Group: Conservatorium opening sequence

Below is our psychological-horror opening sequence, of the film Conservatorium:

Our next step - is to receive audience feedback over the weekend, and make any amendments during the following week to fine-tune our sequence and ensure it is the best it possibly can be.

Group: Editing Process continued

Since the initial editing on fixing issues raised with our feedback from the showing our editing process has had several key focuses:

• To amend the soundtrack - This has been achieved through  increased/decreased soundtrack at suitable points.
• To further cut down - Another 1:30 has been cut, meaning it is now more fitting of the criteria.
• Fix continuity errors - All shots concerned in this have been re-shot.
  
• Make a more comprehensive watch - This has been done on the most part through the inclusion of extra-diegetic sounds, like the fly.
  
• Include titles - This is well under way with titles being included in the places that best fit.
• Complete anamatic - This has been fully editing and the update is now on Youtube.

JS: Full update

Media Research - Zombie Sub-Genre



Why are audiences afraid of Zombies?
Research - by an open university - found that people are scared of faces that are very similar to human faces that have only been slightly changed, a concept more commonly known as 'uncanny valley'. The research started in the 1970s and investigated whether robots should be made to look like humans or not; the result was people found too close a resemblance to be off putting and rather sinister. This links as to why we found zombies so scary - as something as subtle as milky eyes on a human face can be seriously uncomfortable for audiences.

Why do audiences love the Zombie Apocalypse theme?
People like the Zombie theme on the whole as it can be uplifting - showing the strengths and weaknesses of the human race, and the character compassion really shines through. It is scary for audiences because towns and cities they are familiar with have been completely destroyed in most cases, however humans have a natural instinct of survival and this is a theme that enables the audience to put themselves in the admirable protagonist's shoes - a survivor or not.

Why do audiences love Zombies?
Our mysterious love affair for Zombie movies started off with 'The Night of the Living Dead' (1960, Romero). Zombies are easy to interpret due to costume and other pro-filmic effects, like limbs missing and bloodied bodies. Zombie movies focus on the survivor, as opposed to an antagonist like other horror genres; and what makes them so unique is the battle - between humans and humanity, it puts people in impossible situations. The slow story line is a hall mark of building tension in Zombie films. In some cases films show people living alongside zombies; however they ultimately prepare audiences for the jump scare of a zombie ready to pounce.






Sound Research


Soundtrack – we are using a juxtaposed soundtrack by showing the character listen to a radio, listening to classical music. This will imply an old fashioned yet well educated nature to the character.  We are using a classic era timbre of strings used playing in a high pitch, this could be seen as simply classical music however these aural signifiers imply horror surrounding the character, however at this time in the action it is still ambiguous whether they are the protagonist or antagonist despite the subtle hints.  A particularly prominent idea at the current moment is “Brahms-Violin Concerto in D op. 77-(3/3)-Allegro giocoso ma non troppo vivace” as performed by the Philharmonic Orchestra, conducted by Luis Valencia recorded on May 4th 1962.

HOWEVER, it is still to be confirmed as to whether copyright will be an issue with this.

Note: as of 15/1 allowance of this soundtrack has bee established

Dialogue – seeing as there is only one character on screen for most of our opening, we believe no dialogue will produce the most engaging action because it means the audience will be fully concentrating on the action they are seeing.

 
Sound Effects – we will keep these minimal, however some are necessary like that of the fly, as it will be hard to utilise an actual fly effectively. Also, we believe at the end when there are several near dead victims some subtle groans would enhance the action.


 

Analysis of an opening sequence - Friday the 13th (Cunnigham,1980)
 

 

 

 

Camera:

• On the whole, the shots for the opening aren't exactly significant in the sense of creating a tense atmosphere - in fact almost the opposite; if you take out the moon with howl which signifies horror, and then the actual killings, this film could easily be a film for all the family.
• Although, there is a certain distance to all the shots that gives you a of watching without being part of the action, more as if you are observing. Furthermore, there is a particularly interesting and unnerving shot in the opening - this is when you see from the killers POV.
• To me, this was unexpected as POV shots create prevalence of character in my mind, yet in this context doesn't - it gives another platform for which the audience can empathise with the victims on; and almost feel as they do in their last moments.  

Mise-en-scene:

•  Costume creates a sense of "innocent youth" through their high-worn shorts, and camp worker shirts.
• The fire and huddling in character blocking conveys a sense of togetherness, and the song being sung itself is a Christian song - conveying innocence. 
• Profilmic effects were used during the filming, in the form of fake blood - creating a more believable and shocking murder.  

