is empty, has old floorboards and is in poor condition. We will add some furniture into the house to make it seem more of a home such as a desk and a chair, but the run down look we will want to maintain to link this to the character and lifestyle of Man 1. This meaning that the character is poor, personality is damaged and in relation to his past, which has been of hatred and misfortune. Also, we will include a pen, some paper and an envelope to the setting as Man 1 will be writing a letter during the opening. Man 1 will be wearing mostly red coloured clothes including a t-shirt and converse shoes, and he will also be wearing blue jeans.
The meaning of Man 1 wearing red is to indicate that he may be in danger from Man 2, who will be carrying a knife, or that he is involved in a scenario where death and blood may occur later on in the film. Man 1 in the opening will be writing a letter, this letter will be linked to a past experience and current situation between Man 2 and an unknown character to the audience at this point. The audience however, will only see Man 1 writing, what he is writing will not be shown to the audience.
Man 2 however, will be a more dominant and confident figure, and this will subsequently be reflected in the clothes and props he will be using. The clothes he will be wearing will be black boots, blue jeans, a smart jacket (possibly leather) and an accessory such as a watch or a necklace, which will look expensive to show he is of higher authority than Man 1. Also to show his dominance and power, Man 2 will be carrying a knife in his pocket. All this will indicate that Man 2 is highly ranked in a form of gang, his high rank being suggested by the bold black boots, expensive accessory and the weapon. With a weapon in his possession, his intentions may be to kill Man 1, or which is the case, Man 2 will be a messenger between Man 1 and from another unknown character to the audience, of higher rank than Man 2.
Neither man’s faces will be shown, so the audience will only be influenced by what each character is wearing and the setting they are in. Nothing will be given away by facial expressions or looks.
The setting where Man 1 will be located is an old run down house that used to be lived in by squatters, so the house is empty, has old floorboards and is in poor condition. We will add some furniture into the house to make it seem more of a home such as a desk and a chair, but the run down look we will want to maintain to link this to the character and lifestyle of Man 1. This meaning that the character is poor, personality is damaged and in relation to his past, which has been of hatred and misfortune. Also, we will include a pen, some paper and an envelope to the setting as Man 1 will be writing a letter during the opening. Man 1 will be wearing mostly red coloured clothes including a t-shirt and converse shoes, and he will also be wearing blue jeans.
The meaning of Man 1 wearing red is to indicate that he may be in danger from Man 2, who will be carrying a knife, or that he is involved in a scenario where death and blood may occur later on in the film. Man 1 in the opening will be writing a letter, this letter will be linked to a past experience and current situation between Man 2 and an unknown character to the audience at this point. The audience however, will only see Man 1 writing, what he is writing will not be shown to the audience.
Man 2 however, will be a more dominant and confident figure, and this will subsequently be reflected in the clothes and props he will be using. The clothes he will be wearing will be black boots, blue jeans, a smart jacket (possibly leather) and an accessory such as a watch or a necklace, which will look expensive to show he is of higher authority than Man 1. Also to show his dominance and power, Man 2 will be carrying a knife in his pocket. All this will indicate that Man 2 is highly ranked in a form of gang, his high rank being suggested by the bold black boots, expensive accessory and the weapon. With a weapon in his possession, his intentions may be to kill Man 1, or which is the case, Man 2 will be a messenger between Man 1 and from another unknown character to the audience, of higher rank than Man 2.
Neither man’s faces will be shown, so the audience will only be influenced by what each character is wearing and the setting they are in. Nothing will be given away by facial expressions or looks.
Soundtracks for the opening
*to be decided in the editing process
we have chosen the songs listed below to create tension and suspense. They all start off calmly and slowly build up in tempo and volume.
Biko by Bloc Party
Televators by The Mars Volta
Golden by Fall Out Boy
The King by Hard-Fi
Ghouls by We are Scientists
Girls & Boys by The Subways
ID by Kasabian
Running Battle by Kasabian
After we came up with these choices, we found out that the music soundtrack could not be copyrighted. This meant that we couldn't use any of the above. We thought about creating our own soundtrack using Ian's music skills, until we came across a website that provided with a very atsmospheric, non-copyrighted soundtrack using stringed instruments, that builds up for tension and holds notes for suspense in the desired way we had planned.
