Soundtracks

Soundtracks, including digetic and non-digetic audio, are extremely important within any film. Combined with the shots on the screen, a soundtrack can help to build tension and contribute towards the tone and connotations within the film. In particular, for our thriller 'Crowe', we want a soundtrack that will compliment and contribute further to the dark and gritty tone of the opening.

In terms of all audio needed within the thriller, there were many aspects. These include:

• A dark and gritty, (dominant) soundtrack
• A 'dreamy' and soft soundtrack for the 'Iga' flashback
• A lustrous and uncomfortable audio throughout the 'Miss River' flashback
• Several digetics including street audio, a gun shot, laughing and a mobile phone ring tone.

With influence from soundtracks on the site of YouTube, we have collected all possible soundtracks for our thriller from the site Free sound. (www.freesound.org)

Suggested and potential soundtracks:
Dark and gritty (dominant) soundtrack:

With this particular soundtrack, which will accompany almost all of the thriller (except for the 'flashback' scenes), we want to achieve an unsettling tone, particularly suiting the disjointed, fragmented establishing shots and the fearful aspect of being followed, which is present within the narrative.

Modulaat Sector:
http://freesound.org/people/the_odds/sounds/176579/

The first possible soundtrack is called 'Modulaat Sector'. Immediately from the first listen, I instantly picked up on the continuous, low bass hum throughout the audio.This links nicely to the theme of crime within our opening, as the low, constant base could connote the low and underlying, but constant fear of crime within society, therefore tapping into the audiences fears. The repeated beat and tones can also help to achieve a sense of build up and climatic aspect towards the 'murder' scene. There is something quite uncomfortable about the pitch and repetitiveness (pulsing) of this piece, almost reflecting the monotonous 'stalking' of 'Crowe' and 'Iga'. Finally, there is the appeal that this soundtrack can be played quite faintly in the background, complimenting the digetic 'street' audio, as well as adding to the unsettling tone because the audio can only 'just' be heard.


Modulaat Sector (Hollow Restructure):
http://freesound.org/people/the_odds/sounds/177259/

The second sound, named 'Modulaat Sector (Hollow Restructure)'seems to have a stronger sense of a beat within it, an advantage to building up pace and tension within the narrative and therefore upon the audience. Again, like the previous soundtrack, the low 'hum', supported by the repeated echoes after each beat, is particularly eery; a sound that lingers and imprints itself upon the audience. However, I feel that this soundtrack is slightly too synthesized, almost enhancing the genre of sci-fi, rather than a thriller. Therefore, if we were to choose this piece of audio, I fear that it could deter from the dark and gritty tone of the opening.

Influences:



With reference to the opening title sequence of 'Se7en', the soundtrack perfectly suits the extremely uncomfortable and graphic shots. There is a low base present, as if to portray the build up, or foreshadowing of something very dark and evil. This is also supported by the snare and lower drum beats, almost replicating a heart beat; a very dark and 'twisted' interpretation  much like the film itself being dark, twisted and gritty. The synthesized noises, for example at 0.11-0.15 influenced our own soundtrack choices as it is terribly uncomfortable, contrasting the dull hum clearly heard at the very start.

The opening to Casino Royale is a perfect example of digetic audio combined with a constant, background soundtrack. This is particularly effective at 0.16 for example, when the man slams the car door, we, as an audience, are able to distinguish the car door, portraying the state and emotion of the character, as well as the enigmatic, deep soundtrack subtly building tension. I particularly like the double meaning behind the increasing pitch of the soundtrack, along with the upwards movement of the elevator. Not only does it, almost obviously, reflect an increase in hight ( therefore reflected by the pitch) but also, rising into a more climatic scene, with higher pitched sounds stereotypically indicating a warning or awareness.