 

Sound:

• Soundtrack initially creates tension, as does the sound effects of the wildlife which creates a sense of isolation.
• Several aural signifiers are used, for example the werewolf howl in one of the first shots.
• However, it then switches to warm, uniting, "camp-fire" type song, this is a juxtaposed idea and heavily conflicts the theme of horror and creates a sense of unease within the audience - it is almost as if you know something is out of place and are awaiting the true 'scary' aspects.
•  This then switches to highly intensifying violin music when the killings take place.

 

Editing:

• The editing is similarly used to create an ambiguous and not clearly a horror atmosphere, there is neither a significantly fast or slow cutting rate, and a lack of jump cuts or such.
•  A coherent understanding is enabled through easy to follow cuts - looking in on the action and then looking from the antagonist's POV.

 

Our Production:

I feel that several points and ideas from this opening could be utilised in our final production, but two ideas in particular stick out to me:

• The idea of a juxtaposed soundtrack
• POV shots from the antagonist's eyes.

I feel this because, in my opinion, these are the factors that most efficiently and successfully gave the audience a sense of unease and fear.





American Psycho (Harron, 2000) Technical Analysis

Dialogue implies lack of emotion through somewhat robotic delivery, and also some comments seem as if he is trying to outdo someone in a sense, further implying he has superficial values. As well as this his in depth comments regarding his morning cleansing routine imply a great sense of pride in his appearance, but as if he cares almost too much.
 

 

Group: Editing Process post-feedback

In our post feedback the two main issues were:

• The length
• The bin in the opening shots - ruining the mise-en-scene.

To eradicate this Tom and I acted on behalf of the whole group and completely cut the first three shots - cutting almost 30 seconds in length and removing the issue surrounding the bin. As a replacement for these opening shots we have including several ECUs of plants - these were initially supposed to be filler shots; however we found that they also set the scene and ambience we are trying to create. To provide a succinct transition into the action we inserted a short black out, with "G4 Productions" fading in. We feel that this is beneficial for the production as a whole as it reduces both time, and liability to lose marks from a mise-en-scene aspect.

 

In regards to further editing, our main concern is now to get the footage into the time frame and so this requires cutting footage and speeding some shots up. Also, we are yet to fully complete the sound editing to make it appear more diegetic and seamless however this is a process that could potentially be a very quick job.

Group: Rough Cut

Our rough cut (soundtrack is unfinished, and duration is too long.)

Here is a video analysing our strengths, weaknesses; and ways we are going to improve our production:

 

Overview:

Advantages:

Soundtrack

Shots and variation

Points to improve:

Vary sound levels
Length
Increasing suspense
Poor initial shots
Titles

Group: Typography Analysis

In an opening sequence, we noticed that the typography of the people involved and the title itself is key to the audience's understanding of, and feelings towards, the action.
We felt that the font of subtitles for those involved in the process should differ from that of the title - "Conservatorium", feeling that those for the title should more effectively convey the nature of the film but the names should perhaps just be clean cut and interact with the action - with no clear connotations but subtleties that reinforce the character's attention to detail. With this in mind, we narrowed the options down to the following options; 'Acquaintance', 'Blackadder ITC', 'Bleeding Cowboys',  and 'Palace Script MT'.

We decided that in use of our title, the font 'Acquaintance' wasn't relevant enough to the characteristics and themes we were trying to portray, and seemed in a sense too childish.

 

 

 With regards to 'Blackadder ITC', we feel that - whilst it does strongly convey our antagonist's character and his classic, OCD tendencies - it is somewhat ambiguous and hard to read.

 

This font is one that was in huge contention for the final font, however whilst it strongly reflected our antagonist, we concluded it didn't portray the horror theme enough to be the font of what ultimately is a gruesome, psychological horror film.

 

 

 

Our final decision was to use 'Bleeding Cowboys' as our font for the title 'Conservatorium'. This is because we felt it was the best ratio of gritty horror themes to the neat calligraphic implications intended.

 

This is an example of our potential font for all titles but the title "Conservatorium". We believe this is suitable as it is easily readable, whilst maintaining the clean cut finish desired. This is also a strong idea as it relates to that of those researched in Hannibal (Scott, 2001) and also portrays our antagonist's obsession with cleanliness.

Group:soundtrack

Soundtrack

• We have all come to the conclusion that we will have the same soundtrack playing throughout the duration of our horror opening: Conservatorium.
• The name of the soundtrack is 'Violin concerto' by Brahms. It is an intense period of violin playing, which varies from low to high intensity throughout different stages of the opening.
• This is an appropriate soundtrack to use as the fast, erratic playing of the violin creates tension, whilst the slow and calm stroke of the strings create a sense of calmness.

Extra Diegetic sounds

• We have booked a recording studio for next week in the music department.
• Using Luca's music tech experience we are looking to produce multiple sound effects.
• These include
• The sound of the gloves snapping on wrists.
• Cutting of plant
• lifting of the sheets
• Groan of dying victim
• The buzzing noise of a fly.
• Sound of cutting the fly - crunching.