The soundtrack that we will use is called Subhonmr b2 34 string from www.freesound.org.
The soundtrack from the film 'The Chamber' inspired us to make this decision, as it expresses their soundtrack in the same way that we will express ours.
Another idea of a soundtrack we debated using was Grey Snow by Josh Woodword (from www.joshwoodward.com)
we have chosen the songs listed below to create tension and suspense. They all start off calmly and slowly build up in tempo and volume.
Biko by Bloc Party
Televators by The Mars Volta
Golden by Fall Out Boy
The King by Hard-Fi
Ghouls by We are Scientists
Girls & Boys by The Subways
ID by Kasabian
Running Battle by Kasabian
After we came up with these choices, we found out that the music soundtrack could not be copyrighted. This meant that we couldn't use any of the above. We thought about creating our own soundtrack using Ian's music skills, until we came across a website that provided with a very atsmospheric, non-copyrighted soundtrack using stringed instruments, that builds up for tension and holds notes for suspense in the desired way we had planned.
The soundtrack that we will use is called Subhonmr b2 34 string from www.freesound.org.
The soundtrack from the film 'The Chamber' inspired us to make this decision, as it expresses their soundtrack in the same way that we will express ours.
Another idea of a soundtrack we debated using was Grey Snow by Josh Woodword (from www.joshwoodward.com)
Treatment for thriller opening
We have decided to shoot the opening in the sub-genre crime/thriller, much like other thrillers of its kind. For example, like in Lock Stock and Two Smoking Barrels and Leon etc. We aim to create a tense atmosphere which lends itself well to the genre. The way in which we will aim to immediately establish the equilibrium is through the setting. We will create the equilibrium by using music to build and tense atmosphere but without giving away the plot. The place we have haven chosen to shoot this opening is at Salhouse Train Station, mainly because of its deserted location, a convention used in many other thrillers.
Our film will begin with the first few shot of the station and the surrounding area to establish the location and enabling us to use a different camera shots such as long shots and worms eye view. Within these shot, running titles will be added discreetly so the viewer attention is not distracted from the opening shots. Throughout this opening, we plan to use a soundtrack, which fades in as the picture does which, by the low volume, sounds like it is being played out of shot or from a distance. Within these shots, a dark and derelict house is shown. This is the frame that we end the title sequence with. The camera then cuts to inside the house to a man sitting by a window which faces the platform. We plan to make the opening shots to set the scene last approximately 35 seconds long.
The character lives in the house alone. He is a recluse who lives in the run down house. He lives alone and is very socially isolated because he has recently stopped being involved in a gang in a scene of organised crime and corruption. Throughout the opening, we are going to have subtle clues as to his past (for example; a letter, the character stepping off the train and his intent) His house is next to the platform at the quiet station, its location is secluded, overgrown and the interior of the house is damp and dirty. There are bare wall on show and the floorboards creak as you step on them. The rooms are very bare with only essential such as his bed and a small television in his bedroom.
He is writing a letter and the camera focuses in onto an over the shoulder shot of the letter although the words are unclear on the page. When we cut to this shot, initially the music increases in volume; as if it is coming from inside the man’s room. From the over the shoulder shot, we cut to a frame of his hand turning off the radio- where the music is coming from. When the man clicks the radio off, it becomes silent. The sound of the click will be enhanced when we editing the film, which will provide a more noticeable contrast between the music and silence, making the atmosphere even more eerie than before. Another way we show the contrast between the inside of the house and the outside, as well as the soundtrack, is the lighting. Outside; we are only going to use natural light, which will contrast with the house, where there will be darker, more noir lighting.