A 'dreamy' and soft soundtrack:

For the 'flash back' scene of 'Iga' lovingly and happily running into the distance, we aim to have a soft, delicate and dreamy soundtrack in order to achieve that pleasant and fond memory 'Crowe' is having.

http://freesound.org/people/Corsica_S/sounds/147618/
The echo and continuation of 'Jihpolpo' is quite entrancing, linking nicely to the mood and theme of the distant and fragmented memories that 'Crowe' is experiencing. The loud high pitched notes create effective impact, and could support the narrative in terms of that these flashbacks are to arise question and awareness within the audience, which could be triggered through the high notes. However, I feel that there are too many low notes, which in contrast, creates quite a loud and overwhelming soundtrack in general, contradicting the context to which it would be put in.

http://freesound.org/people/thatjeffcarter/sounds/141865/
This piece called 'We listen' starts with several separate notes/chimes which is particularly appealing because it could connote entering 'Crowe' thoughts. By starting immediately with higher tones, clearly signifies to the audience a change in tone from the lower, gritter soundtrack. The notes seems to linger, blend and overlap into one another,  just like 'Crowe's' thoughts, linking nicely to context as well as further establishing the protagonist (can't seem to let go of the past). Finally, there is particular appeal because there are no low notes present; just  the separate 'chimes' which create one constant and soft audio.

http://freesound.org/people/imaginaryband/sounds/79422/
From listening to 'Relaxation and atmosphere', this piece has clear similarities to our influence of 'Layer Cake'; a very relaxed and dream like feel as there is no beat. Again, the notes seem to linger and echo, creating more of an unnatural tone. However, the pace could be slightly too slow for our scene, in terms of shot length; as part of 'Crowe' mind, the flashback is particularly fragmented, and therefore reasonably quick. This then might leave no time for the soundtrack to develop. We aim for the soundtrack to establish a tone straight away, which I believe 'Relaxation and atmosphere' does not.

Influences:

A particular influence from a real thriller text is the opening soundtrack to 'Layer Cake'; 'Hayling' by FC Kahuna. The soundtrack is very idyllic and relaxed, in which it perfectly portrays the theme of drugs (the 'dreamy' state of mind that you are in) through its slow and relaxed beat, as well as establishing the slick and 'cool' main character through its slightly techno and synthesized tone. We also aim to achieve something very relaxed and almost unnatural, as this particular soundtrack is part of 'Crowe' fragmented thoughts; a figure of his imagination. When deciding upon our own soundtrack, we will take into consideration the ways in which the soundtrack is used in context to the film, helping support the themes that arise within the narrative; whether this be drugs within 'Layer Cake', or crime and murder within 'Crowe'.

A lustrous soundtrack for 'Miss River':
For this climatic, flashback scene, we want to attain a soundtrack which reflects the feminine character of 'Miss River' as well as being quite uncomfortable for the audience.

http://freesound.org/people/milo/sounds/54366/
'Femmes_whispers' was our first and immediate choice. This is because we experimented with the idea of whispers; a whisper is very gentle and effeminate, but can portray extreme power and unnerving intimacy ( having to get very close in order to hear it). This therefore connotes the sneaky and devious characteristics of 'Miss River'. Also, the fact that you have to get very close to another person in order to distinguish a whisper, portrays a sense of intimacy and secrecy with the audience. I particularly like the short quick breaths placed in-between the whispers within 'Femmes_whispers', connoting the fragmentation of the seen nicely by physically breaking up the audio. Again, this soundtrack creates a clear distinction in tone from the 'dream like', happier flash back of 'Iga' to this more seductive and suggestive one, building tension as well, due to the up and tones and style of the whisper.

Digetic sounds:

Digetic sounds can be referred to within any films, as they add to the realism of the narrative. With the aid of digetic sounds, we can tap into the audience's fears, as the sounds used are often very recognisable and sometimes, day-to-day (cars, laughing etc). Therefore, if these effects are heard within a dark thriller, the audience may feel that these situations could also happen to them, due to the normal, day to day digetics.

