My group and I started the editing process. After filming sessions we made sure to go back to the Media Studios and upload the footage from the camera we have used onto a Mac; this will allow us to stay organised and efficient keeping all of the footage in one space at school. We can all view this footage as well so when we have free time we can join together as a group and edit footage together saving time.
We started initial editing stages by looking through all of the footage we have filmed, looking out for out of focus footage and wobbly footage when the tripod could have been placed unevenly. Looking out for errors such as these will allow us to stay efficient as we will know if we need to re-film footage and plan ahead.
My group and I travelled to St George's Church Cemetery in Esher, Surrey to film the grave yard scene for our film trailer. The shots we had to film included an establishing shot of the grave yard visibly showing the church in the background and head stone creating a sinister, dark and negative feel to the trailer as well as an extreme close up shot of Marcus (who plays Aaron, Sydney's brother). The extreme close up shot of Aaron (looking at Sydney's grave stone) would convey a strong sense of sadness, vulnerability and bereavement creating an emotional yet questionable atmosphere. This questionable atmosphere being created would attract and address audiences to come and view them film as they would be wondering why Aarons sister died and whether he played a role in her death. We decided that it would be appropriate to film the same shots as before when Marcus and I filmed. We experiment with different camera angles and shots, going against the shot list, however we both thought it would be useful to have a variety of different camera angles and shots when we come to edit the footage just in case some shots were out of focus and we could use some of the new shots instead. Camera angles and shots we also filmed included:
1. A planning, close up shot of Marcus sitting on a bench in the cemetery highlighting his vulnerability, isolation and loneliness in the empty cemetery. 2. A one person, tracking shot of Marcus opening the cemetery gate and walking towards his sister, Sydney's grave, taking off his leather jacket and placing it on the grave. 3. A point of view shot of Marcus opening the gate of the cemetery, walking through the grave yard (with his trainers visible in the camera shot) showing the head stone of grave as well as him placing his leather jacket onto the grave stone. 4. A panoramic, panning shot of the grave yard showing the church and grave stone visibly in the background. Below I made a collage of the photos I took whilst filming using Fotor. Fotor is an extremely useful tool, like PicMonkey, that allows me to make a variety of different eye-catching and colourful collages of photographs I have taken attracting and addressing audiences to my blog.
Below are a selection of videos I took using my iPhone of shooting at the grave yard.
My group and I decided that we would re-film the grave yard scenes I had originally filmed with Marcus in October. We decided this would be appropriate as the footage we had filmed was too out of focus to be used. I noticed this when we had uploaded the footage onto the Mac as the screen was larger and had a high resolution compared to the compact screen on the SLR camera. Although this costed us some valuable time when we could have been editing footage, we thought it would be necessary to film as it was the establishing scenes.
Previous to filming the grave yard scene at St George's Church Cemetery, Esher, Surrey we visited the church to check whether it would be suitable for filming. We wanted to create an eerie, vacant and 'abandoned' feel to the scene. We agreed that from visiting the location prior to filming we would have an organised, realistic feel of the scene before starting filming; we had an idea about what the grave yard scene would visually look like. We also thought that it would be appropriate for us to go back to the grave yard and view the location prior to filming in case of any changes to the church or building work contracted around the church making disruptive, wild sound to our scenes.
HERE is a post on filming the grave yard scene originally in October. I have updated the film trailers Instagram account with photographs taken recently of filming and the editing stages of the trailer project, in turn attracting and addressing our audience. The Instagram page can be found HERE or on the right hand side of my blog roll.
Below are a selection of videos I have recorded of the grave yard on my iPhone.
In class we viewed the film trailer for a new, upcoming film due to be released in December 2015 called Bridge of Spies (Steven Spielberg, 2015), starring Tom Hanks. We noticed how complex a film trailer (or professional trailer) is to make and how many shots were used throughout the film. We counted a total of 110 shots used including a variety of establishing shots, close up shots, mid shots and tracking shots - used to convey the storyline and codes and conventions.
By viewing professional film trailers, such as the one above, I have a clearer understanding of how professional film trailers look like and how much effort goes into making a professional trailer attracting and addressing audiences. It allows me to have a better understanding of how I make my film trailer look professional, like Bridge of Spies.