From here, the camera then cuts to a view of the train tracks outside. The soundtrack remains silent until you begin to here the sound of the train along the tracks. This noise builds to a crescendo; however, we don’t see a train approaching because it is coming from the opposite direction. We chose to do this because by playing this trick on the audience, it adds to the build up the tension and mystery. This is the point at which the equilibrium is disrupted. It isn’t dramatic, but it is enough to change the atmosphere. The sound of the train approaching increases until it reaches the point at which the train is about to come it view. The camera remains still; focusing on the tracks, but at this point it cuts back into the house, focusing in on a blank wall, with a clock hanging on it. The camera remains on this point until the second hand then strikes the hour. We then cut back to a shot of the concrete floor of the platform. Onto this arrives the 2nd man in our opening. He is wearing distinctive boots, which is the first thing we see of him. The camera then cuts to a side-on shot looking across at the platform following his footsteps as he walks (like in the film ‘The Third Man’). The camera then stops, as does he from here, the camera then goes to a close up shot of his side where he reveals a weapon concealed under his jacket. The soundtrack remains silent. Also, when the camera focuses in, background is blurred- this is so the audience’s attention is drawn to the object.
After these shots in which the weapon is identified, this 2nd man continues to walk towards the house where the 1st man is located. The camera cuts back to the 2nd man walking towards the house, focusing on his feet using a low angle shot. From this point, in a series of 3 to 4 frames, the camera will keep cutting back and forth between the low angle shot and the 1st man in the house writing the letter, with the use of over the shoulder, high angle, medium and long shots of the man from behind, with the edition of a high angle close up shot of the 1st man’s hands and the letter as he writes.
Once the man reaches the house, the camera will then cut to a medium shot of the 2nd Man’s side, from his shoulder to his waist as he knocks on the door. We will then cut back to the high angle close up shot of the 1st Man as he stops writing and puts his pen down to get up and answer the door. The camera stays focused on this as ink begins to leak onto the page from the pen (like in the opening of ‘Don’t Look Now’ with the photo slide). The camera will then cut back outside for the final shot sequence which is an over the shoulder frame, in which the 2nd man is waiting at the door. As the man opens the door, we are going to see the reaction on the 1st mans face as he quickly goes to shut the door again, before the 2nd man pushes the knife forward, into his side. We then cut to the 2nd man grabbing the letter and in a close up shot we watch him set fire to it - suggesting to the audience the connotations and possible consequences of the letter, also making the audience wonder exactly what it could say.
Our film will begin with the first few shot of the station and the surrounding area to establish the location and enabling us to use a different camera shots such as long shots and worms eye view. Within these shot, running titles will be added discreetly so the viewer attention is not distracted from the opening shots. Throughout this opening, we plan to use a soundtrack, which fades in as the picture does which, by the low volume, sounds like it is being played out of shot or from a distance. Within these shots, a dark and derelict house is shown. This is the frame that we end the title sequence with. The camera then cuts to inside the house to a man sitting by a window which faces the platform. We plan to make the opening shots to set the scene last approximately 35 seconds long.
The character lives in the house alone. He is a recluse who lives in the run down house. He lives alone and is very socially isolated because he has recently stopped being involved in a gang in a scene of organised crime and corruption. Throughout the opening, we are going to have subtle clues as to his past (for example; a letter, the character stepping off the train and his intent) His house is next to the platform at the quiet station, its location is secluded, overgrown and the interior of the house is damp and dirty. There are bare wall on show and the floorboards creak as you step on them. The rooms are very bare with only essential such as his bed and a small television in his bedroom.
He is writing a letter and the camera focuses in onto an over the shoulder shot of the letter although the words are unclear on the page. When we cut to this shot, initially the music increases in volume; as if it is coming from inside the man’s room. From the over the shoulder shot, we cut to a frame of his hand turning off the radio- where the music is coming from. When the man clicks the radio off, it becomes silent. The sound of the click will be enhanced when we editing the film, which will provide a more noticeable contrast between the music and silence, making the atmosphere even more eerie than before. Another way we show the contrast between the inside of the house and the outside, as well as the soundtrack, is the lighting. Outside; we are only going to use natural light, which will contrast with the house, where there will be darker, more noir lighting.
