Producing the Short Film: Ident and Credits

When discussing with Lucy the possible options of how to portray our ident we both liked the idea of paper cuttings or a typewriter. I collected the relevant letters out of existing newspapers and it looked similar to the image below. However, we both agreed that this style didn't quite fit the genre we were aiming for and wouldn't work well with the accompanying music.

We also disregarded the concept of having  typewriting letters because although achievable (see below) again it didn't symbolise the brand identity or style of our production company.

So I decided to create my own template of our ident on Paint. I thought that bold lettering would reflect the genre of horror that we were aiming for. Also, by using solely black and white tones and contrasting between the two this would capture the audiences attention. 

It then occured to me that at the end of the ident we could include the recording of a broken camera effect (see below) as this could be our recognisable statement before each film. However, when I had created the broken camera effect, by simply filming a TV screen with no signal, I realised that this would fit best as the end scene in our film to leave it on cliffhanger and Lucy agreed.

The images beneath explain how I created the ident and credits of the film.

Producing the Short Film: Music

As Lucy and I decided that we would feature no dialogue within the film - the  copyright free music included would play a key role in building suspense and tension throughout.

The first example of music that we used was to accompany our ident of 'EXPOSED Productions' at the beginning.We chose the song Bump In The Night, taken from the royalty free music website Incompetech. This is a form of non-diagetic sound as the music was played over the ident scene and the beat coincided with the letters of 'EXPOSED productions' dropping.  We were able to create this effect by using the editing package premiere elements 9.It was also fitted in well with the eerie, horror genre that we intended to create. 

The second feature of music within the film is diagetic. It is the song playing in the background in the scene where the victim is getting ready in her bedroom. Again this a copyright free song as it was played by our friend's band. Below is a video of them playing the whole song.

If you watch the clip below you can clearly see that we cut the music quite near the start of the song and so it is only the introduction that is heard and recognised. I believe that this is the right song to use as its upbeat tempo is juxtaposed the rest of the music that features throughout.

In the two scenes below I decided to include the same royalty free music. This allowed for continuity and enabled the audience to recognise the sound and so the tension built up during the scenes. The song is The Hive and was also taken from the Incompetech website. Originally the song accompanied only the credits but when we watched the film back I realised that the train scene was quite long. I had the option of either cutting out some of the footage or adding some form of sound on top of it. By cutting it we would have lost some of the tension and suspense build up and so by inserting this song over the footage was definitely the best course of action. Also the tempo of the music increases throughout and as it reaches its climax towards the end of the scene the film cuts to the next train scene and the music comes to an abrupt stop. This brings the audience back to a momentarily relaxed and comfortable state when watching the film.

Producing the Short Film: Problems with Filming

Storyboard

Although we did keep to the majority of our storyboard we realised that we had two much content for an approx 5 mins film for it to look professional. Therefore, we eliminated the scenes of meeting friends in the park as it perhaps over complicated the plot and by keeping it to two main characters with one following the other it would not only be easier but also more effective.

Main Narrative

The first problem that Lucy and I had is that we disagreed over which point of view shot should feature in our film (see video above). We asked the opinions of our teachers and classmates and concluded that the shot that I favoured would be featured.

Chase scene attempt 1

Chase scene attempt 2

When we watched the footage back of our first attempt at filming the chase seen we faced a major problem. It was too dark for the camera to detect any of the action. We had to change cameras in order to film the scene to a decent standard. Luckily, once we addressed the problem the footage from the second attempt at filming the chase scene was of much better quality and suitable to use.

The only problem with the telephone box scene is that Lucy and I realised it didn't really fit in well with our sequence and so we made the decision not to include it within the film. This meant that our final sequence flowed better and we had more control over the time frames.

Producing the Short Film: Main Narrative

Here are some photographs of us at the scenes of the main narratives -  hard at work. 

Shown below is a short video of all the establishing shot takes that Lucy and I filmed. From these takes we chose the footage that we believed was best.

Here is a compilation of the bedroom scenes that we recorded. They are not in the same order that the feature within the film.

Below is the footage of the scenes on the stairs that we captured. We used all of these shots in our final film.

Shown beneath are various pan shots at the train station. We only featured one of these shots in the final film and the video of that shot is also shown below.

These are the paranoid shots that we filmed after getting off the train. Again, we chose the clip that we thought worked best and edited it as part of our final film.