Whilst I was reading The Guardian Newspaper I came across a film poster for Bridge of Spies. This is part of the P&A campaign for the film attracting and addressing audiences. After researching the Visual Hierarchy of Poster Design - click HERE to find my blog post - and completing 3 poster analysis' ( I am working on 3 more) for Black SwanHERE, One DayHERE, StokerHERE, I have a clear understanding of how I will layout my film poster and what visual reading design I will use such as the Z shape (viewing the poster from left to right in a Z shape) or a F pattern ( viewing the poster in a shape of an F going back to the starting point on the left hand side).
Bridge of Spies P&A I found in The Guardian newspaper
I asked on social media platforms for feedback on my production company ident. Asking for feedback will allow us to have a better understanding on what our audience likes and dislikes (to improve our shots); allowing us to have a high chance of producing a successful film trailer attracting audiences to come and watch the film at the exhibition stages.
As of yet, I haven't had any feedback given on social media platforms, however Diana Bradford, 53, Surrey who doesn't have Instagram or Twitter commented saying "I like the quick speed of the ident, it is eye-catching and definitely attracts my attention. Also I looked at the research and planning stages of the production ident, and I thought that it was really interesting how the group transformed their ideas into a unique, dramatic and impressive moving picture. Well done!".
I also asked:
Peter Surma, 55, Cardiff, "I love how quick and unique this ident is! I love how you have incorporated an earth in the motion picture!"
Freya Surma-Litchfield, 20, Cardiff, "I would never able to produce an ident like that! I love how the title 'Blacklight Productions' - its really unique and grabs my attention".
Gabriella Evans, 16, London, "I love the spinning earth!".
Lillian Evans, 16, London, "I love the spinning earth too - it looks really professional! It reminds me of the Pixar ident with the turning lamp. The Pixar ident is memorable; I think yours would be too with audiences!".
I posted this on Instagram and interconnected with Twitter allowing me to have a variety of feedback from people of different ages, genders and locations in the world
I
was set the task to organise the call sheets throughout our filming and
construction process. I have typed up the Call Sheets including the
date of the shoot, location (with a map to help people know the route to
travel to the location), crew to be attending the shoot with contact
details, equipment used further promoting people to remember to bring
the camera, tripod and lights home from the Media Studies studios as
well as props and costume to wear. By completing a call sheet this will
make myself and my group organised for future shoots so we don't miss
deadlines.
I firstly asked 2 members of my Media Studies class (female aged between 17-18 years old) to watch my film trailer and comment on the time lapse taken in London.
Below is the example I asked them to comment on - taken on my iPhone.
Ellen Scott(18 years old): "That's cool".
Eliza Tracey (18 years old): "I love the fact you have filmed it in both daylight and night - it's really eye-catching".
I also showed members of my family the time-lapse clip and asked for feedback. The people I asked in my family don't use social media platforms so noted their responses.
Olivia Jenkins (45 years old): "I love the fast paced energy of the clip! It is eye-catching, professional looking and atmospheric - it makes me want to come to London more often!"
Pheona Thomas (43 years old): "Since you have told me about the storyline of your film(trailer), I know that London is a key focus....and even character - I think this is a unique idea! I love it when the clip transitions into the night making the river Thames light up from the boats and buildings lights - this grabs my attention!"
Vanessa Gadsby (47 years old): "I love watching Scandi-Noir crime programmes including The Bridge and Wallander. This clip reminded me of the opening of The Bridge - I can see that you have researched effective atmospheric features of trailers and film/television opening credits".
HERE is a link a blog post on the research I independently completed on the Scandi-Noir genre.
Angela Surma (50 years old): "I love the time lapse effect! It's really effective as it creates a fast paced, quick and energetic feel; suitable to the London scene! Well done Kate and your group!".
From receiving feedback from a diverse range of people of different ages (18 years old to 50 years old), I have a clearer understanding of what only my target audience and other audiences enjoy about shots of my film trailer. I also have a clearer idea of what I have to continue to produce, further attracting and addressing my target audience effectively creating a buzz pre-release.