Group: Logistics

The following are an exemplification of our most detailed risk assessment and call sheet:

The purpose of a risk assessment
-A risk assessment ensures protection of equipment, people, and location by identifying potential hazards and addressing them.
-In the real institution world - a risk assessment is used as insurance (as all equipment is insured)

The purpose of a call sheet
-To ensure that all shots necessary are filmed
-To limit time wasted, and therefore improve efficiency (eg - spending five minutes trying to remember the next shot is time consuming.)
-Precise details can be given in the call sheet - meaning that our ideas from the classroom can be accurately implemented in our actual shoot. This is important to us - as we want our production to be exactly how we visioned it.

Challenges involved in completing these two tasks
-Despite using a call sheet to ensure all our shots are completed; each shoot we have done; we have come up with shots in the moment. This means the call sheet is never quite complete. An exemplification of this is our petri dish shot - where we placed a petri dish on the camera lens; so the action of placing the fly into the dish, and taking the dish away was caught in an interesting shot:

TW: My role in our second shoot

Filming
I took the major role in filming on Monday; filming the majority of shots we did which weren't from high angles (Luca did these ones) - these included 'filler shots' of flowers; and all the extreme close ups. For example - the canted angle used in the pick-up of the pencil, and a close up of the plant being trimmed.

Organisation
I brought a call sheet, and a precise list and description of shots we to film on Monday. I then ensured we systematically went through each shot - often acting out specifically what we desired to our actor. Direct organisation and orders were helpful at a time when we were tight on time, light, and in quite poor weather conditions - was necessary.
Once again - we all had to organise and arrange our set; another example of where organisation was needed.

Continuity
Using pictures taken at the previous shoot - I organised the greenhouse layout to ensure continuity, and made sure actions began slightly before they needed to - and ended slightly after also. An example of this is when Billy takes the lab-coat from the hanger - we only need the part where it is taken off, but we filmed him moving towards, taking, and moving away from it - to ensure, when editing: it doesn't look choppy.

Group: Shoot 2 Details

Upon reviewing our initial footage and consultation, we noticed some minor errors concerning shot angles, camera movement, and in some cases continuity. Having seen this and the content of these shots being fairly important to our story line, we - as a group - have come to the conclusion that we require a second shoot. Whilst we will use a heavy majority of shots from our first shoot, we do need to gain some extra footage. We have organised a shoot on Monday, 19th January. This is ideal as we have 2 lessons of media after lunch, and so have asked permission as to leave school (to shoot footage) at 12:30 - as soon as the lunch hour begins. We will leave as soon as possible for Luca's, and there will be a lot less time taken in preparation as it hasn't been significantly changed since our last  shoot. Furthermore, we have ensured our external school student - who is pivotal to our filming as he plays the antagonist - is available for this time slot. We have written a shot list as to minimize wasted time and maximise efficiency in getting footage.

Group: New ideas for Monday

Fillers
All commendable TV shows use fillers as a form of changing from two extreme shots. So on Monday we are going to film a series of fillers - for example, close-ups of flowers, pans of the inside of the glass in the greenhouse, shots through the flowers of the action.

Justifying our camera movement
Upon consultation - we were notified the fact that some of our shots involve movement, which is then followed by a still shot from a tri-pod - and apparently this was unprofessional. However - award winning shows: Breaking Bad, and Walking Dead - have this style, as it creates unease in the audience. This is therefore a justification for this style being implemented in our own production.

TW: My role in post production - week starting 12th January

 

Editing

• Despite Luca taking precedence in editing - we have all participated in cutting, and sequencing our shots as much as we can before our second shoot.
• Secondly - I have played a vital in role in the implementation of titles, and I watched through our sequence and put in unfinished potential title placements. For example - I am keen on the idea of placing credits on the scene as an aspect of pro-filmic effects, which are then revealed following movement across the screen. This takes inspiration from the title research I completed this week.

Planning

• Together - me and Luca systematically went through our sequence and pinpointed places where we wanted to film additional shots for our shoot on Monday 19th. I acted as the scribe and wrote down, in detail, the shots we are planning to do on Monday. - http://twgsbmedia15asgroup4.blogspot.co.uk/2015/01/group-planning-for-second-shoot-monday.html
• Following this - I filled out the call sheet, attached it to the risk assessment - and then underwent the process of requesting equipment (showing our planning notes and sending an e-mail request.)

BWB: Analysis of opening title sequence (Aviator,Scorsese,2005)

Order, duration and description of titles.

