This is audience feedback for the final version of Unforeseen Emissary. We have acknowledged the criticisms and enhanced the liked things in accordance to the comments from the previous audience feedback. The people I chose to interview are still in our range of audience - 16 and above. (Richard, Babatunde, Loveline, Edna and Teddy) I deviated from the questions slightly from the previous interviews to confront more of an insight to their opinion.
Thursday, 29 March 2012
Tuesday, 27 March 2012
FINAL CUT OF OPENING SEQUENCE
UNFORESEEN EMISSARY
SHOT LIST:
SHOT LIST:
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| Over The Shoulder |
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| Over The Shoulder |
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| Shot/Reverse Shot |
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| Close Up/Shot/Reverse Shot |
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| Close Up |
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| Extreme Close Up |
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| POV/Tracking Shot |
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| POV/Tracking Shot |
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| POV/Tracking Shot |
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| Long Shot |
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| Long Shot |
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| Low Angle Shot |
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| Two Shot |
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| Two Shot |
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| High Angle Shot |
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| High Angle Shot |
Monday, 26 March 2012
ROUGH CUT AUDIENCE FEEDBACK
Here is footage of our target audience being interviewed after just watching our rough cut version of our production 'Unforeseen Emissary'. I asked 3 questions after informing them of what our project is about:
- What do you think of the opening sequence?
- Was a good thriller?
- What did you like about it?
- What didn't you like about it?
The people I interviewed people who are as closest to our target audience as possible. I asked Jay (18), Jack (17), Malak (17) and Kalvin (16).
- What do you think of the opening sequence?
- Was a good thriller?
- What did you like about it?
- What didn't you like about it?
The people I interviewed people who are as closest to our target audience as possible. I asked Jay (18), Jack (17), Malak (17) and Kalvin (16).
Sunday, 25 March 2012
EFFECT OF LIGHTING
TINKER TAILOR SOLDIER SPY
Tinker Tailor Soldier Spy sustains a low-key lighting throughout the film. It preserves the dark, unnerving feel of the narrative. It also relays the constant mystery applied in the pursuit of the mole and shows the sheer confusion the characters are enduring. Furthermore is gives an insight of their isolation within their pursuit of the mole as it gives rise to the notion of "trusting nobody".
SOMETHING ABOUT MARY
In Something About Mary, high-key lighting is applied all throughout the film. It suggests an optimistic feel as the narrative revolves around a protagonist trying to get the girl. The high-key lighting is also useful as the film reverts back to the past between the central character and the girl to illustrate the naivety and child-like feel of their younger days. The high-key lighting is also used to accentuate the slap-stick comedic element to the story. It could even to used to emphasize the confusion of 4 conflicting character going after the same girl.
LIMITLESS
Limitless utilizes both the high-key lighting and the low-key lighting and exploits them to provide a great sense of depth to the narrative. The low-key lighting are shown in the parts when the protagonist, Eddie Morra, is not using the 'limitless' drug whereas the high-key lighting is used when he is on the drug. The differ in lighting provides this deeper insight to the narrative as the low-key reinforces the nihilism and depressed life Eddie has and the high-key is used to convey and accentuate the feel of success and transcendence.
MOOD BOARD
A mood board is a type of poster design that may consist of images, text, and samples of objects in a composition of the choice of the mood board creator. Designers and others use mood boards to develop their design concepts and to communicate to other members of the design team. Mood boards are often used by graphic designers to enable a person to illustrate visually the direction of style which they are pursuing. However, mood boards can also be used to visually explain a certain style of writing, or an imaginary setting for a storyline. In short, mood boards are not limited to visual subjects, but serve as a visual tool to quickly inform others of the overall 'feel' that a designer is trying to achieve. Our mood board consists of the 'feel' we as a group are trying to convey in our production.
Mood Board
Mood Board
Wednesday, 21 March 2012
ANTAGONIST
The definition of an antagonist is a character, group of characters, or institution, that represents the opposition against which the protagonist must contend. In other words, 'A person, or a group of people who oppose the main character, or the main characters. In the classic style of story wherein the action consists of a hero fighting a villain, the two can be regarded as protagonist and antagonist, respectively.