Due to Demi living closer to London as a group we decided it would be appropriate for her to go and film a time lapse for our film trailer. We wanted the location to be near empty as it we didn't want any disturbances such as members of the public being in shot without permission. However the actual shot (a birds eye-view from a building in London time-lapsed) had to be busy, crowded and energetic to create a buzz. We wanted the birds eye view shot to be a wide angle shot with bright lighting (preferably filmed in daylight), energetic atmosphere unlike the atmosphere created at the church (HERE is a link to my post on the location recce I completed previous to filming at the church and HERE is a link to my post on filming the grave yard scene at the church) and scenes filmed at the car park (HERE is a link to my post on the location recce I completed previous to filming at the car park and HERE is a link to my post on filming the car park scenes in Woking, Surrey). By having this we would have a contrast between these fast paced scenes creating suspense and jeopardy.
Previously to filming I completed some research into film locations in London we could use - HERE a link to the post. I therefore had a good idea on the look of the location I thought was suitable for my film trailer.
Below is video of the time-lapse Demi recorded taken on my iPhone via Boomerang.
Previously to filming I completed some research into film locations in London we could use - HERE a link to the post. I therefore had a good idea on the look of the location I thought was suitable for my film trailer.
Whilst we were planning our final story outline of our trailer we decided that it would appropriate to start initial research of a possible location we could use for a roof top scene in London. Thinking about possible inconveniences such as lighting, wild sound and mise-en-scene that could make a negative impact on our filming, we all agreed that it would be convenient for us to plan ahead and make sure that locations were free for filming.
I therefore decided to research a potential location in London via the Internet. Demi, a member of my film trailer project group, said that she knew of a possible location we could film a roof top scene at, however due to possible inconveniences such as the location not being free when we want to request it, I thought it would be convenient if I researched for other locations in London. I found a recommendation of a roof top location called One New Exchange in the SoHo area of London that overlooks landmarks such as St Paul's Cathedral - this in turn would influence a sense of spectacle and awe into our film trailer as famous London landmarks would be used. Also the reviews on the website listed below were positive in terms of the clear view without any obstructions such as cranes (however, this could be topical due to the changing landscape of the city), One New Exchange was clean and had friendly staff that would give you permission to film. HERE is a link to the website (Trip Advisor) that provided recommendations of roof top locations in Central London.
Prior to filming we made a trip to London in Canary Warf to check whether filming the time lapse of London would be appropriate, fit our vision and also make us aware of how the scene would look like visually both in the construction stages as well as what it may look like against other scenes when being edited.
We agreed that prior to filming the location had to be near empty as it we didn't want any disturbances such as members of the public being in shot without permission. However the actual shot (a birds eye-view from a building in London time-lapsed) had to be busy, crowded and energetic to create a buzz. We wanted the birds eye view shot to be a wide angle shot with bright lighting (preferably filmed in daylight), energetic atmosphere unlike the atmosphere created at the church (HERE is a link to my post on the location recce I completed previous to filming at the church and HERE is a link to my post on filming the grave yard scene at the church) and scenes filmed at the car park (HERE is a link to my post on the location recce I completed previous to filming at the car park and HERE is a link to my post on filming the car park scenes in Woking, Surrey). By having this we would have a contrast between these fast paced scenes creating suspense and jeopardy.
Below is a selection of media marketing words that will help me describe
and analyse a film magazine front cover (part of the films Poster and Advertising campign). This is especially useful when I analyse
a selection of film magazine front covers, from magazines such as Empire or Total Film. GLOSSARY
Cover lines :
Information about major articles given on the front page of a magazine.
Left-side third: A
lot of important information designed to attract potential readers is placed in
the left-hand side vertical third of the front cover page. This is in case the
magazine is displayed in a horizontal shelving system rather than a vertical
one.
Masthead: The title
of the magazine or newspaper. It is usually placed at the top of the front cover
for display purposes.
Puff: Words or
phrases on the cover of a magazine used to boost status.
Plug: Information
about the contents of a magazine or newspaper given on the front cover.
I regularly update my film trailers Instagram page with recent photographs of filming and videos taken.
I have tweeted about this on my Twitter page. HERE is a link to my Twitter page or you can view it on the right hand side of my blog.