0.00 - 0.05 "Martin Scorsese" - placed in the top right third of the screen, in white font (rule of thirds)
0.11 - 0.13 "Written by John Logan" - Placed in top right third, brown font.
0.23 - 0.27 "A forward pass/ apian way/ IMF production" - Approaches from the bottom left corner and glides along the screen exiting at the top right corner of the screen, Black font.
0.28 - 0.30 "Produced by Michael Mann Sandy climan Graham King " - Bottom left third of the screen, white font.
0.34 - 0.37 "Executive producers, Chris Bingham, Rick Yorn, Harvey Weinstein, Bob Weinstein." - Titles enter from the top left of the screen and exit at the bottom right. Brown font.
0.39 - 0.41 "Kate Blanchett Kate Beckinsale" - Centre and top right third of screen, Grey font.
0.43 - 0.48 "Leonardo dicaprio as Howard Hughes" - Centre of screen, white font.0.52 - 0.54 "Adam Scott, John c. Reilly" - Bottom right third, white font.
1.02 - 1.06 "Alec Baldwin, Alan Alda Ian Holm" - Appears from right of screen exits on the left, White font.
1.10 - 1.14 "Danny Huston Matt Ross" - Top right third of screen, White font.
1.20 - 1.26 "Frances Conroy, Jude Law, Gwen Steffani"- Titles appear from the right of the screen and glide across to the right, where they exit.
1.27 - 1.31 "Music by Howard Shore" - Centre of the screen, Blue font.
1.39 - 1.46 "The Aviator" - Centre of the screen, Blue font.

Font
The Font is particularly neat and tidy, which perhaps reflects Leonardo Dicaprio's OCD role throughout the film. The font stays the same throughout the opening, however the colour changes, in relation to the colour of the background. Whenever the background is white, the font is either blue, brown or black. When the background is a darker colour the font is always white. It is also interesting to note that al titles are in upper case.

Rule of Thirds
The large majority of credits appear on either the bottom/top third on either the left and right hand side of the screen, only 3 titles appear in the centre of the screen.

Animation
Throughout the opening, in every scene there is a photograph of sketched aeroplane. In some circumstances the aeroplane flies in and titles follow its direction across the screen. In other circumstances the title appears with a photograph of an aeroplane on the screen.

How can I use this in my production?
From analysing this opening title sequence, there are various things I will take from it to help produce my opening sequence. Firstly I believe having a neat and tidy font is appropriate due to theme of OCD throughout the clip. In addition to this I will position the titles on thirds of the screen as I believe it's effective because it immediately catches the audiences eye. Furthermore, I think the colour sequence is excellent, and our group should portray the same technique using a mixture of dark and light colours in relation to the back

LB : Analysis of Title Sequence - Zombieland (Fleischer, 2009)

 Zombieland (Fleischer, 2009)

0.16-0.23    Columbia Pictures Presents
0.23-0.28    In Association with Relativity Media
0.28-0.33    Pariah Production
0.33-0.38    Woody Harrelson
0.38-0.44    Jesse Eisenberg
0.44-0.47    Emma Stone
0.47-0.52    and Abigail Breslin
0.56-1.02    Zombieland
1.02-1.06    Casting by John Papsidera
1.06-1.09    Costume Designer Maali Guidasci
1.09-1.14    Music by David Sardy
1.14-1.19    Edited by Peter Amundson Alan Baumgarten
1.19-1.25    Production Designer Maher Ahmad
1.30-1.35    Director of Photography Michael Bonvillain
1.35-1.40    Executive Producers Ezra Swerdlow Paul Wernick Rhett Reese
                   Ryan Kavanaugh
1.40-1.44     Produced by Gavin Polone
1.44-1.48    Written by Rhett Reese & Paul Wernick
1.48-1.57    Directed by Ruben Fleischer


Typography

The typography for all the title sequence is the same; bloody red in colour, bold in shape (slightly 3d to differentiate form the background) and positioned on screen so the actions interact with the lettering. The colour connotates blood and gore, which fits perfectly to the zombie horror theme of the film. The bold shape of the font makes the lettering stand out from the background, making it clear for the audience to read. Animation of the lettering is key in this title sequence as the actions interact with the lettering causing it too move and break away. This adds more life and movement to an otherwise slow title sequence. The slow-motion visuals emphasise the break away of the lettering as well.

I have learned that it is possible to make the lettering interactive in a sequence and believe this is something we can defiantly use in our horror opening as there are many intense slow-motion close ups that we could defiantly incorporate this animation of the credits technique, and I believe this will really make our horror opening stand out.
       