With the dialogue in Unforeseen Emissary we establish a clear antagonist, an opposition to the protagonist, Agent Smith. This makes the narrative of the film more appealing and adds an enticing element as there seems be subtle hints of history between the antagonist and protagonist with the shock of the "what?!" in the end. We veil the antagonist in mystery and darkness due to the fact that we only refer to him with "he", never revealing his name.
Here are some conventional antagonists that act as clear oppositions to the central character:
With the dialogue in Unforeseen Emissary we establish a clear antagonist, an opposition to the protagonist, Agent Smith. This makes the narrative of the film more appealing and adds an enticing element as there seems be subtle hints of history between the antagonist and protagonist with the shock of the "what?!" in the end. We veil the antagonist in mystery and darkness due to the fact that we only refer to him with "he", never revealing his name.
Here are some conventional antagonists that act as clear oppositions to the central character:
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| Lee Van Cleef - The Good, The Bad and The Ugly |
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| Colonel Miles - Avatar |
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| Joker - The Dark Knight |
Monday, 19 March 2012
ANALYSIS OF OPENING SEQUENCE 3
I have analysed the opening sequence of 1991 horror/mystery-thriller Silence of the Lambs. This is because it is rather similar in terms of pace and feeling and also because this is something I hope to achieve regarding the amount of subtext and intricate but subtle story-telling.
ANALYSIS of Silence of the Lambs
ROUGH CUT EVALUATION
My class had conducted a group evaluation after a screening of our rough cut. My group then leaded some questions involving what went well and even better ifs. These points were regarding camera work, title sequence, the conventions met and some general points.I have accumulated the responses on a Prezi.
ROUGH CUT
This is a rough cut of our final production of the opening sequence. Here we have established our finalized ideas.
Wednesday, 14 March 2012
DIALOGUE REDRAFT
Dialogue:
(Protagonist = Agent Smith / Second MI5 agent = Agent Johnson)
Smith: How are you?
Johnson: I'm fine. One thing led to another, but I'm just glad it's sorted now.
Smith: 'Sorted'?
Johnson: Yeah, he's dead now.
Smith: He's still out there.
Johnson: What?!
2nd Redraft
Johnson: Glad you can make it.
Smith: I haven't got much time S, can you hurry it up. You know I'm not supposed to be here
Johnson: I need you to do one more thing for me, one more mission. (Leaning his hand on Johnson's shoulder then places other hand on Smith's other shoulder) ...She'd want you to do it.
Smith: She's not here anymore! I quit a long time ago... I'll see ya' S.
Monday, 12 March 2012
FAKE BLOOD
This is us making fake blood for our production to increase the authenticity of the mise-en-scene.
OPENING SEQUENCES ARE IMPORTANT
Why are opening sequences so important to not only the film itself but the entire film industry?
Well simply put, its an introduction to the what comes next, a beginning to a story and no story is made without a beginning. Opening sequences are the foundation to an arc and it bears so much significance beyond our first glance. It exhibits implicitly and subtly many features of the narrative of the whole film in that 2 minutes. It effectively defines the movie and, despite the trailer, shows the audience what the film is going to be about or what the film is going to revolve around.
Opening sequences, with consideration, are potentially an important contribution to the film industry. It bears the same intention of what a trailer does for the audience however it does not reveal much but it does reveal a significant amount of the subtext and serves as a taster to the audience. And regarding the position it bears within a narrative, it is responsible for being a beginning of story which is rather vital.
Well simply put, its an introduction to the what comes next, a beginning to a story and no story is made without a beginning. Opening sequences are the foundation to an arc and it bears so much significance beyond our first glance. It exhibits implicitly and subtly many features of the narrative of the whole film in that 2 minutes. It effectively defines the movie and, despite the trailer, shows the audience what the film is going to be about or what the film is going to revolve around.