This is the telephone shot that we initially disregarded as it took away some of the tension built up and wasn't essential for the scene. Also, we were conscious of the length of our film and so we both agreed to cut this shot out completely.

Here is a short video of all of the chase scenes that we filmed. We included all of these within the final cut and alternated between the various shots and angles.

Producing the Short Film: Initial Scenes of Dual Narrative

First of all, we shot the first part of the dual narrative of our Short Film. Shown below are some images and videos which are examples of what we captured on our first shoot.

Here are our first two attempts at filming the scene where our title Pulse appears.

This is the example of the close up that we originally practised with Sarah  Mauremootoo and this scene shall feature in the film. 

Whilst filming this part of the narrative, Lucy and I realised that this scene was another way in which we could incorporate high angle shots in the sequence. This creates a sense as if she is being watched and the space she is trapped in is quite small and claustrophobic. 

The slight low angle shot inserted below demonstrates the desperation and vulnerability of the victim as she longs to be freed.

The next two clips show how we disrupted the intense scenes of the crying for help as they distract the audience slightly from the cries of help from the victim as they concentrate momentarily on the props in the scene and their significance to the plot.

Featuring hands and feet being restrained is an iconic feature of kidnaps within films. However, we decided to use close ups when portraying them in PULSE. As mentioned above this helped to break the tension build up through the cries of the victim and acts as momentary relief - as you can still hear the despair of the victim in the background but it is not prominent within these scenes. Also, the variety of shots keeps the audience engaged and entertained.

Below are three takes of our final scene with the victim. In each clip there are different aspects that Lucy and I like and dislike. 

In the first clip showed above - me, Lucy and Miranda all agreed that the acting could be slightly better.

In the footage above Lucy and I were very pleased with the acting and everything about the scene, our only concern was that the lighting may be a little dark to pick up on the victim's expression.

However, when we introduced another source of light the garage didn't quite have the same eerie appearance and so the effect wasn't as powerful.

Therefore we decided to use the second clip as part of our final sequence to the film.

Producing the Short Film: Filming Schedule

First filming session

Date: 18/12/11 
What we filmed: Pulse Ident and all Kidnap scenes
Crew/Cast: Myself, Lucy and Miranda
Props: Candles, Paint, Clapperboard, Rope, Chair, Gag(cloth), Make-up (bruised face), Saw and mask (obscure setting-mise en scene)
Equipment: Tripod, Batteries, Charger, Laptop (for sound), Torch (extra lighting), Video Camera, Digital Camera



Second filming session

Date: 09/01/12
What we filmed: Bedroom scene, Train scenes, Stalker following girl scenes
Cast/Crew: Myself, Lucy, Miranda, Kieran
Props: Hairbrush, Bag, Laptop 
Equipment: Money for train, Tripod, Batteries, Charger, Video Camera, Digital Camera, Clapperboard, Umbrella

Third filming session

Date: 20/01/12
What we filmed: Establishing shot of the houses and shot of the train leaving (from the bridge)
Cast/Crew: Myself and Lucy
Props: None
Equipment: Video Camera, Tripod 


Fourth filming session

Date: 03/02/12
What we filmed: Chase scene
Cast/Crew: Myself, Lucy and Miranda
Props: Same costume for continuity
Equipment: Video Camera, Tripod, Torch (extra lighting), Digital Camera

Planning my Production: Practice Shots

Before filming our production we decided to practice and experiments with different shots and our ability to frame them. We considered ways in which we could improve our angles, frame shots and techniques in order to have experience for the shooting of our Short Film.

Miranda Burns was absent on the day we practised these shots in our school so our understudy stepped in - Sarah Mauremootoo.

We practised this shot to see whether the quality of filming would still be of a good standard even though the camera will be moving freestyle at quite a fast pace. Now that I have seen that this type of scene can work effectively, I think we can incorporate it within a chase scene towards the end of the film.

We practised this shot angle to see how far away the camera quality can detect the movement and expression of the characters.

This is a reaction shot that we practised to see whether the camera could detect the fast movement and then clearly show the reaction of the character. We may decide to feature this type of camera shot in the film itself.

This close up shot allowed Lucy and I to see that the camera that we would use to film would be clear in focus and precision.

We considered  this high angle shot to possibly feature as a CCTV shot on the train. If we were to do this we would alter the colour to black and white.

The two point of view shots above would feature in our film as from the stalker's perspective as he spies on his victim.