JS: Analysis of an Opening Title Sequence - Hannibal (Scott, 2001)

Titles

Order of Titles

• Hannibal - the title of the film 0-6 seconds

(The following are the A-listers involved)

• Anthony Hopkins - lead actor 7-10 seconds
• Julianne Moore -  lead supporting actress 11-14 seconds

(The following are all actors and actresses that aren't A-listers, their names all hold a duration of 3 seconds from the time 15 seconds - 39 seconds)

• Ray Liotta 
• Frankie R. Faison
• Giancarlo Giannini 
• Francesca Neri 
• Željko Ivanek
• Hazelle Goodman, David Andrews, Francis Guinan
• Enrico Lo Verso, Mark Margolis  
• Ivano Marescotti, Fabrizio Gifuni, Ennio Coltorti

(The following are all people vital to the production process - increasing in importance, roles are now also featured on screen)

 

• Louis Digiaimo - casting director 40-44 seconds
• Janty Yates - costume designer 45-49 seconds
• Hans Zimmer - produced the score/music 50-54 seconds
• Pietro Scalia - editor 55-58 seconds
• Norris Spencer - production designer  59 seconds - 1:02 minutes
• John Mathieson - director of photography 1:03-1:05 minutes
• Branko Lustig - executive producer 1:06-1:09 minutes
• Thomas Harris - writer of novel 1:10-1:14 minutes
• Ridley Scott, Dino De Laurentiis, Martha De Laurentiis - producers 1:15-1:18 minutes
• David Mamet, Steven Zaillian - screenplay 1:19-1:25 minutes
• Ridley Scott - Director 1:25 minutes onwards for the rest of the sequence

In Hannibal, there is an interesting point to take note of - whilst films on the whole go from least important to most important actors and general crew in a crescendo into the title, Hannibal does somewhat the opposite; the first seven seconds of footage is the title 'Hannibal'  placed on a blurred background of a mask that fades to black. After this Anthony Hopkins and Julianne Moore (the two lead actors) are the first two names displayed, after the title itself, each having a duration of 4 seconds. After this, the lesser actors are displayed, however all for an equal time of 3 seconds, but after several lesser actors the least key actors are displayed - with multiple names on the screen showing a lack of importance.  However the expected hierarchy of crew members leading up to the Director does follow this.

Typography

For the title 'Hannibal', a calligraphic font is used, perhaps to convey the antagonist's classical nature. The colour is red - the colour of blood, this reinforces the idea that this is a horror and murder(s) will take place.
The font of the other names is fairly neutral in terms of horror themes, however each is in block capitals and is the negative colour to the background - however I don't believe this is to add tension or such other reasons, I feel it is just to improve clarity. Although, they do appear in some sense very 'clean' - perhaps alluding towards Hannibal's OCD like tendencies

Relationship between text and visuals

This film is a Universal Pictures production, and so is fairly big budget, this is how the film gained A list actors and actresses - listed first as to show prevalence.
The titles don't interact with the action, it just overlays montage editing. However the content of this montage is seemingly footage from CCTV cameras, and so the names look almost like titles for the individual footage, which gives the audience a sense of unease and as if they are always being observed.

Link between research and production

 I feel that an idea that can be easily utilised in our opening sequence is that of the very clean cut and clear titles - this is because it improves visibility of the words, yet also implies OCD tendencies.

Group: Planning for second shoot (Monday, 19th)

The following are shots we plan to film on Monday:

• A long shot, establishing shot of the greenhouse (as the first shot) - on Luca's roof
• High angled first section
• Close up of antagonist taking lab coat off hanger
• Low angle shot from within the plants, looking up at antagonist, who after putting lab coat on - moves towards the camera
• Re-do close up of putting glove on (do it slower, and underneath - low angle shot) (intercut with shot from further away) - ALSO make sure as to wear gloves on both hands as this was a continuity error on the first shoot, and "blood" under glove was noticeable, with a camera trick of the trade this can be amended
• Look up with mask on, CU of 'menacing mask'
• Re-do close up of trimming plant
• Extreme close up of pencil being picked up (canted angle)
• Shot from outside of greenhouse through the glass (low angle to make look sinister), antagonist notices a fly (continue the sound of the fly, get louder when reaction shot close up with eyes happens)
• Re-do close up of eyes slower
• Extreme close up of picking up scalpel, canted angle
• POV shot from the fly dying - looking up at antagonist, content with himself
• If possible - canted close up of dead fly being picked up, pan as he puts the fly into the petri dish, however this may be easier said than done due to issues with space.
• Re- do shot of cutting glove open and blood spurts out (do with actor wearing both gloves)
• After he chucks off glove - close up of blood splatter on nearby plant (replaces shot of blood drop on book)
• Extreme close up of blood seeping through the bandage (tissue)
• Just before he looks at book - long shot from outside showing movement towards book and turning of one page
• Attempt jar shot - of Billy approaching Brad; this is a plan to shoot through a jar as to distort the visuals and create technical excellence
• Possible shot - final shot, following antagonist murdering Brad; a long shot to close up shows him turning, walking towards the camera... and licking his bloody knife!! (keep his hands out of shot)

GENERAL NOTES: hold shots for longer: wait for a longer period of time before stopping the record button - it is better to have the ability to cut footage short in editing rather than a shot we want to include being shaky from camera movement in pressing the button. Also maybe re-shoot some of the pans as to reduce stiffness and create a more fluid movement.