Opening sequences, with consideration, are potentially an important contribution to the film industry. It bears the same intention of what a trailer does for the audience however it does not reveal much but it does reveal a significant amount of the subtext and serves as a taster to the audience. And regarding the position it bears within a narrative, it is responsible for being a beginning of story which is rather vital.
Sunday, 11 March 2012
SHOOTING SCRIPT (DRAFT 2)
Diegetic sound of the alarm clock going off is heard fading in. An extreme close up on the protagonist's eyes in the beginning showing him opening his eyes. Low-key lighting in the room. Alarm clock is still heard as he sits up from his bed and a high angle shot is applied showing him in a crouched position sitting on the bed with dried blood on his hands and chest. An over-the-shoulder shot is then used behind him facing a picture of him and the girl (possible Red Herring) which then switches to a close-up of the framed picture. The surrounding consists of alcohol bottles and messy, desolate bedroom. Alarm is still ringing and shown in the shot. The diegetic sound of the alarm is still heard until a cut into a close up is applied onto the alarm clock being smacked out of the frame abruptly.
We cut to the hallway where the protagonist steps out from the door to the toilet. A zoom out/zoom in is used revealing only his torso and hands to show the blood stains using a dolly which he then walks to the left into the bathroom. He leans his stretched out arm onto the wall tiles seeming rather distressed and trouble as he has a shower and the water drips off which we see seeping in the drain with a close-up shot. We then cut to him wiping the vapor off the mirror and for the first time, using medium, 3/4 shot, revealing his face from the mirror and also a close-up of the face. He sighs depressingly.
A cut into a long shot, tracking shot of the main character walking along the pavement is used. A match on action is then implemented to show him clutching the door knob and opening the door with a close up of the door knob. He then sits on the chair on the computer in front of him using an over-the-shoulder shot and uses the computer. A close-up is used to show the central character using the computer displaying an intense expression on his face.
Diegetic sound of the conversation between the main character and another MI5 agent slowly interrupts the composition with the central character on the computer until the conversation is fully introduced by a cut in with a close up of the protagonist speaking. We then establish a shot/reverse shot by cutting into another close up shot of the other MI5 agent speaking with the protagonist. A non-diegetic track of an ambient, ominous effect will play throughout the dialogue.
Dialogue:
(Protagonist = Agent 1 / Second MI5 agent = Agent 2)
Agent 1: How is she?
Agent 2: I'm sorry to have to say this...
Agent 1: I assume she's under you're protection.
Agent 2: You're being discharged...
Agent 1: (slight pause) Why...?
Agent 2: (another slight pause) There was noth-
Agent 1: (furiously interrupts) After I went through all that crap just to get her! Why am I being kicked off the service?!
Agent 2: She's-
Agent 1: You know! You know what I had to do to complete the mission, goddamn it!
Agent 2: (Without hesitation) She's dead, agent...
The camera will stop on the protagonist in a close up position and very slowly zoom into his intense facial expression. The diegetic sound of the street slowly fades away and the non-diegetic sound of the ambient effect will fade into an increasingly loud train/airplane sound. All sound will abruptly stop and cut into an extreme close up of the protagonist's eyes with very low key lighting.
Thursday, 8 March 2012
MUSIC ANALYSIS
THE DARK KNIGHT - WHY SO SERIOUS?
This is an orchestral masterpiece in my opinion. This incorporates and abides by many of the conventions seen in spy-thrillers that contribute to the narrative greatly. It sustains so much suspense and on-the-edge tension with the mass violins congestion slowly overlapping each other and growing louder and louder until it abruptly reaches a halts and transitions into a faster paced, series of short bursts of violins and irregular trumps of loud drums. I believe this is great as it projects such a dark and ominous energy and somewhat brilliant for our production due to the levels of suspicion and mystery we are trying to achieve.