These two examples of camera shots through the mirror will be featured near the beginning of the film and will probably be in the first scene where the main character is introduced.

Planning my Production: Storyboard and Script

Here is a word diagram that I created on Wordle to illustrate my plot and storyboard ideas for our film PULSE.

Script - No Dialogue 

For our Short Film production, Lucy and I have decided that we do not want to feature any planned dialogue. This is because we believe that the spontaneous speech that will feature in the film will be a true representation of real life. Also, throughout the film the reccuring sound of heavy breathing will feature and the lack of dialogue will emphasise the relevance of this diagetic sound. Therefore, any dialogue that features within the film shall be improvised and create an original and spontaneous effect.

As said above, the only diagetic sound that shall feature shall be the expressions and sighs of the main character when she is help captive. Also, the sound of footsteps and movement of the stalker shall be heard to add to the eerie and uncomfortable atmosphere.


Storyboard


Shown below is our storyboard so far. It is a rough draft of what we would like to achieve to give us guidance in creating our shots and is not completed.

Please see the problems with filming post to see how we got on using this storyboard as a template for our short film.

Planning my Production: Actors and Props

Actors 

Lucy and I knew it was necessary to find the right actor for the right role. We had clearly established in our minds what kind of characters we wanted to create. The main character was to be a sweet, vulnerable teenager that leads a typically average teenage life.

The stalker that we wanted to create would be inconspicuous, quite a quiet and mysterious character. There would be no sense of urgency just a calculated and distanced approach to stalking the girl.

After we had decided upon the characters we wanted to create, Lucy and I considered the actors and actresses available. We ruled out some great actors such as Sarah Mauremootoo (Seen in the practice shots post) as they didn't quite fit the persona we wanted to create.

We finally decided to ask Kieran Forbes and Miranda Burns (see photograph below) as we knew they had the characteristics and ability to play the necessary parts.

Props

These are the props that Lucy and I shall be using in the production of our Short Film PULSE. They all help to create the eerie atmosphere and are examples of iconic equipment that a stalker or killer may have. Some of them may be featured in quick flashes throughout the film such as the saws and face mask whilst others we shall use in the construction of the film for example the clapper-board and paint.

Planning my Production: Title/Name of Short Film

After considering a variety of names for the title of our film, I came up with the name PULSE. Lucy and I immediately agreed that the name was short and effective and very fitting to the story line. The title will represent the faster pulse rate of the girl and her terrified emotions whilst she has been kidnapped.

Below are some designs I have experimented with:

Here are my favourite designs:

Although these designs are quite effectve, after deliberating with my partner we decided it would be a unique idea to create the title's ident ourselves. It will show originality and represent the disturbing atmosphere that we want our film to portray, because we will have complete control over its design.

Below are some initial ideas that we could develop upon.

Here is are practice shots of our PULSE Title:

We thought that perhaps at the beginning of the sequence the title could appear accompanied by either the thudding sound of a pulse or a heartbeat. Below is the heartbeat monitor sound that we decided to use.

Footage of Scene

After watching our footage we thought that this type of shot would work effectively. So long as we positioned the writing and candles correctly the reflection created could be quite atmospheric. The music we chose to accompany the scene worked well and helped to create an eerie atmosphere. The diagetic sound of a pulse, heart beat monitor coincided with not only the name of the film but also the action in the shot as the candles are blown out when the monitor sound changes signifying that the pulse has stopped. Below is the final shot that we chose.

This is the original footage of our chosen shot and when editing it as part of the film we shall cut 6 seconds off the start and 5 seconds off the end.

Planning my Production: Set Ideas

Main narrative set ideas


I have imported some pictures below of our ideas for our main narrative locations. The mise-en-scene of the shots in this location will indicate a sense of normality and will initially lure our audience into a false sense of security.

Supportive narrative set ideas


Here are some images of the location where the second narrative shall be filmed - in my garage at home. In contrast to the locations featured above, this one, claustrophobic and isolated location of a garage is not only iconic of kidnaps but also the mise-en-scene will aid the spooky and eerie atmosphere as you can see by the images below.

Planning my Production: Synopsis of Narrative

Shown below is the images of the planning stages that Lucy and I conducted to develop our production ideas.

They range from our initial ideas, where we still hadn't firmly decided on our genre being horror.

To developed ideas where we had a greater understanding of what we wanted to achieve.

To more detailed development where we started to map out and develop our storyboard.

