Task 1 evidence audit

12

3

Work on Shot-lists, layouts, drafting, scripting or story boarding
In the blog post 'storyboard of our opening' it shows us an overview of the story line however comes across as quite confusing due to mis-communication of ideas therefore with the storyboard i created text to go with it to explain the overall objective. However as this doesn't identify exacts camera shots and layout of frames like we wanted it to portray i created a snother storyboard that is more of a representative of the opening which is very similar to the rough cut.

VILLIAN AND PROTAGANIST

An antagonist is a character, group of characters, institution, or concept that stands in or represents opposition against which the protagonist(s) must contend. In other words, an antagonist is a person or a group of people who opposes a protagonist.^{[1]- WIKIPEDIA DEFINITION}

  In our sequence the antagonist will be played by Sophie.We will be able to clearly identify her by

her costume. As you can see above the colour black has connotations of both power and mystery 

which we aim to communicate through our the use of costume.The fact the character sophie is

 playing dresses in all black tells us that she is not only powerful but is yet to bring and cause trouble

In Thrillers the antagonist is commonly seen wearing full black attire for example in the move ' An Inspector calls"

the inspectors costume is fully black( example below).This is one of the conventions of thrillers 

and for this exact reason we are using this idea. Although the antagonist in our film is not physically causing 

harm he 'is' mentally and we see the effect of this on the female character thought our sequence.

Filming the mirror scene

THIS WAS OUR FINAL SHOT DUE TO THE FACT THAT WE WAS IN UNCERTAINTY WHETHER WE WANTED TO PUT A MASK ON THE MYSTERIOUS MAN, THIS WAS AN INITIAL IDEA THAT THE GROUP HAD WANTED FROM THE START OF PLANNING. HOWEVER FROM FEEDBACK WE GATHERED THAT THE MASK WOULD HAVE LOOKED AMATEUR AND CREATED AN OPPOSITE EFFECT TO THE THRILLING EFFECT WE WANTED TO PORTRAY. FOR THIS SHOT IT WAS A DIFFICULT ONE TO FILM AS THE SPACE WAS LIMITED AND WE NEEDED TO FILM IT FROM THE MIRROR PERSPECTIVE WITHOUT GETTING THE CAMERA IN. THIS SHOT WAS FILMED BY KAEJA AND IT WAS EXTREMELY HARD NOT TO BE WOBBLY AS THE TRIPOD HAD TO BE HELD IN THE END AS THE 3 LEGS WERE TO WIDE TO FIT IN THE LOCATION, THE CAMERA ALSO HAD TO BE AT A SLIGHT ANGLE SO IT WASN'T SHOWN IN THE MIRROR. A LOT OF DIRECTING AND OPINIONS WENT INTO THIS SCENE AS IT WAS HARD TO ACHIEVE A THREATENING ELEMENT AS SOPHIE IS THE SAME HEIGHT AT KIRSTY SO IT DIDN'T MAKE KIRSTY SEEM LIKE A VICTIM OR VULNERABLE JUST FROM THIS SHOT ALONE, SO WE HAD TO CONSIDER POSITIONING. SOPHIE ENDED UP STANDING IN THE BATH TUB AND ON HER TIPPY TOES TO MAKE HERSELF SEEM LARGER THAN SHE WAS. 

IN THIS SHOT WE EXPERIMENTED WITH DIFFERENT WAYS TO MAKE IT MOST EFFECTIVE. AS WELL AS HAVING FUN WE DID STILL GET THE JOB DONE. KAEJA IS DIRECTING AND FILMING IN THE VIDEO AND SOPHIE IS POSITIONING HERSELF AND HELPING KAEJA WORK OUT THE CAMERA ANGLE.

IN THIS SHOT KAEJA TRIED AT FILMING FROM A DIFFERENT PERSPECTIVE BY TILTING THE CAMERA WHICH CREATED A NICE FFECT BUT IT DIDN'T FIT IN AS WELL WITH THE SCENE THEREFORE WE DIDN'T USE THIS MOVEMENT AND POSITIONING. BUT IT WAS GOOD TO TRY OUT DIFFERENT IDEAS AND SHOTS BEAUSE IT HELPED US FIGURE OUT WHAT WORKED FOR US BEST.

Proof of filming

For this shot it was difficult to achieve this is due to the fact that we had to be accurate with out timing and positioning. For this shot Kaeja filmed from the tripod and positioned it so the rails were more or less in line with the position on the camera. when we initially did this shot for the first rough cut we got feedback that the camera wasn't in line therefore we made a conscious effort to improve this shot. In this film Sophie looks as if she is disappearing we achieved this by Sophie ducking and running in the opposite direction of the bus as well as trying out running with the bus to find out which one looks better. We found that when Sophie ran in the opposite direction it worked better and created the disappearing effect we wanted.

RE-FILMING DAY

BASED ON THE FEEDBACK WE WERE GIVEN AS A RESULT OF OUR FIRST ROUGH EDIT, WE HAD TO RESHOOT A COUPLE OF CLIPS. OUR FEEDBACK INCLUDED NOT GOOD FRAMING IN ONE OF THE SCENES DUE TO THE DIFFICULT ANGLE WE WERE FILMING FROM. THE FIRST TIME WE FILMED WAS A CLOSE UP FROM ABOVE; THIS WAS A STRUGGLE TO FILM SEAMLESSLY AS SOPHIE HAD TO STAND ON THE BED AND THEREFORE COULD NOT USE A TRIPOD, RESULTING IN SHAKEY FOOTAGE. OUR FEEDBACK WAS TO RESHOOT THIS FROM A DIFFERENT ANGLE WHICH WE CARRIED OUT. HERE IS A SHORT VLOG OF THE DAY:

YOU CAN SEE KIRSTY LYING IN THE BED, SOPHIE POSITIONING THE CAMERA, AND KAEJA IS OUT OF THE SHOT DIRECTING THE SCENE. WE ARE VERY HAPPY WITH THE OUTCOME OF THESE NEW CLIPS AND WERE PLEASED THAT WE WERE GIVEN GOOD CRITICAL FEEDBACK THAT WE COULD IMPROVE ON. 

