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Last Minute

It's all been a bit of a rush to get all my evaluations finished and uploaded. Using PowerPoint then saving the presentations as videos proved more complicated than I had expected as I had to convert to mp4 to allow for me to edit on my iPad. I wanted to have some variety in use of technology so have finally settled upon one stop motion with video cut aways, three speaking to camera with picture in picture and three PowerPoint videos. At last EVERYTHING is finished and uploaded!

Final Question Seven

Final Question Six

Final Question Five

Final Question Four

Final Question Three

Final Question Two

Final Question One

Evaluation: Question Seven Script

7) Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?

"Looking back at our prelim, our shot variety was extremely limited which highlighted to us the importance of alternating angle and shot type especially in relation to the aims of our opening. More specifically, I learnt the importance of using match on action and close ups in between initial wide shots. On a basic level, the prelim forced me to begin to pay attention to the specifics of mise on scene for continuity but also verisimilitude. In conjunction with, the choice to have multiple takes and sufficient planning proves so useful for efficient filming. The most noticeable issue regarding sound in the prelim was that there was an error of Emma saying “action” at the beginning of a shot. As a result, this made us pay close attention to the audio when editing and ensure there were no anomalies in sound suggesting there was an error. From this I learnt to balance and layer all types of sound. For our opening, using more than one non diegetic sound and use of foley sound was crucial. Our prelim introduced this to us though we progressed significantly in the making of our final opening."

Tweaking Question One

As I'd mentioned before, I had decided to do a stop motion video for the first evaluation question. It has taken a very long time to edit all of the photos together and make the voice over match exactly. However I eventually decided to not have the entirety of the video as stop motion but also incorporate cutaways of the films and sections of our opening that I refer to in voiceover.  Therefore, the video response now uses varying technologies as opposed to the single use of photos I had initially intended.

Key Problems

I would like to think that overall we were very efficient in all aspects of our film opening, particularly editing as we were quick to make any required adjustments. However, we did encounter a number of problems along the way:

• Firstly, the initial plan for our opening simply wasn't long enough, which we realised after editing and accumulating just 1 minutes worth of fully edited footage. This then meant we had to further our plot in an almost "part two" of the opening which took place on the roof. We decided upon a flashback sequence, contrasting heavily in colour palette and lighting to the opening half. As a group we wanted to avoid the more conventional and often cliché "one week earlier" and it is at that point we took inspiration from seven in a more ambiguous take on the flashback.
• Light levels were a huge issue in filming for both consistency but also in making clear the time of day as to not confuse the audience beyond what we intended.
• In editing the glitch sequence was very tricky, deciding upon the length of each shot, the point at which it cuts as well as the number of alternations. This is where my skills in editing became excruciatingly precise!
• Furthering on from this, we struggled with deciding whether to include sound or not however eventually we looked to audience feedback for the answer (if only we'd done it sooner)

Protagonist

The protagonist of our film opening, played by me, is extremely introverted and evidently anxious. This is suggested in numerous ways beyond solely acting, a key more obvious example being when the text is received, highlighting the need for reassurance. What I found most difficult playing the character was only having the single line of dialogue. I had to always keep in mind that in editing, the inclusion of black screens, alternating sounds and sharp straight cuts would convey the overall sense of "Dazed" embodied by my character. Within the party scene we had hoped for a direct contrast between my character and those surrounding me, smiling and laughing. Its funny to watch back outtakes of us switching between our "film crew" and a bunch of idiots balancing on the roof in hopes of getting the perfect close up!

Evaluation: Question Six Script

6) What have you learnt about technologies from the process of constructing this product? 

“The process of making our film opening allowed me to further my skills and precision when using editing software as well as practising using a camera on a tripod. Prior to making our film opening, I had very little experience with editing, particularly with using iMovie.  In contrast however, initially I had more experience with using a camera and tripod though we had to adapt to the setting or functions of the equipment provided. When filming close ups, I quickly realised that we would be required to use the touch screen element of the camera to focus on individuals. In contrast, when doing establishing or more intentionally out of focus shots (like the shot assisted by a heartbeat to commence the running sequence) we did not require such attention to detail. Our hopes for shot variety throughout the film meant we were constantly altering the height and positioning of the camera and tripod to create high, low and eye level angles.