Here the 'Why So Serious?' OST is implemented in the scene where the Joker crashes the party and ridicules and threatens a member of the party. The music syncs in well with the narrative as it coincides and accentuates the distorted aura we get from the disturbing speech the Joker gives. The violins grow louder and louder as his knife nears the mans face and his voice becomes bigger. The soundtrack really does make an effect to the music as it brings an exaggeration to the conduction of the scene and provides more of an impact for the audience.
This is an orchestral masterpiece in my opinion. This incorporates and abides by many of the conventions seen in spy-thrillers that contribute to the narrative greatly. It sustains so much suspense and on-the-edge tension with the mass violins congestion slowly overlapping each other and growing louder and louder until it abruptly reaches a halts and transitions into a faster paced, series of short bursts of violins and irregular trumps of loud drums. I believe this is great as it projects such a dark and ominous energy and somewhat brilliant for our production due to the levels of suspicion and mystery we are trying to achieve.
Here the 'Why So Serious?' OST is implemented in the scene where the Joker crashes the party and ridicules and threatens a member of the party. The music syncs in well with the narrative as it coincides and accentuates the distorted aura we get from the disturbing speech the Joker gives. The violins grow louder and louder as his knife nears the mans face and his voice becomes bigger. The soundtrack really does make an effect to the music as it brings an exaggeration to the conduction of the scene and provides more of an impact for the audience.
Wednesday, 7 March 2012
EQUIPMENT
Film cameras are used and produced today, especially for the production of full feature movies. Film cameras take a series of images; "frame". This is accomplished through an intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called the "frame rate". While viewing, a person's eyes and brain merge the separate pictures together to create the illusion of motion.
As a class we are lucky enough to be using the latest handheld sony cameras that really make it easy to film and upload videos. Our teacher gave us a quick demonstration on how the battery works and what we needed to do to change certain settings. After the tutorial we used the camera to film the preliminary task and got a real feel of how they responded to certain lighting and movements. As a group we decided that the main priorites to dow ith the camera was the charging of it, safety and making sure the seeting configured to the scenes we needed to shoot.
Lighting illuminates the performers and artists in a live theatre, dance, or musical performance, and is selected and arranged to create dramatic effects. Dimmers, colored filters, reflectors, lenses, motorized or manually aimed lamps, and different kinds of flood and spot lights are among the tools used by a stage lighting designer to produce the desired effects. A set of lighting cues are prepared so that the lighting operator can control the lights in step with the performance.
A camera dolly is a piece of filmmaking production equipment designed to create smooth camera movements. The camera is mounted to the dolly and the camera operator and focus puller or camera assistant, usually ride on the dolly to operate the camera.
Sound recording is a re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Acoustic analog recording is achieved by a small microphone diaphragm that can detect changes in atmospheric pressure and record them as a graphic representation of the sound waves on a medium such as a phonograph.
Tuesday, 6 March 2012
MOTION
Motion is a software application produced by Apple Inc. It is used to create and edit motion graphics, titling for video production and film production, and 2D and 3D compositing for visual effects.
Features of Motion include the ability to create custom particle effects and to add filters, effects and animations in real time. Motion has the ability to address up to 32 GB of RAM and GPU acceleration at 8-bit, 16-bit and 32-bit float color depths. Motion 2 can also integrate with a MIDI keyboard, so that parameters can be controlled by keys or faders; this opens up the possibility real time parameter input into Motion. In addition Motion 3 now allows for complete 2D and 3D compositing in a multiplane environment.
I believe this would be rather useful for our production as it provides a professional presentation of text, which we can then implement our title of the film. With the appropriate theme and template, we can give the sense of professionalism and more credibility for our production.
We have applied this with our opening credits to impose a further sense of professionalism:
FINAL CUT PRO
Final Cut Pro is a video editing software developed by Macromedia Inc. and thenApple Inc. The software allows users to log and transfer video onto a hard drive, where it can be edited, processed, and output to a wide variety of formats. Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. In later years especially, made inroads with film and television editors.
AUDIENCE RESEARCH 2
I have made another audience research into an opening sequence. I issued a questionnaire to 3 people who have recently watched James Bond: Casino Royale and the questions are regarding the opening sequence of the film and asking what they thought about it's relevance to the thriller genre.