Gasp:
http://freesound.org/people/lauriesafari/sounds/169901/
This digetic sound is necessary to express 'Iga's' shock, when turning around to face 'Crowe'. We decided to go for a sound effect rather than the actress gasping because it need to be clearly heard by the audience, almost to the extent that it is quite 'over the top'. However, with the over exaggerated gasp, we are certain that the emotion of fear and terror will be clearly understood by the audience. This piece is also the perfect length in proportion to our shot of 'Iga'.

Laugh:
http://freesound.org/people/sagetyrtle/sounds/72695/
A laugh is vital to express 'Iga's' happiness within the 'happy flashback'. Again, we decided to go for an inserted audio rather than the actress actually laughing, purely for the same reasons as the 'gasp'; to be clearly heard and interpreted by the audience. As well as this, the actress' own laugh may have been lost against the background noises of the field. The appeal towards this particular 'laugh' was that the tone and pitch reflected 'Iga's' own laugh very accurately, therefore being able to portray the right expression, without sounding to fake and 'cheesy'. The laugh chosen is a relatively long soundtrack, however, we shall edit down the soundtrack to fit the scene.

Gun shot:
http://freesound.org/people/GregsMedia/sounds/150137/
Although a very brief sound effect, the 'gun shot' is possibly the most important piece of audio within the whole thriller opening. This is because with the mere sound of a gun the audience are instantly informed that 'Iga' has been killed. If there was no audio at this climatic point, the narrative would be very much vague and ambiguous. The sound is a standard gun shot; quick, loud and immediately recognisable. This is appealing as the gun shot will be the only action on the screen at the time (the audio will support a black screen), therefore the audio alone needs to explain and sustain the narrative.

Birds:
http://freesound.org/people/Zbyhek/sounds/167487/
To compliment the happy flash back, dreamy soundtrack and female laughter. We want to include the soft 'tweeting' of birds. We decided not to research into considerable depth with this audio, as it isn't necessarily a vital aspect, but moreover a complimentary sound to support the mood and location. As well as adding realism and relevance to the location within the scene, tweeting birds often connote happiness and grace, which is much like what we want to portray within the scene.


Final decisions:
Due to the opinions expressed above within each particular analysis of the soundtracks, we have decided to use the following within 'Crowe':

• Modulaat Sector.
• 'We listen'
• 'Femme_Whispers'
• All of the above digetic audio.

I fell very confident with our choices of soundtrack and believe that they will achieve our aims of supporting and developing the tone and themes within 'Crowe'.

Thriller Final Cut

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

From the slide show above, I have learnt many vital aspects about technologies, particularly from the process of constructing 'Crowe. From the overall process, i would argue that in many ways, new media technologies offer enhanced opportunities for creativity, as well as being very much empowering and democratising. This was very much the case for me when planning, shooting and editing 'Crowe'. Technology ran throughout the whole film opening process, in which I shall focus upon Research and Planning, Post Production and, Production.



Research and Planning:

Firstly, all research and planning  for 'Crowe', is presented in the form of a blog post, which can present a variety of multi-media's. I had never 'blogged' before i started the course, but i soon learnt very quickly; the basics to the site, and the structure of a 'good' post. This therefore supports the idea of new media technologies being empowering and democratising because of the fact I learnt very quickly and now, when creating a post, I am very much in control. 'Blogger.com' is also an extremely modern method for presenting your work and in terms of relevance, this form of research and planning is very appropriate and relevant to the media industry itself, which is constantly striving for new, exciting and modern methods.


YouTube:
   One of the most well known multi-media's, and particularly relevant to the media industry (providing relevance throughout many years), YouTube was a frequently used media technology throughout my research and planning. Not only did I learn to embed video onto my blog posts and upload my own videos onto the site itself, but I am now aware of the digital citizenship you can attain from using such sites. Digital citizenship is a sense of literacy and confidence within the technology, as well as feeling very much part of a vast community, again, supporting the argument technology being empowering; to be part of a community, to which you are very much in control and confident in knowledge.