Whilst uploading these photographs onto Instagram I uploaded them onto Twitter interconnecting my social media platforms attracting and addressing audiences.
HERE is a link to the film trailers Instagram page or can be viewed on the right hand side of my blog.
I also Tweet about global events not just information about media and filming my film trailer
I have made a short video (the video with photos lasts for 60 seconds) showing the progress so far of my film opening, A Question of Identity, in photos. I have made both of these videos on Flipagram, a free photo editing and photo sharing slide show service; it is exactly like Instagram but you can post photo slideshows with music (also being able to share your 'flipagrams' on Instagram and Facebook by clicking 'share'). It is really useful as it can make your photos 'come alive' with the sound of music, documenting your progress in a fun and unique way.
Previously to filming my group made a trip to the path in Weybridge where the confrontation scene between The Ghost and the Female Migrant would take place. We did this to check whether filming the confrontation scene would be appropriate, fit our vision of filming and also make us aware of how the scene would look like visually both in the construction stages as well as what it may look like against other scenes when being edited.
We agreed that prior to filming the location had to be near empty as it we didn't want any disturbances such as members of the public being in shot without permission. We wanted the path to be a semi-large size with bright lighting (preferably filmed in daylight), empty with no people and a vast, open expanse of space conveying a sense of suspense and jeopardy (HERE is a link to my post on the location recce I completed previous to filming at the church and HERE is a link to my post on filming the grave yard scene at the church) and scenes filmed at the car park (HERE is a link to my post on the location recce I completed previous to filming at the car park and HERE is a link to my post on filming the car park scenes in Woking, Surrey) making Aaron seem alone, vacant and lonely. This scene is where The Ghost is confronting the Female Migrant - he slaps and holds a gun to her head.
Today we filmed a scene with Aaron running away from The Ghost about his actions avenging his sisters death - consequently leading to his torturing in the previous post.
Below are a selection of photographs taken on my iPhone from filming.
Below is a video taken of Aaron completing his scene.
Previously to filming my group made a trip to the grounds next to the river in Weymede to check whether filming the confrontation scene would be appropriate, fit our vision of filming and also make us aware of how the scene would look like visually both in the construction stages as well as what it may look like against other scenes when being edited.
We agreed that prior to filming the location had to be near empty as it we didn't want any disturbances such as members of the public being in shot without permission. We wanted the grounds to be a large size with bright lighting (preferably filmed in daylight), empty with no people and a vast, open expanse of space conveying a freedom, liberation unlike the atmosphere created at the church (HERE is a link to my post on the location recce I completed previous to filming at the church and HERE is a link to my post on filming the grave yard scene at the church) and scenes filmed at the car park (HERE is a link to my post on the location recce I completed previous to filming at the car park and HERE is a link to my post on filming the car park scenes in Woking, Surrey) making Aaron seem alone, vacant and lonely. This scene is where Aaron is running away from The Ghost about his actions avenging his sisters death - consequently leading to his torturing in the previous post.
Today we filmed the Confrontation Scene when The Ghost is confronting Aaron about his actions avenging his sisters death - consequently leading to his torturing in the previous post.
Below are a selection of photographs taken whilst filming.
Previously to filming my group made a trip to the alleyway in Weybridge to check whether filming the confrontation scene would be appropriate, fit our vision of filming and also make us aware of how the scene would look like visually both in the construction stages as well as what it may look like against other scenes when being edited.
We agreed that prior to filming the location had to be near empty as it we didn't want any disturbances such as members of the public being in shot without permission as well as trucks driving past the camera making it go out of focus and disturb the action being captured. We wanted the alleyway to be a small size with bright lighting (preferably filmed in daylight), empty with no people and a cold, unfriendly and vacant feel further conveying a haunting, empty and vulnerable feel, similar to the atmosphere created at the church (HERE is a link to my post on the location recce I completed previous to filming at the church and HERE is a link to my post on filming the grave yard scene at the church) and scenes filmed at the car park (HERE is a link to my post on the location recce I completed previous to filming at the car park and HERE is a link to my post on filming the car park scenes in Woking, Surrey) making Aaron seem alone, vacant and lonely. This atmosphere also conveys Sydney's association with the trading of illegal passports to helpless, manipulated and desperate refugees and migrants as forced upon her by the illegal gang. This scene is where The Ghost is confronting Aaron about his actions avenging his sisters death - consequently leading to his torturing in the previous post.