The most challenging aspect of the editing process was a glitch sequence. On iMovie we had to ensure we had more frames to make for a more precise cut between the party and the protagonist alone.  Alongside this, I learnt how to download and convert sound files into mp3 and import them into iMovie. Again, this is where I developed my skills in precisely editing clips of footage with the correct sound at the correct volume. The most difficult aspect of this, I found, was when altering the sound levels when the door opens and slams outside the party.”

Evaluation: Question Five Script

5) How did you attract/address your audience? 

"As a teen drama/thriller, we had to appeal to two differing areas of interest for the audience and address them appropriately. Our consistent use of POV shots and close ups position our target audience within the drama. The ambiguity of our opening due to the fast paced straight cuts and inconsistent sound fully immerse the audience in the film opening. Our main aim for the film opening was to make the audience feel uncomfortable and on edge.In doing so they are immediately invested in the protagonist and empathise with a teenage character struggling to cope with the expectations of what seems like social life but actually a much more serious event.

Although in some aspects we wanted to address the audience as a friend or acquaintance of the protagonist, our choices regarding titles partially distance the audience to further the more uncomfortable, surprising side we had hoped for. Pink, almost girly titles, accompanied by contrapuntal ringing sounds ,contrast to the initial use of party music to attract a teenage audience."

Presence of Women in Star Wars

After watching the recently released teaser trailer for Star Wars: The Last Jedi, I began to look into the growing presence of women both on screen and behind the scenes of the franchise. The Force Awakens (2015) introduced the character Rey played by Daisy Ridley and her plotline is likely to develop significantly in the next episode. I particularly liked Rogue One (2016), revolving around the character Jyn Erso played by Felicity Jones, as it was a much more personal take on the conventions of the films. Jones' character is portrayed as an incredibly strong individual both physically and mentally. In shaping the character, director Gareth Edwards said he wanted to avoid the mistakes often made when writing female characters. I also found a really interesting article in the New York Times about women in Star Wars, with particular focus on those working behind the camera.

Evaluation: Question Four Script

4) Who would be the audience for your media product? 

"Similarly to those represented in our film opening, the target audience for our film is teenagers and young adults around the ages of 15-24. However, the film could easily attract a slightly older consumer due to the possible nostalgia of teenage life evolving around independence but equally fear. The sensitive subject matter and emotional intensity of the film meant we decided upon a certificate 15. Under the teen drama/thriller genre, we believe this was appropriate as the entirety of the story follows a teenage protagonist coming to terms with the expectations of youth but also unexpected dangers beyond such. A 12 certificate would not be in keeping with our desired audience and an 18 rating is too severe for the content of the film."

Evaluation: Question Three Script

3) What kind of media institution might distribute your media product and why? 

"If our film were to be released as a real media product, it would classify as an indie film distributed to the US and UK. The specific nature of content, focused on youth, would suggest a tailored distribution to specific areas as done with Paranormal Activity (2009). The British company Warp Films are typically involved in the production of films, titles including Submarine and This is England, however have distributed a number of other features and may be open to distributing ours. We took inspiration from This is England regarding mise en scene and therefore is suited to the conventions of the company.

Ideally wanting to initially target the UK and America, the US based A24 would be likely to distribute our film due to their frequency to choose films with abstract content. American Honey (2016) distributed by A24 similarly focuses on youth and the freedom of such, the film itself was nominated for Outstanding British Film in the 2017 BAFTAs. The company also distributed The Lobster (2016) a film renowned for its abstract filming style and content."

Evaluation: Question Two Script

2) How does your media product represent particular social groups? 

"Our film opening revolves around the representation of teenagers, immersed in conventional teenage scenarios, namely the party sequence.  We drew attention to the independence but consequent vulnerability of young people. Due to the dominating absence of dialogue, our portrayal of teenagers relied upon our choices in cinematography, sound and the titles themselves.

The titles written in pink chalk covey youthfulness and fun however we intentionally contradict such in our choice for a much darker plot. This proved successful in relation to genre when we gained positive feedback acknowledging our use of titles. The rapid straight cuts of our opening with constantly changing angle and point of view projects onto our opening a sense of confusion possessed by the teenage characters. As well as this constant varying sound, both diegetic and non-diegetic, suggests how impressionable and often conflicted teenagers are."