Synopsis

For our coursework piece we have decided to create a parallel narrative whereby the main narrative of the story follows an ordinary day in the life of a teenage girl, however it gradually reveals that she is being stalked by an unknown person. This is quite a complex narrative that follows her day to day activities and during it the film shall cut to her current situation. Where she is tied up in an unknown room - she has been kidnapped. The main narrative will build up to the point she was kidnapped but the twist shall be in the cliffhanger at the end.


Aspects of complex narratives:

Below is a list of common features in complex narratives that Lucy and I may wish to include.

• Repetition
• Flashbacks
• different character' point of view
• different time frames
• flash forwards
• multiple plot lines converging at the end
• pre-figuring of events that are yet to occur
• backwards story telling, where the outcome is shown first and explained through the plot

Why create a parallel narrative?
As well as providing a deeper and more interesting sequence of events, narrative structure can position the reader to think and feel a wider range of responses by providing differing views or perspectives in experiencing and viewing the action. These maintain or increase the interest and engages the audience.



Claude Levi Strauss -  Narrative Theory
Now that Lucy and I have decided to create a parallel narrative, we shall be adhering to Strauss' narrative structure in terms of binary oppositions. What Strauss meant by this is that the binary oppositions are sets of opposite values. For example, in our film the two binary opposites shall be 'EVIL' and 'GOOD'. Strauss was not interested in the order of events in the plot of the film and instead focused the deeper arrangements with regard to the themes.

Short Film or Trailer?

After conducting research into both Short Films and Trailers, I have decided that for my coursework piece I would like to produce a short film. This is because, although trailers are short and exciting, I think that I would like my production to reveal a narrative rather than hint at it.

For my coursework production piece, I shall be working with a classmate of mine called Lucy Matthews. I believe that we can work well together as our strengths are within the different areas of production and we both have a similar vision for what we would like the final outcome to be.

Below are two animations that Lucy and I created as a preliminary task to creating our film. This gave us an insight into the aspects of film creation that we would later have to consider for our short film such as props, plot, location, credits etc.

The Doll's House

Melting Snowman

Based upon the research that I have already carried out on short films, I think that the genre we would like convey is horror. This is is a genre that both Lucy and I enjoy and agree upon. Whereas we have different opinions about what makes a film a comedy or a documentary.

I will continue to conduct more research into short films that fall within the genre of horror in order to gain greater knowledge about the conventions present and what methods are effective, so that I can consider adopting them when creating my film.

Research into Horror Short Films: Scene 26

Link to Short Film:

 http://www.bbc.co.uk/filmnetwork/films/p004t6pg 

The variety of the use of camera shots and angles are significant in this film. This is because there is no dialogue as diagetic sound and so the various shots keep the audience engaged with the film. I now know that  if I was to not use any dialogue in my film, I would need either a variety of camera shots or edits to entice the audience. 

Research into Trailers: Apollo 18

Link to the Trailer:

All the frames above that feature in the trailer are examples of extreme long shots. They represent the large size and emptiness of space whilst drawing the audiences attention to the rocket and/or text. The indent of information suggests that the film is a documentary and adds background information to the apparently 'factual' film.

All of the shot frames above taken from the trailer show the astronauts in a variety of ways. The image on the far left is from a camera filming the inside of the rocket and suggests a sense of normality. Similar to this the image next to it demonstrates an iconic pose of reaching the moon and showing pride in a nationality. However, the third frame of the left shows that the camera technique has altered to create a hazy 'broken' camera effect. This indicates a change in situation and almost hints at the possible loss of communication with Earth. Finally, the frame on the far right shows a shadow of an astronaut, this clearly suggests to the audience the vulnerability of the astronauts on the moon and how isolated they are. 

Research into Trailers: Final Destination 5

Link to the trailer:

Trailer deconstruction

Research into Short Films: The Sandman (1992) - directed and animated by Paul Berry - Iconography

Plot

'The Sandman' is based upon an old myth that if a child does not go to sleep they are at risk of the sandman coming and attacking them. This short film is an animation and shows a young child's unfortunate encounter with the Sandman.

When deconstructing this film the aspect I shall focus on the most is the iconography of the symbolic moon, and the vulnerability of the child.

                                                        Link to the Short Film:

The mise-en-scene throughout the majority of the short film has connotations of negativity, shown by the dark and cold colours, however there is one scene where the mise-en-scene portrays a warm and positive atmosphere. Shown below are examples of the contrasting mise-en-scene.