From here, the camera then cuts to a view of the train tracks outside. The soundtrack remains silent until you begin to here the sound of the train along the tracks. This noise builds to a crescendo; however, we don’t see a train approaching because it is coming from the opposite direction. We chose to do this because by playing this trick on the audience, it adds to the build up the tension and mystery. This is the point at which the equilibrium is disrupted. It isn’t dramatic, but it is enough to change the atmosphere. The sound of the train approaching increases until it reaches the point at which the train is about to come it view. The camera remains still; focusing on the tracks, but at this point it cuts back into the house, focusing in on a blank wall, with a clock hanging on it. The camera remains on this point until the second hand then strikes the hour. We then cut back to a shot of the concrete floor of the platform. Onto this arrives the 2nd man in our opening. He is wearing distinctive boots, which is the first thing we see of him. The camera then cuts to a side-on shot looking across at the platform following his footsteps as he walks (like in the film ‘The Third Man’). The camera then stops, as does he from here, the camera then goes to a close up shot of his side where he reveals a weapon concealed under his jacket. The soundtrack remains silent. Also, when the camera focuses in, background is blurred- this is so the audience’s attention is drawn to the object.
After these shots in which the weapon is identified, this 2nd man continues to walk towards the house where the 1st man is located. The camera cuts back to the 2nd man walking towards the house, focusing on his feet using a low angle shot. From this point, in a series of 3 to 4 frames, the camera will keep cutting back and forth between the low angle shot and the 1st man in the house writing the letter, with the use of over the shoulder, high angle, medium and long shots of the man from behind, with the edition of a high angle close up shot of the 1st man’s hands and the letter as he writes.
Once the man reaches the house, the camera will then cut to a medium shot of the 2nd Man’s side, from his shoulder to his waist as he knocks on the door. We will then cut back to the high angle close up shot of the 1st Man as he stops writing and puts his pen down to get up and answer the door. The camera stays focused on this as ink begins to leak onto the page from the pen (like in the opening of ‘Don’t Look Now’ with the photo slide). The camera will then cut back outside for the final shot sequence which is an over the shoulder frame, in which the 2nd man is waiting at the door. As the man opens the door, we are going to see the reaction on the 1st mans face as he quickly goes to shut the door again, before the 2nd man pushes the knife forward, into his side. We then cut to the 2nd man grabbing the letter and in a close up shot we watch him set fire to it - suggesting to the audience the connotations and possible consequences of the letter, also making the audience wonder exactly what it could say.
Monday, 3 November 2008
Video Production
180 degree rule
The 180 degree rule is used in the production of most films. This could be used when people are having a conversation. When using this technique, there is an imaginary line that the camera doesn't cross when filming. The only time when you come out of the 180 degree rule is when you can see the camera changes sides.
Match on Action
Match on Action is also used in the production of films. This is another piece of editing that gives a scence that the character or characters are moving in the same direction by using two cameras to film from different perspectives.By using Match on Action, the films doesn't look like to two pieces of film cut together.
Shot/Reverse shot
Shot/reverse shot (or shot/countershot) is a film technique used when two characters are looking at each other in one scene. The first character is shown looking at another character. This person usually is seen looking off-screen.Once the first person has looked towards the camera, the other character is then shown looking back in the direction of the first character. As the characters are shown to be facing in opposite directions to each other, the viewer assumes that the actors are looking at each other.
The 180 degree rule is used in the production of most films. This could be used when people are having a conversation. When using this technique, there is an imaginary line that the camera doesn't cross when filming. The only time when you come out of the 180 degree rule is when you can see the camera changes sides.
Match on Action
Match on Action is also used in the production of films. This is another piece of editing that gives a scence that the character or characters are moving in the same direction by using two cameras to film from different perspectives.By using Match on Action, the films doesn't look like to two pieces of film cut together.
Shot/Reverse shot
Shot/reverse shot (or shot/countershot) is a film technique used when two characters are looking at each other in one scene. The first character is shown looking at another character. This person usually is seen looking off-screen.Once the first person has looked towards the camera, the other character is then shown looking back in the direction of the first character. As the characters are shown to be facing in opposite directions to each other, the viewer assumes that the actors are looking at each other.
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