Feedback from Ms Johnson
"Would be better without a bin, and furthermore plants outside greenhouse -  it takes away from the foliage inside and bins are never good from a mise-en-scene POV", camera movement could follow Billy or static shot from Billy's eye line??
All getting ready "glove stuff" should be very close, doesn't need to cut back to mid shot as we already know where he is. Some of getting ready is boring, uninteresting - split the action.
Towel is "too nice, too homely and too down to earth" BIN PROBLEM REPEATING IN SYRINGE ECU of drop
Tweezers - Called it
The part with the antagonist slicing hand is in a sense ambiguous, "what does it mean?" "is he collecting his blood? he doesn't do anything with it? Strange because he seems too methodical for this
CU of feet as opposed to long shot green house when walking out
Towel reduces scare factor, understands reasons but it would be so much more menacing without!

Plans for other aspects:
Font of titles - don't use the font used for Conservatorium (makes it more special), so use a more simple font - possibly adopt 'Napoleon Dynamite'(Hess, 2004) style and do the titles in pro-filmic effects. Furthermore they could be reflecting our antagonist's character as they do in 'Hannibal' (Scott, 2001) by being overly attentive, clean-cut, and precisely placed. We also think that to a certain extent they should 'interact' with the action and appear part of the set, potentially meaning as the camera moves the titles would not.


Updated 14/1

BWB: My role in production

Preparing the set

I contributed a lot in terms of providing various props, such as plants which were essential in setting the scene in the green house. In addition to this, I moved various clutter out of the garage and green house. I cleaned the greenhouse and patio which involved scrubbing the glass panels, wiping the benches in the greenhouse and jet washing the patio, in order for the set to match the antagonists OCD requirements.

Greenhouse after cleaning

Greenhouse before cleaning

Filming

I helped both Luca and Tom when filming giving them various ideas where to position the camera and helped review the footage immediately after they filmed to help decide whether we needed to re-film the clip. Although Tom and Luca did the majority of the filming. I filmed a significant piece which is the closing piece of footage. It is a POV shot where I am underneath the bed sheet. The antagonist unveils the bed sheet and I pan upwards.

Acting

I acted as the victim in the final scene which is about to be killed by the antagonist. My reaction to the antagonist unveiling the bed sheet was very important in terms increasing the fright factor.

Motivation

Whenever we occurred a slight problem when filming and people were becoming frustrated I ensured the rest of the group didn't get angry, and instead talked through what was going wrong so we could correct the issue much quicker.

TW: Analysis of Title Sequence - Napoleon Dynamite (Hess, 2004)

NB - the title sequence is only available on Vimeo, which doesn't enable embedding. The link is - http://vimeo.com/5524216

Order, duration and description of Titles
0:00 - 0:02 - MTV films
0:05 - 0:09 - Fox Searchlight Pictures - in Tomato Ketchup around a plate (plate contains food)
0:11 - 0:15 - and Paramount Pictures Present - in Mustard on a plate with food
0:17 - 0:21 - in association with MTV Films - in Mayonnaise on plate (surrounded by cut up eggs)
0:25 - 0:27 - Starring Jon Heder - on a card titled 'U.F.O Abduction Insurance' (is then thrown to the side)
0:29 - 0:33 - Preston High as Napoleon Dynamite - on a school identity card (is then thrown to the side) 
0:35 - 0:40 - Jon Gries - in Mayonnaise on top of a steak on a plate
0:43 - 0:48 - Aaron Ruell - in Salsa Verde sauce on a plate with Nachos
0:50 - 0:54 - Effren Ramirez - in Mustard on a sausage on a school tray with other foods
0:56 - 1:00 - Tina Majorino - in Chocolate sauce in a sandwich on top of a lunch bag
1:03 - 1: 05 - with Diedrich Baber - on a silver, hand-made, star (is then thrown to the side)
1:11 - 1:13 - casting by Jory Weitz - handwritten note
1:18 - 1:20 - music by John Swihart - handwritten note
1:24 - 1:27 - Edited by Jeremy Coon - on a sweet carton (is then flicked away)
1:31 - 1:35 - Production Designer Cory Lorenzen - chapstick turned in hand revealing name
1:38 - 1:42 - director of photography Munn Powell - handwritten on doodle
1:45 - 1:49 - executive producer Jory Weitz - handwritten on doodle
1:51 - 1:55 - produced by Jeremy Coon, Chris Wyatt, Sean Covel - on capitalised lettering on magnets
2:01 - 2:06 - written by Jared Hess and Jerusha Hess - written on a rubber, three pencils (then sweeped away)
2:08 - 2:12 - Directed by Jared Hess - written with sauce on burger and chips (burger is then closed.)
2:12 - 2:40 BLACKOUT