PROOF OF EDITING 

Some problems we noticed whilst editing our first sequence included inconsistency over two frames we filmed. In this first film still you can see our protagonist hits the alarm clock out of the way - however in the second film still you can see the alarm clock is still in the frame as if untouched. As consistency is crucial to our film we decided to reshoot this in order to make our film seamless. 

                                         

Rough cut feedback and Reflection

                                           

Based on our feedback given by our audience - there are some things we need to take into account for our final opening sequence.

ROUGH CUT 1

         

RIGHTS ON FILMING IN PUBLIC

Photography advice

DUE TO OUR FILMING DATE  I DID SOME RESEARCH IN TO OUR LEGAL RIGHTS TO FILM IN PUBLIC JUST TO PREVENT ANYTHING FROM STOPPING US FILMING ON THE DAY. I UNDERSTAND FROM THIS THAT I CANT FILM OTHER MEMBERS OF THE PUBLIC WITHOUT CONSENT. BELOW IS A COPY OF OUR RIGHTS TO FILM.

Photography advice

We encourage officers and the public to be vigilant against terrorism but recognise the importance not only of protecting the public from terrorism but also promoting the freedom of the public and the media to take and publish photographs.

Guidance around the issue has been made clear to officers and PCSOs through briefings and internal communications. The following advice is available to all officers and provides a summary of the Metropolitan Police Service’s guidance around photography in public places.

Freedom to photograph and film
Members of the public and the media do not need a permit to film or photograph in public places and police have no power to stop them filming or photographing incidents or police personnel.

Terrorism Act 2000
Photography and Section 44 of the Terrorism Act 2000
The power to stop and search someone under Section 44 of the Terrorism Act 2000 no longer exists.

Police officers continue to have the power to stop and search anyone who they reasonably suspect to be a terrorist under Section 43 of the Terrorism Act.

Photography and Section 43 of the Terrorism Act 2000
Officers have the power to stop and search a person who they reasonably suspect to be a terrorist. The purpose of the stop and search is to discover whether that person has in their possession anything which may constitute evidence that they are a terrorist.

Officers have the power to view digital images contained in mobile telephones or cameras carried by a person searched under S43 of the Terrorism Act 2000 to discover whether the images constitute evidence that the person is involved in terrorism. Officers also have the power to seize and retain any article found during the search which the officer reasonably suspects may constitute evidence that the person is a terrorist. This includes any mobile telephone or camera containing such evidence.

Officers do not have the power to delete digital images or destroy film at any point during a search. Deletion or destruction may only take place following seizure if there is a lawful power (such as a court order) that permits such deletion or destruction.

FINAL EDITING PICTURES 

This is a image of me and my group completing further research for our opening sequence 'unbalanced'. Here we are all looking for specific things to improve our camera work.

FIRST EDITING SESSION

Here you can see a camtasia of our first editing session. We started by inserting the SD card and transferring all the clips we'd taken over the past couple of days onto our video drive - this was to prevent any missing clips as we'd saved them in multiple places. We then opened up Premiere Pro, a software which none of us were familiar with, as they have a range of tools we can use in order to create our final product. We played each file in order to make sure they were the correct ones and dragged them into the 'bin' in premiere. In this screen recording you can see us placing each clip into the sequence in chronological order of how we wanted it to be played. We cropped each clip to our desired length in order to create our very first rough edit. This editing session went well as it was our first time (except from the prelim) using premiere, and we used the basics effectively. The skills we learnt from this include how to import files from the video drive, crop the clips, and render the clips - giving us the foundations we needed for the upcoming editing sessions.

Pictures for evidence of filming

This picture of Kirsty shows one of our locations for her walking scene and Sophie is in the background behind the bushes for the shot we wanted to create. In this shot Kaeja filmed and over the shoulder of Sophie staring at Kirsty from behind the bushes and the film was focused on the figure of the man.        

 In this picture Sophie is dressed in her mysterious man outfit but her face will remain hidden throughout the future scenes. This is the location where she makes another encounter with this man and continues to be confused and feel scared by this moment. We purposely used this location and setting because it is filled with abandoned shops and is generally quite isolated which helped us portray our protagonists fear and helplessness.

This is the picture that is used when Kirsty receives the picture message of herself when she believes she is home alone in the bathroom. This is also the ending location for the film and the moment of suspense.



This picture shows Sophie prepping the camera for the alley way shot of Kirsty walking down, because the ally was a hill and Kirsty was walking down it we didn't want her to come across threatening a powerful so the camera was adjusted so it looked more of a normal height eye level to Kirsty.

In this image of Naomi she was also prepping the camera further down the alley so we could continue Kirsty's walk as she continues her journey for this shot Naomi went on the other side of the bar to get a different angle and a close up of Kirsty's face.

CAMTASIA OF COLOUR GRADE