Here is the outline of the interview:
Did you think it was a good film?
1) Yeah, it was a great film. I loved the action scenes and the whole story. It was so 'James Bond' if you know what I mean; the sophisticatedness, the classyness, the suspense, the action, the romance. They did everything right except one thing in my opinion. Ironically; James Bond himself. I don't think the actor portrayed they entire concept and legacy of James Bond well enough. But other than that, its good.
2) It was good but not the best film and definitely not the best James Bond film. As he said, there was a legacy that they had to pull off if they were gonna introduce a new actor and I think they didn't quite cut it to be honest. But I'm not saying that it was bad, I enjoyed the movie, but not an amazing one.
3) It wasn't that good of a film. In the end it was just mindless action that kind of got in the way of the story, not to mention that there was no believability in the film and that's what ruined it for me. I couldn't get to grips with the story because it was so uncanny, and I'm aware that every James Bond film is pretty much filled with action and cars and some more ridiculous stuff, but it was the way they told the story what made it conceivable. But hey, thats my opinion.
Did you think it was a good thriller?
1) Yeah, it was a damn good thriller in comparison with other thrillers. Thrillers like Seven or Body Of Lies are great because it was a lot of suspense and action and mystery and I believe Casino Royale truly achieved those aspects.
2) Basing my knowledge on other thrillers like Salt and The Bourne series, it was a pretty good. It had action, it had sexyness, it had drama, it had tension. It had all those things to keep that the viewer on the edge of their seats and I loved it. In terms of how Casino Royale did in reaching the goals that makes it a thriller, it did good and I proper enjoyed it.
3) Casino Royale did great in sustaining the conventions of a thriller but it missed out, in what I believe, a golden rule in what makes a thriller interesting - Believability. I'm sorry that I keep on banging on about this but thats what makes the thrill in thrillers, the fact that it could very well happen to you! Thrillers like Inception sure does seem to be out there but they had the explanations and science which makes it somewhat conceivable.
What do you think of the opening sequence?
1) Oh wow that was such an amazing opening sequence. Such mystery, such tension. That truly put me on the edge of my seat there. That was such a good chase scene that followed after that tracking segment of the scene. And man, that was a great way to introduce the James Bond. Brilliant.
2) That was a great way to open a film, the amount of action that was cramped in that one sequence was awesome.
3) Two people running by a construction site making their way to a top of a crane and ending up destroying the place and making a series of explosions was ridiculous. So much so, I sorta laughed. And theres my point on conceivability. But really though, I loved watching it. But I felt detached rather than being indulged and thats why it should be believable.
Here is the outline of the interview:
Did you think it was a good film?
1) Yeah, it was a great film. I loved the action scenes and the whole story. It was so 'James Bond' if you know what I mean; the sophisticatedness, the classyness, the suspense, the action, the romance. They did everything right except one thing in my opinion. Ironically; James Bond himself. I don't think the actor portrayed they entire concept and legacy of James Bond well enough. But other than that, its good.
2) It was good but not the best film and definitely not the best James Bond film. As he said, there was a legacy that they had to pull off if they were gonna introduce a new actor and I think they didn't quite cut it to be honest. But I'm not saying that it was bad, I enjoyed the movie, but not an amazing one.
3) It wasn't that good of a film. In the end it was just mindless action that kind of got in the way of the story, not to mention that there was no believability in the film and that's what ruined it for me. I couldn't get to grips with the story because it was so uncanny, and I'm aware that every James Bond film is pretty much filled with action and cars and some more ridiculous stuff, but it was the way they told the story what made it conceivable. But hey, thats my opinion.
Did you think it was a good thriller?
1) Yeah, it was a damn good thriller in comparison with other thrillers. Thrillers like Seven or Body Of Lies are great because it was a lot of suspense and action and mystery and I believe Casino Royale truly achieved those aspects.