NB - all food titles are carried away by hands

Analysis of typography - font, shape, colour, positioning, animation
The titles are embedded into objects that are a part of Napoleon's life - revealed by the fact that all props in the title sequence are included in the film (Source - IMBD) , in a form of title sequence called tabletop photography.
The font in each title is the only real consistency - it is all in a handwritten font, which implies a juvenile and artistic nature of Napoleon - which is useful as it establishes the character early on. Furthermore - the soundtrack, 'We're Going to be Friends' reinforces the child-like qualities.
The shape in each title, in terms of denotations - is wavey, which has connotations of an artistic nature - a key feature of the main protagonist.
Colour - due to the fact the colour of typography ranges from 'tomato red' to 'mayonnaise white', this is difficult to pin-point. However - the colour always contrasts the background, ensuring it stands out. We should use this in our own production, and this may also reveal Napoleon's unique nature which makes him stand out.
Positioning - the titles are always complementary to the visuals - for example, the sauces are placed with appropriate foods.
Animation - although the titles remained fixed, the plates, notes, or drawings come off and on screen due to an actors' hands - this reveals the low-budget and rustic nature of the film.  

Relationship between text and visuals (link to style, genre, institutional context.)
Made on a budget of less than $400,000, the title sequence reflects this. Director, Jared Hess, proves this point in an interview by saying that the backgrounds were all carpets rented from a nearby carpet store.
Furthermore - the title sequence is important as an idea of the film to come. This is exemplified by the nonfunctional, and unfashionable props used in the title sequence, and the integration of props which are a part of the protagonist's life. In terms of genre - Napoleon Dynamite is a comedy, and the humourous title sequence exemplifies this, mainly through the usage of props. I believe our group's usage of props reveals the horror genre we have addressed.
Lastly - the title sequence is important in revealing the context, and more specifically - the date of the film, as the old-fashioned clothing in the film may confuse viewers, the usage of cards with the date 2004 on them reveal the film is set in the present.

How can I use this in our own production?
The most interesting aspect of this title sequence is the use of diegetic titles - as they are not brought in by post-production. Our initial idea was to have titles appearing after movement on the screen reveals an area of space - but from this research I have come up with the idea of writing our titles beneath props which are picked up, leaving them to be revealed. This ties in with the low-budget nature of our production, and allows us to use specific fonts and styles which we feel are appropriate. It is certainly an idea we will consider for our second shoot.
Moreover - this clip uses stylistic features in terms of shape which automatically reveal the nature of Napoleon; this is something we wish to achieve in other ways in our opening sequence, but this clip has made me realise that the titles can be used to reveal this also. A handwritten, note-taking style for our titles could do this, and the development of the play on Latin words can also be utilised. For example - 'Assistant Director, Jack Sporle', could be written as 'Cooperantes Director, Jack Sporle'.

LB: My Role In Production

Preparing the set -
As the set was at my house, I was in charge of organising the rest of the group in getting everything cleared and where things should be placed. I was also in charge of many of the props and made sure everyone knew where things were.

Filming -
Me and Tom shared majority of the filming throughout the day.

TW: My role in production

Role in production

• Direction - I believe I gave direction and drive to the group; and ensured all our planned shots and sequence were achieved, as I read the synopsis as we progressed and instructed what should be happening in each shot. Jack's similar role of using the call sheet also, aided this.
• Furthermore - along, of course, with other individuals - I gave precise direction to our actor. The fact all diegetic sound will be cut out meant we could instruct the antagonist as we filmed - a tactic which proved hugely useful.
• Achieving continuity - I made a real effort to ensure continuity was achieved - by evaluating the previous shot and making sure in the next shot - often from a vastly different angle or closeness, was as similar as possible.
• Inclusion of titles - I re-created a number of shots to allow inclusion of movement across the forefront of the screen; allowing inclusion of the titles (as movement comes across the screen.)

• Set organisation - organising the set was a key way of achieving technical excellence, and I constructed the meticulous and organised workplace (pictured below.)

• There were other features of set organisation also - to which we all contributed, together - we managed to transform the greenhouse:

• Filming - I played a key role in the majority of the most difficult shots - including the second shot (pan), the POV shot of the book (an idea which was created on set, and we all believed was executed proficiently), and aiding the dolly shot (which used a wheelbarrow, an idea we have used before and therefore implemented again.) I was a keen supporter of POV shots, which were implemented throughout and were very effective.