Title length

Within our opening for Dazed, the black screen and titles themselves provide a sense of structure amongst an extremely quick confused sequence of shots. Conventionally, the black screens would provide a moment of silent drawing sole focus to the titles however our use of ringing sounds mirrors the relentless uncomfortable nature of the entire opening. The length of the titles themselves follows the industry standard of four seconds to display both the role and title. We included as minimal titles as possible, only displaying the crucial roles to ensure the opening doesn't become too broken up. Unlike the opening of features such as Napoleon Dynamite (2004) the titles themselves were not a critical aspect of Dazed but rather assisting the intensity of the entire opening.

Full Evaluation Plan

Finally got around to doing the full plan of my evaluations!

 



Costume

Our opening is entirely focused on the seemingly stereotypical aspects of teenage life, masking a darker plotline. In keeping with such, costume choice for the protagonist (played by me) was typical of a teenager and kept quite casual to adapt to the running scenes. We gave a similar brief to the people we asked to be in the background of the party.

• Jeans
• Adidas Jacket
• Trainers
• Crop top
• Hoop Earrings

We wanted a contrast in costume and makeup in the roof sequence. Wearing little to no makeup and wearing block coloured slouchy clothes connoted more vulnerability as well as standing out against the brick.

 

Showcase Written Feedback: Further improvements

Alongside feedback confirming we had achieved our initial aims for the opening, we did receive useful feedback if we were to repeat the entire process. The most common observation was that the writing of "Friday" should be made bigger so easier to read. We had wanted to fit the writing under the protagonist on the guttering so could not be made any bigger. Ideally we wouldn't want the writing to take up a large proportion of the frame but if we received further feedback mentioning it we could have considered making more of a point of it.

Showcase Written Feedback: Ending

Another key aspect of our opening that we wanted to achieve was the ambiguity of the scenario and protagonist. We wanted to consistently focus on the protagonist and ensure that the audience is fully invested in her by the end of the opening. The success of a film opening can be defined by whether the audience are keen to continue watching, which many people mentioned in their feedback. Our use of straight cuts and constantly changing diegetic and non diegetic sound ensured the discomfort of the audience we had hoped for.  (refer to question three)

Showcase Written Feedback: Genre

One of the most useful things I personally gained from the showcase was people's recognition of our use of titles in relation to genre. The use of bright pink lettering in chalk conforms to the convention of upbeat, childlike teen dramas however we develop this through darker more mature content. The intensity of relatable scenarios particularly the party scene and rapid paced sequences conforms to the drama/thriller genre. (refer to question two)

Showcase Written Feedback: Sound Choice

The written feedback we gained from the showcase confirmed to us that we had succeeded in our aim to make the audience feel on edge and uncomfortable, largely achieved through sound. The main focus of "areas to improve" was regarding our choice for a piercing ringing sound edited over the black screens and the abrupt nature of such. The reasons for such feedback was as it was too loud, even "horrible" however both of these were conscious decisions we made post production. We were fully aware of the intensity of the ringing sounds though previous audience research amongst the class and peers. (refer to question four)

Wes Anderson

At the moment, two of my favourite directors are Damien Chazelle and Wes Anderson. Though heavily different in genre, the definite focus of their films and choices in cinematography draw me to their films.

The often abstract nature of Wes Anderson's films has allowed them to develop their own independent style beyond the conventions of established cinema. The random, abrupt straight cuts between shots and often absence of long takes is directly reflected in the development of characters. The only way I can really describe Anderson's work is bizarre. The vibrancy of colour palette and subverting of film conventions is consistent in his work. His 2012 feature Moonrise Kingdom and The Grand Budapest Hotel of 2014 are both told  to the audience by a narrator. Not an omniscient narrator but one active in the plot, breaking the so called fourth wall.

Real, meaningful character relationships are developed on the most surreal backdrop. Anderson cleverly balances both comedy and drama. One key channel for this in The Grand Budapest Hotel, in my opinion, is the relationship between M. Gustave and Zero.The immense shot variety is what I love about these films (alongside the abundance of quirky characters). Constant change of perspective and audience positioning fully immerses them in the story. For me, I feel like a fly on the wall watching the events unfold whilst other times(particularly in Moonrise Kingdom) I feel like one of the characters in the film. The opening to Moonrise Kingdom sees a fluid pan across a house, room to room almost like a dolls house. This is followed by close ups, POV shots, shot reverse shot, any shot you can think of!!!

