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

During the progression of my preliminary 'walking and conversation' task to my final, full product of a thriller opening, I have learned so many valuable media  techniques, rules and practical skills, enabling me to create 'Crowe'.

Below is a constructed mind map, to which I brainstormed a few ideas on how I feel I have progressed in terms of knowledge, technique and also, general skill. The aspects on the page are mainly to do with what I was able to achieve in my final thriller outcome. However, without the preliminary task, these outcomes would not have been possible.

Preliminary Task:

By performing, shooting and editing my preliminary task undoubtedly  lead to my ability to plan, shoot and edit my  final film production. For example, prior to the shooting of the preliminary task, we learn't several vital media techniques, which would inevitably improve our continuity and film awareness.

Shot reverse shot:

With aid of the image above, The shot reverse shot is a technique commonly used to show that one character is looking at and/or interacting with another character, who is not within the shot. The second character is then shown reacting to the first. This was an extremely important rule to learn as our preliminary consisted of a conversation.This shot is created by filming each character, possibly within a close up, then cutting to the other character, being careful not to break the 180 degree rule. If this is followed, we learnt that the audience will assume that the two characters are interacting, as on is presented in the opposite facing direction to the other. Within 'Crowe' we used this technique at 1.22 to 1.25, with also consideration to the 180 degree rule, therefore portraying that 'Crowe' and 'Iga' were interacting. This rule was constantly thought of throughout the planning and shooting of our thriller, especially within same locations.

180 degree rule:

Linking to the shot-reverse-shot, I believe that the 180 degree rule was a significant learning curve for me; I had never heard of the rule before but now, I am completely aware of it, and the continuity errors it can lead to if not followed. 

Match on action:

Again, along with the other rules, match on action was a vital technique that I  learned from practising myself, and watching in many Thriller films. This understanding helped me greatly in editing and continuity.

Shot and Angle variation:
The preliminary task, along with the construction of a storyboard made me aware of the importance and effects of shot type, angle and variety. For i learned through the analysis of other thrillers that the shot types and angles alone, connoted a considerable amount towards the narrative and tone, to which I assumed before was the sole job of a soundtrack and mise-en-scene. Learning the different shots also enabled me to analyse the best way to portray a location (establishing shot), a reaction or detail (close up) or uncomfortable tone (tilt shot) within my own thriller. The variation of shots also improved and expressed my ability and skill when using camera, and throughout the course of planning, i became familiarised with the connotations of each shot, and the outcomes that we wished to achieve, along with continuity and variation. In terms of shot variation, for the thriller we simply took the shots that we needed. When it came to shooting 'Crowe' i understood that it was almost impossible to rely solely on one shot. Therefore, taking several shots from several of the same and different angles, enabled us to integrate continuity, precision and variation.

Editing:
Editing was something I was very much alien to; looking back upon by preliminary, the editing consists of very basic and simple 'cuts'. However, the editing of the preliminary gave me basic skills and understanding of the software to which I could build upon. For example, throughout the progression to the final product, I learnt how to upload a scratchy  fragmented overlay upon the establishing shots, consider and use certain video/audio transitions and effects to achieve a certain tone as well as a sophisticated, professional outcome.

Mise en scene:
Within the preliminary, the mise-en-scene wasn't particularly that important, it was more the skills we expressed. However, we soon learnt that the mise-en-scene, whether this be props, costume etc. has strong connotations upon what you wish to express. For example  this was made particularly evident through the study of the Femme Fatale character; without her 'red lipstick' and glamorous clothing, her lustrous and powerful image is nothing. Therefore, I feel that I have learned that careful planning and preparation of any aspect of a thriller, such as my 'Characters, costume and Props' Prezi, helps keep your organisation and shooting structured and true to your brief.

Working in a group:
I have learned that when creating a short film, group organisation and team work is key. In the preliminary, I very much wanted to oversee everything, and I feel that I have progressed on from that in the sense that I now understand that dividing responsibilities, then working collectively later on, is much more time efficient, especially with the deadline we were given. For example  we, as a group, constructed logistical tables, and responsibility sheets, especially for location scouting, which enabled us to collect, and go into more detail with our own, individual ideas and interpretations, then re-group and asses the options. When it came to editing, all three group members worked on one piece. To use the time productively, 2 group members would edit, while one found appropriate fonts and/or soundtrack. Then, we would swap roles, enabling each other to evaluate and add to our work. 

My individual contributions included scouting for certain locations, touch-up editing and further research upon thrillers, to which we could confidently relate to and develop the conventions seen within them. Whilst doing this, I re-enforced my knowledge on representations and conventions, and how to portray them using the key aspects of shot type, mise-en-scene, titles and soundtrack. I have learned to become analytical and evaluative. 

Feed back:
In terms of feedback, it was better than what I expected; I was particularly disappointed with our rough cut, due to exporting errors, finding my own personal judgements harder to overcome than the words of others. However, the feed back we received, whether this be from peers or teachers, was very constructive, enabling me to feel that the improvements suggested were very much achievable. Also, I was pleased to see that the feed back we received was on the same lines as what we were feeling about our own work. For example, after watching the rough cut, we wanted to change the colour of the flash blacks, and adjust the soundtrack, which was suggested for us also. In terms of the rough cut, I think that the audience were slightly cautious to what the narrative was, however, after responding to the feedback (flashbacks and transitions), I believe that our intentions can now be read. Throughout the whole process, I have learnt that your ideas must be clearly expressed and structured, otherwise the themes, narrative, tone etc can become lost.

Strengths and weaknesses of the production:
The strengths of our production are the choice of location and lighting, especially within the close ups of 'Damien' in the alley way and 'Miss River' within the flashback. This is because was exactly what we wanted to achieve; harsh slighting contrasts to connote ambiguity. I fell that our choice of locations also captured the gritty and enigmatic tone. This primarily, was down to our careful location planning, which clearly paid off, particularly in our choice of fragmented establishing shots, which was quite a struggle in the sense that it was merely 16 seconds, but so many locations were included, each one having to have had some sort of thought cast upon it. I also think I strength that our production expresses is the variation of shot type, ranging from extreme close ups (lips) to extreme long. 

The weaknesses of the production was the editing of our digetic sounds; particularly tricky at 1.00 to 1.12, where we tried to create tension with an increasing sound bridge, the increase in the car sound connoting the climax of 'Damien' following 'Igs' around the corner of the alley way. However, this transition is extremely hard (cutting from one scene to another) creating a build up, but then, sadly just ending.

Most important aspect:
The most important thing that I have learned about film making that I was unaware of before is the importance shot variation. When watching a film, I didn't even take into consideration the meanings and effects behind the shots; how they reveal and include the audience, keep them intrigued add visually and physically, different  perceptions and viewpoints upon the narrative, character or location etc.