 

Group: Animatic

• This is our animatic we have designed ahead of filming this weekend. 
• The majority of the photographs, camera angles and durations were selected whilst looking at our detailed plot synopsis.
• Each photograph in the animatic is on screen for the length of time we reckon the shot will last.
• Below each photograph is a piece of rough detail in what is happening in each of the shots.
• Although we have a strong idea of the shots we wish to pursue, we are likely to come up with further pieces of footage on the day.
• The shots range from a variety of shots ranging from close-ups to long shots, to POV shots to tracking shots and establishing shots.

GROUP: 5-8/1/15 Lessons

Today, we made progress in both story boarding - with decisions on framing made and multiple frames completed, furthermore we made extreme advances in our plans for filming. The current plan is as follows:

Luca, Brad and Billy are staying around Luca's house, as to have more time to prepare the set - in such ways as clear the shed and garage, arrange set design and ensure the props are ready for use. Then on Saturday morning, Tom and I will arrive at Luca's as early as possible to allow for maximised filming time. We will confirm the set design is ready for filming and then it shall commence. We have decided as to film each shot multiple times - allowing us to choose our favourite and also decrease the possibility of issues such as poor lighting, background noise, mistakes, or general mishaps. We will also  review footage as we go along - this will mean we will spot any errors with continuity, light issues, sound issues and other such problems; eradicating them if needed. Later on, after filming is finished/we need to leave, we will review whether we need another day to film, or if we are completed in regards to footage.
An issue was found however, concerning our action outside in the greenhouse; we can only shoot at a time where it is light, and furthermore the same light level throughout the action, this therefore limits the hours of filming. Despite this, it is not seen a particular issue at the current time, although this is subject to change on set - as that is the only time we will see whether the footage can be completed in one day.

Another topic spoken about in the lesson was props, we decided on the props we need and possible sources, these are as follows, including who is responsible for each one:

• White overcoat - Tom sourcing from Biology
• Hospital gloves - Tom sourcing from Medical Room
• Dust mask - Tom
• Scalpel - Luca
• Cutting board - Luca
• Nail scissors - Luca
• Old fashioned radio - Brad
• Handbook pictures - Tom, Handbook - Luca
• Dead fly - Brad
• Tissue - Luca
• Petri Dish - Brad sourcing from Biology
• Labelled jars - Luca
• NB - we have developed an idea regarding a shot using the labelled jars, which will display technical excellence; the camera will be positioned behind a jar, and the shot will be through the glass jar - giving a distorted and interesting shot.
• Pipette - Luca
• Tools / Weapons - Luca
• Large white cloth - everyone will bring bed sheet
• Fake blood - Brad

We still have to amend all posts to comments earlier made, but majority have been edited.

Targets:

• Complete storyboarding animatic
• Ensure soundtrack is copyright free, and if not decide on a suitable alternative
• Gaining usage of props
• Prepare location

UPDATED PROP SECTION 7/1 + 8/1

GROUP: AUDIENCE RESEARCH QUESTIONNAIRE

Audience Questionnaire

What is your preferred horror genre on a low budget? Place the numbers 1-4 to indicate your preference – 1 being the best and 4 being the worst.

(  ) Slasher – a series of gruesome killings carried out by an often masked antagonist.

(  ) Psychological – a  subgenre relying on the character’s fears and emotional instability to create suspense and tension.

(  ) Road trip – a subgenre that follows a group of protagonists on a trip, killed off one by one

(  ) Body – anatomically incorrect placement of limbs to create 'monsters' out of human body parts.

 

What is the best feature of Horror? Rank in order of your preference – 1 being the best and 4 being the worst/least important.

(  ) Slow building tension

(  ) Seeing gory action

(  ) Intense sounds
(  ) Character interaction

 

How important is graphic horror in an opening sequence? Indicate your preferences through circling

 Absolutely pivotal 1  2  3  4  5 Totally unnecessary

 

What is your preferred pace of horror film? Indicate preferences through circling

Slow building of tension 1  2  3  4  5  Intense, immediate action

 

 

What are your preferred characteristics of an antagonist? Indicate preferences through circling

Psychopathic 1  2  3  4  5 Sane

Calm 1  2  3  4  5 Frantic

Unorganised 1  2  3  4  5 Meticulous, overly attentive

 

What is most effective use of sound in an opening sequence? Indicate your preference through circling

Dialogue 1  2  3  4   5 Soundtrack

What is the most effective way of understanding the antagonist’s character? Indicate your preference through circling

Dialogue 1  2   3  4   5 Actions

Learning about their past 1  2  3  4  5 Seeing their current situation

 

How important is a single vulnerable protagonist in an engaging Horror story? Explain