Shot Variety

When first planning and storyboarding our opening, I wanted to follow the rough outline of conventional shot sequences however use rapid straight cuts between varying shots to capture the emotional intensity we decided upon.

Dazed begins with a tilt shot into the opening establishing shot of the block of flats displaying the title itself. In the following party sequence we used consistent (extreme) close ups in the glitch sequence before contrasting to the full body and POV running sequence. The obscurity of the protagonist was emphasised through choices in cinematography in the section filmed on the roof. Though planned later on, we had a variation of over the shoulder, POV and close up shots countered by a wide shot zooming out to end the opening. As well as this we explored camera angles as well with as low and high angle shots whereas previously a substantial amount of the opening was filmed at eye level.  

 

Colour Palette

As mentioned in my blog post about the television series Glue, we wanted and did explore coloured lighting to connote the excitement of teen life. Not only this, it enhanced the verisimilitude of one of the first and arguably most crucial shots of the opening - the party. Bright neon colours allowed us to explore contrast and like many indie films, high colour saturation was key.

More simply, the opening was split into two key parts with differing colour palettes. The second is much more grey and dull, filmed on quite a harsh urban background.



Title Choice

Initially we decided upon the title Daze, however as we began to give even more focus to the protagonist we changed it to Dazed. The verb choice is therefore a direct reflection of the confusion and almost hypnotised state of the character in our opening.

Like many real film products the choice for a single word title is ambiguous, giving very little detail as to style or content. Some recent examples are Life, Unforgettable, Unlocked and Suntan (all for 2017 release). Most crucially, we kept with the our main focus of replicated the titles of Drive.

The title, I feel, reflects the frantic nature of the opening whereby the audience is immediately positioned from the same perspective as the protagonist. However, the absence of dialogue places the audience in the same 'dazed' position in their lack of knowledge.

Location

In keeping with our desired focus on the challenges and overwhelming nature of young life we decided to film in largely built up urban areas. We had two main locations, filming in low light at the blocks of flats and then in the high key daylight on the roof. The busy streets and loud diegetic sound allowed us to further our desire to reflect the panic and often obscurity of the protagonist in the landscape.

However, in deciding to film at low light levels to fulfill our desire for stark contrasts, we had to pay even closer attention to whether everything was clear in frame. As well as this, filming on a road continually disrupted takes but eventually we filmed the entire running sequence.

Evaluation: Question One Script

1) In what ways does your media product use, develop or challenge forms and conventions of real media products?

"Our opening for Dazed conforms to numerous conventions of established film products, namely the 2011 feature Drive. The stark contrast between the bright pink lettering of the titles with the darker content enabled us to harbour discomfort from the audience, which we furthered through uncomfortable ringing sounds edited over black screens. The use of such black screens was also inspired by Drive but arguably used more consistently in our opening in comparison. I also found this contrast in content to be similar in the 2017 horror film Get Out. Also, we adapted the text displaying the days of the week in Seven (1995) to suit our desired style thus developing the form used.

Our choice for an almost complete absence of dialogue is a convention typical of modern cinema however our choice for a single line of dialogue partially challenges such. The somewhat inconsistency of shot length in between the black screens and often enhanced diegetic sound was directly linked to our focus on the young protagonist.  Character driven plots and establishing a perspective is pivotal in any opening though we intentionally over played it so the audience is immediately invested in the protagonist. The unreliable narrator is a common motif of thriller novels and is something I’d love to explore as seen in Gone Girl, adapted to film in 2014."

Get Out Opening

I recently went to see the film Get Out, categorised by IMDb as a horror/mystery. The film itself is largely psychological with sudden shocks assisted by orchestral music as opposed to the more typical trope of the devil for example in the horror genre. In my opinion the film was more of a mystery thriller and even though the later part of the plot wasn't really the type of cinema I enjoy, the cinematography was interesting.

The opening of the film drew similarities to our opening whereby the style of the titles themselves is a sort of contradiction to the content of the film. Judging the bright color palette and blue simple style of the titles in isolation, the film  conforms to the style of indie films. In doing so, as we had hoped for our film, the audience is in a false sense of security before the tone changes (in this case where the car hits a deer).

Throughout the film, director Jordan Peele explores use of extreme close ups to create emotional intensity as we had done in our opening.