2) Basing my knowledge on other thrillers like Salt and The Bourne series, it was a pretty good. It had action, it had sexyness, it had drama, it had tension. It had all those things to keep that the viewer on the edge of their seats and I loved it. In terms of how Casino Royale did in reaching the goals that makes it a thriller, it did good and I proper enjoyed it.
3) Casino Royale did great in sustaining the conventions of a thriller but it missed out, in what I believe, a golden rule in what makes a thriller interesting - Believability. I'm sorry that I keep on banging on about this but thats what makes the thrill in thrillers, the fact that it could very well happen to you! Thrillers like Inception sure does seem to be out there but they had the explanations and science which makes it somewhat conceivable.
What do you think of the opening sequence?
1) Oh wow that was such an amazing opening sequence. Such mystery, such tension. That truly put me on the edge of my seat there. That was such a good chase scene that followed after that tracking segment of the scene. And man, that was a great way to introduce the James Bond. Brilliant.
2) That was a great way to open a film, the amount of action that was cramped in that one sequence was awesome.
3) Two people running by a construction site making their way to a top of a crane and ending up destroying the place and making a series of explosions was ridiculous. So much so, I sorta laughed. And theres my point on conceivability. But really though, I loved watching it. But I felt detached rather than being indulged and thats why it should be believable.
Sunday, 4 March 2012
LOCATIONS
We conducted a group discussion regarding the location of where we are going to shoot our production. I have contemplated where we can add vital aspects to the mise-en-scene in order to project our narrative as much as possible and what can complement the conventions exhibited in a spy-thriller.
We have decided, for reasons of convenience, to use Chelsea Academy, an old factory and one of our group members apartment. Once considered and slightly altered, it can provide a brilliant location which is appropriate for our narrative.
CHELSEA ACADEMY
Lots Road
London
SW10 0AB
This place is rather convenient for us as our production takes place here and also it provides a political and manufactured atmosphere. This suggests a sense of professionalism and seriousness which is essential for our spy theme throughout our narrative.
THE OLD FACTORY
Lots Road
London
SW10 0AB
This factory is the old London Underground power station and has been abandoned for various decades. This adds a rather ominous feel to the narrative and can very well help us carry out the conventions of a spy-thriller. This is where the conversation between the protagonist and the other MI5 agent will happen and it the emptiness of the area will certainly provide a ominous and dangerous atmosphere for the scene.
THE APARTMENT
12 Lambeth Towers
Kennington Road
London
This is one of our group members apartment (Ricardo Da Silva). This is just a standard bedroom and bathroom we can use. We will be implementing various props and items to present a suitable mise-en-scene for our opening sequence.
We have decided, for reasons of convenience, to use Chelsea Academy, an old factory and one of our group members apartment. Once considered and slightly altered, it can provide a brilliant location which is appropriate for our narrative.
CHELSEA ACADEMY
Lots Road
London
SW10 0AB
This place is rather convenient for us as our production takes place here and also it provides a political and manufactured atmosphere. This suggests a sense of professionalism and seriousness which is essential for our spy theme throughout our narrative.
THE OLD FACTORY
Lots Road
London
SW10 0AB
This factory is the old London Underground power station and has been abandoned for various decades. This adds a rather ominous feel to the narrative and can very well help us carry out the conventions of a spy-thriller. This is where the conversation between the protagonist and the other MI5 agent will happen and it the emptiness of the area will certainly provide a ominous and dangerous atmosphere for the scene.
THE APARTMENT
12 Lambeth Towers
Kennington Road
London
This is one of our group members apartment (Ricardo Da Silva). This is just a standard bedroom and bathroom we can use. We will be implementing various props and items to present a suitable mise-en-scene for our opening sequence.
EVALUATION
Questions for evaluating my animatic:
- What did I learn from my research into animatics? What are they and why are they used?
Animatics are basically drawn frames that are simply animated together in order to convey a shot-by-shot presentation and give an idea to what the final piece could potentially be. After research of what animatics are, I believe this is vital in our production towards our final piece. Animatics for our opening sequence is the closest thing we can do to visualize our ideas.