Today we filmed the Gasoline Scene in the garage - a confrontation between Aaron and The Ghost.
Below are a selection of photos I took of filming on my iPhone.
Below are a selection of videos I recorded on my iPhone. Previous to filming The Ghost pouring water from a gas container (pretending it in petrol) we completed a practice run so we could plan how and if the shots had to be changed before filming the real shot.
We received permission to film at the garage site in Weymede as a member of my group knows the owner and asked for permission. The owner remained with us whilst filming making sure that the site was safe for us to film at and we also had a cast member of the age of 18 years for adult guidance. Taking into account the risks that we taking filming in the garage, we made sure on a health and safety perspective that the area where we were filming, as shown below, was clear of any large machinery or sharp objects such as broken glass. We used high resolution lighting so we could see whilst filming making sure we are safe.
Previously to filming my group made a trip to the location of the gasoline scene in Weymede to check whether filming the gasoline scene would be appropriate, fit our vision of filming and also make us aware of how the scene would look like visually both in the construction stages as well as what it may look like against other scenes when being edited.
We agreed that prior to filming the location had to be near empty as it we didn't want any disturbances such as cars driving past the garage disturbing the sound and the action being captured with peoples entering and exiting the road. We wanted the garage to be a medium size with semi-bright lighting (preferably filmed in the day), empty with no people or possessions and a cold, unfriendly and vacant feel further conveying a haunting, empty and vulnerable feel, similar to the atmosphere created at the church (HERE is a link to my post on the location recce I completed previous to filming at the church and HERE is a link to my post on filming the grave yard scene at the church) and scenes filmed at the car park (HERE is a link to my post on the location recce I completed previous to filming at the car park and HERE is a link to my post on filming the car park scenes in Woking, Surrey) making Aaron seem alone, vacant and lonely. Aaron is being tied up and tortured by The Ghost. Below is a photo of the location taken on my iPhone.
In class we looked briefly at the Bechdel Test. The Bechdel Test is a test which names three main criterias for a film, for example it has to have at least two women in it, the women have to talk to talk to each other, the women have to talk to each other about a topic besides men. The test is known as a 'benchmark' for movies and was developed by Alison Bechdel in 1985 through her comic Dykes to Watch Out For in a strip called The Rule.
From looking at this test it will help me identify whether scenes in my AS (film opening) and A2 (film trailer) have scenes that agree or pass this test. I will have a better idea and be prepared for a theory that could come up in my A2 examination.
My film trailer project there is a scene between Sydney and the Female and Male Migrants talking about passports being collected. However, my film trailer fails the Bechdel Test as the Female Migrant merely nods and smiles in answer to Sydney's question, "You want your passports don't you?". The two females don't have a conversation.
Please click HERE to view my post I wrote on reading the OCR examiners report on exemplar film trailer material and requirements for 2015. By doing this I will have a better idea of the work examiners are looking for and requirements to meet acceptable standards.
I specifically read and focussed on the Film Trailer section of the report as I am making a film trailer for my project.
I watched F for Fake (1973) on how to successfully structure a video essay. The video was made and narrated by Tony Zhou of Every Frame a Painting. From watching this video I will know how to successfully and effectively edit footage to attract and address audiences.
Tony Zhou has made and narrated a video on the Quadrant System - HERE is a post I wrote on watching the Quadrant System video and how I will/have/aim to use it in my film trailer project.
HERE is a link to the FilmEdu website page on exploring film posters - I used this website to help me research and deconstruct the codes and conventions of film posters.
Below is my film poster analysis for the film Stoker.
HERE is a link to the FilmEdu website page on exploring film posters - I used this website to help me research and deconstruct the codes and conventions of film posters.
Below is my film poster analysis for the film One Day.
HERE is a link to the FilmEdu website page on exploring film posters - I used this website to help me research and deconstruct the codes and conventions of film posters.
Below is my film poster analysis for the film Black Swan.