Prezi:
   To have variation amongst my presentational skills, I discovered and learnt to use Prezi. Prezi is, in my opinion, an extremely creative new media, relating to the creativity of the media industry and, more specifically to our coursework, film making. As well as adding diversity, I also learnt that Prezi is a collaborative format, enabling more than one person to work on one project all at once. This therefore enables you to instantly share and express your ideas, between people you are sharing the same interests as you.




Powerpoint:
A simpler yet very well known technology I also used was Powerpoint. By using a Powerpoint, I learnt to embed my planning and research through such sites as Scribd and Slideshare, widening my knowledgeable of new media sites, as well as research sources.



Photopeach and Pixton:
Similarly, sites such as Photopeach (used at the start) and Pixton, aided and encouraged by creativity through knew forms I would never of thought of. With reference to Pixton, this site had particular relevance in terms of helping me to structure and envisage storyboard changes to 'Crowe'. Photopeach, on the other hand, enabled me to develop my Powerpoint skills further by adding the media's of image, text and sound, to create a moving video.

   

Research Sources:


IMDb:
As for research sources, many of my sources, apart from films, were internet sites. For example, research sources such as IMDb, and fellow student blogs were very up to date, in terms of relevance, ratings, comments and multi-media's. Therefore, i learnt that even research sources were very communal, in the sense that any feedback and improvements/adaptations were greatly seen by many people, for our benefit as well as the site user. This supports the sense of community further.

Teacher feedback upon my own blog.

DaFont and Freesound:
Research sites such as DaFont and Freesound, helped, again, aid and enhance my creativity through finding the correct audio and titles for 'Crowe'. Sites like these support the idea of new media technology being empowering and democratising, because the soundtracks, for example, were created by everyday users, in which others could comment upon. The clear site also enabled me to be very much in control; i could simply search 'creepy soundtrack', and a variety of options would come up, the relevance to my film was just a 'search' button away.

 However, as well as being empowering and creative, these technologies also helped me understand their relevance towards employability within the industry. Although being very clear and simple to use, such methods like blog writing and embedding Powerpoints have given me many vital skills that I can express in the future. 











Post Production:

Premiere Pro:
 During post produciton and editing 'Crowe', I learnt to use the non-linear software of 'Adobe Premiere Pro'. With this media technology, I learnt to edit (transistions and effects also) to a professional, HD standard, as well as having control over what i was editing. This control was mainly to do with the non-linear aspect; the fact that if I made an error, or wanted to adust the contrast/shot length etc, i simply could. I could also do this anywhere on the time line, as oppose to earlier, linear technologies which had restraints. Although the software was difficult to understand at the start, I am now confident with this technology. I have also learnt how important and relevant editing software is to the media industry, even to the smallest aspects of a film.

Linear technologies meant that you had to edit in a very structured line. Consequently, this meant if there was an error, you had to start all over again from scratch.

This is different to Premiere Pro, which is a non-linear technology, enabling us to correct errors anywhere within the timeline, without starting our film edit from scratch.

After effects:
Another media technology software I used was 'Adobe After Effects'. With this software, i was encouraged to develop my creative skills, which i had attained from Premiere Pro, further, helping me to create and experiment with animated titles and visual effects. Refering to a sense of community and media technologies being democratising, sites such as 'Video Co- pilot', helped me to overcome intial challenges and doubts within the software with very simple and clear instructions.

This image expresses the overlay used through Premiere Pro.

Jump cut attained through Premiere Pro.

Production:

During the production stages of our thriller we encountered and learnt about other forms of technology, different to the ones in research and planning and post production. Our main piece of technological equipment was the HD camera; the first time using this particular type of camera, it was very simple, clear, effective, with the added benefit of filming in HD. This links to the fact that technologies are constantly evolving, and I understand that for anyone with an aspiration within the media industry, you want to be able to  replicate what is actually being produced and shown upon the big screen (High quality films). Therefore using these cameras has had important relevance to the industry  due to the HD capability.