- What are they key conventions / form of an animatic?
Animatics often are illustrated with pens or pencils and not put into motion but placed together with a shot-by-shot nature.
- What are the benefits of using an animatic in my planning for the thriller title sequence? Who will see it and why?
The benefits of using an animatic is that me and my group can visualize our ideas into the drawings and we can get a feel of what our opening sequence could potentially be. This animatic will only be shown to the producers (me and my group) rather than our audience as this is just a prototype for our final piece. Once we have taken in all considerations by other research we have conducted such as the audience research and what they want in a thriller, then we can commence filming the real thing.
- How did you plan your animatic?
Each of the group members were issues with a template. The template involved a space of which we draw the frames and boxes where we include information about each shot like sound, camera position, lighting, etc. Once we have finished it we have chosen the best one among ourselves and added further information to it.
- Which programmes did you use to create your animatic? How did you create the sounds?
We used Final Cut to produce our animatic. Final Cut had some sounds appropriate to our animatic such as the ambient sound effect and the footsteps. Then for shots like the shower frame and the computer frame we have made our own sounds from a recorder. We used the recorder to makes sounds from the shower and keyboard sounds.
- What challenges did you face when producing your animatic? how did you overcome these?
We initially thought that we might have to take photo's of each drawing. This would be time consuming and the pictures would not be very clear. However we overcame this by using a scanner to scan the sheets therefore we have proper clarity of the illustrations and it was much more time efficient.
- How will you now improve your finished piece, based on this feedback?
After considering the animatic, there are definitely some improvements we can acknowledge for the sake of our final piece. We can consider the camera angles and movements during the start of the opening sequence to not show the protagonist's face. When the protagonist wipes the vapor off the mirror, adjusting the camera angle to ensure that the camera is not seen in the reflection. Lastly, how to elongate the narrative to reach the 2 minute marker for our assignment.
Questions for evaluating my shooting script:
- What did I learn from my research into shooting scripts? What are they and why are they used?
Shooting scripts are meant to give a good and detailed insight of what the production will comprise of. It includes things such as the camera work, lighting, sound, editing and the dialogue as well as where and how the characters are placed and what they do. From my research into shooting scripts I have learnt that shooting scripts are rather important to everybody involved in a production as we are all provided a suggestion of how we should conduct the opening sequence.
- What are the benefits of designing a shooting script for my product? Who will see it and why?
The shooting script is given to everybody involved in the production as it serves as a guideline of how to make the film. After Once we have taken in all considerations by other research we have conducted such as the audience research and what they want in a thriller, then we can make a few changes to the script and commence filming the real thing.
- How did you plan your shooting script? what did you need to consider in doing this?
We had a group meeting regarding the shooting script. In that meeting, we had accumulated all our ideas and made a compromise of how the script should be. While doing this, we took into consideration of the film Tinker Tailor Soldier Spy as it is our main film of reference and we need to know how they have conveyed their narrative.
- What challenges did you face when producing your shooting script? how did you overcome these?
Everyone in our group had conflicting ideas which we all felt somewhat passionate about to some degree. But after a long time considering and acknowledging each others thoughts we all came to a compromise by referencing Tinker Tailor Soldier Spy and its relevance to the conventions in a spy-thriller and what our audience wants from our audience research.
- How will you now improve your finished piece, based on what you have learnt from completing this task?
We will now improve our final piece with a proper sense of direction in our production and a good sense of intensity in our dialogue with something we can all be happy about.
OUR ANIMATIC
We have produced an animatic of our final piece. This is the outline of what our vision of the opening sequence comprises of. In comparison with what the opening sequence will be realistically, it seems short and concise. However this is an animatic without any dialogue and frames in motion and it provides us with a good conception of what the opening sequence would look like once put into practice.
SHOOTING SCRIPT
Diegetic sound of the alarm clock going off is heard fading in. An extreme close up on the protagonist's eyes in the beginning showing him opening his eyes. Low-key lighting in the room. Alarm clock is still heard as he sits up from his bed and a medium shot is applied without fully showing his face. The surrounding consists of empty alcohol bottles and messy, desolate bedroom. Alarm is still ringing and shown in the shot. The diegetic sound of the alarm is still heard until a cut into a close up is applied onto the alarm clock being smacked out of the frame abruptly.
We then cut into the central character having a shower as the camera pans through the frame slowly. We then cut to him wiping the vapor off the mirror and for the first time, using medium, 3/4 shot, revealing his face from the mirror showing the scars and bruises on his face. He sighs depressingly.
A cut into a long shot, tracking shot of the main character walking along the pavement is used. A match on action is then implemented to show him clutching the door knob and opening the door with a close up of the door knob. He then sits on the chair on the computer in front of him using an over-the-shoulder shot and uses the computer. A close-up is used to show the central character using the computer displaying an intense expression on his face.
Diegetic sound of the conversation between the main character and another MI5 agent slowly interrupts the composition with the central character on the computer until the conversation is fully introduced by a cut in with a close up of the protagonist speaking. We then establish a shot/reverse shot by cutting into another close up shot of the other MI5 agent speaking with the protagonist. A non-diegetic track of an ambient, ominous effect will play throughout the dialogue.
Dialogue:
(Protagonist = Agent 1 / Second MI5 agent = Agent 2)
Agent 1: How is she?
Agent 2: I'm sorry to have to say this...
Agent 1: I assume she's under you're protection.
Agent 2: You're being discharged...
Agent 1: (slight pause) Why...?
Agent 2: (another slight pause) There was noth-
Agent 1: (furiously interrupts) After I went through all that crap just to get her! Why am I being kicked off the service?!
Agent 2: She's-
Agent 1: You know! You know what I had to do to complete the mission, goddamn it!
Agent 2: (Without hesitation) She's dead, agent...
The camera will stop on the protagonist in a close up position and very slowly zoom into his intense facial expression. The diegetic sound of the street slowly fades away and the non-diegetic sound of the ambient effect will fade into an increasingly loud train/airplane sound. All sound will abruptly stop and cut into an extreme close up of the protagonist's eyes with very low key lighting.
We then cut into the central character having a shower as the camera pans through the frame slowly. We then cut to him wiping the vapor off the mirror and for the first time, using medium, 3/4 shot, revealing his face from the mirror showing the scars and bruises on his face. He sighs depressingly.
A cut into a long shot, tracking shot of the main character walking along the pavement is used. A match on action is then implemented to show him clutching the door knob and opening the door with a close up of the door knob. He then sits on the chair on the computer in front of him using an over-the-shoulder shot and uses the computer. A close-up is used to show the central character using the computer displaying an intense expression on his face.
Diegetic sound of the conversation between the main character and another MI5 agent slowly interrupts the composition with the central character on the computer until the conversation is fully introduced by a cut in with a close up of the protagonist speaking. We then establish a shot/reverse shot by cutting into another close up shot of the other MI5 agent speaking with the protagonist. A non-diegetic track of an ambient, ominous effect will play throughout the dialogue.
Dialogue:
(Protagonist = Agent 1 / Second MI5 agent = Agent 2)
Agent 1: How is she?
Agent 2: I'm sorry to have to say this...
Agent 1: I assume she's under you're protection.
Agent 2: You're being discharged...
Agent 1: (slight pause) Why...?
Agent 2: (another slight pause) There was noth-
Agent 1: (furiously interrupts) After I went through all that crap just to get her! Why am I being kicked off the service?!
Agent 2: She's-
Agent 1: You know! You know what I had to do to complete the mission, goddamn it!
Agent 2: (Without hesitation) She's dead, agent...
The camera will stop on the protagonist in a close up position and very slowly zoom into his intense facial expression. The diegetic sound of the street slowly fades away and the non-diegetic sound of the ambient effect will fade into an increasingly loud train/airplane sound. All sound will abruptly stop and cut into an extreme close up of the protagonist's eyes with very low key lighting.
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