The Canon Legria was extremely good quality for a relatively cheap price, as well as being very light.

SD cards:
SD cards are very light, reliable and effective, as there is no need for bigger equipments such as a memory tape or stick. The SD card was capable of storing a lot of footage, whilst assuring me of where my footage was.


How are new media technologies enhancing the film industry for young people?:

In conclusion, new media technologies are enhancing the film industry for young people because of their modern and easily accessible formats and approach to film making. The fact that many projects can now, and rely on, being collaborative, encourages the younger generation to share their ideas and influences, helping to aid creativity.

Question 5: How did you attract/address your audience?

Question 2: How does your media product represent particular social groups?

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

PATHÉ UK/PATHÉ EUROPE:

' With a reputation built on independence, innovation and quality, Pathé is the world's longest established film company, and now encompasses a diverse range of media and entertainment interests.'

   Pathe UK is a prominent institution within the film industry, operating as a studio, as well as being fully involved within the production, marketing and distribution of a film. The types of media product developed and distributed are extremely varied, ranging from 'Chicken Run' to 'Slumdog Millionaire' by Danny Boyle. Whereas, Pathe Europe is, evidently, the European section of the institution, becoming and remaining as one of Europe's major companies. Continentally, Pathe is Europe's leading exhibitor, as well as being one of the leading distributors of films within France.

Pathe distributed 'Essex Boys' which our product 'Crowe' was heavily influenced by. This therefore gives us a strong indication that similar toned films to ours, are supported and distributed by this institution.

   Pathe is most likely to distribute 'Crowe', as it suits the European, film market targeted by the institution  with a variety of films. What attracted me most to Pathe, was their 'reputation built on independence, innovation and quality' which is exactly what 'Crowe' is about; it is definitely not mainstream, suiting a niche market. Also, Pathe has distributed a mixture of low key, niche films and bigger successes. This therefore enables 'Crowe' the potential expand in terms of success, however, we as a production company are not aiming for international success, just success within our specific target audience, whether this be a substantial turnover or not. For example, Danny Boyle's 'Millions' didn't achieve huge success, in which Pathe UK distributed, recieving £282,294 overall in the UK recorded on 5 June 2005, in 255 Screens. However, the money generated was from the film specific audience, much like that of 'Crowe's'; where narrative and film technique is of importance.

   Also, the institution distributes films through Pathe International, which is extremely popular in France. This was an appealing factor when deciding on a distributor, because our film contains foreign dialogue (Polish). Films within another language involved tend to attract an intellectual, niche market in contrast to American, mainstream block busters. Therefore our film suits this distributor in the sense that we are aware that they have supported previous foreign films, such as 'Renaissance' and 'The Mark Of the Angles- Miserere'

http://www.patheinternational.com/en/fiche.php?id_film=748

Exhibition:

   In terms of cinema exhibition, our film appeals more to an art-house, independent cinema audience; in particular, Cinema City. This is because of our film style and narrative, possibly more intricate and complex than films purely to 'entertain' such as productions exhibited at 'VUE' and 'ODEON'. This is because 'Crowe' isn't aimed at a mainstream audience, therefore would have no use at a multiplex. Below, are a couple of Cinema City's film listings that they are currently exhibiting. As you can see, there is a variety between mainstream productions such as 'Argo', in comparison to more independent, début director productions such as 'Robot and Frank'. 

Technologies:

   Various digital technologies could offer new distribution opportunities for 'Crowe'. For example, Pathe distribution has its own accounts within the social network sites of  YouTube and Twitter. This enables films, such as 'Crowe' to be distributed, simply by word of mouth, as well as connecting to a modern market, who may be attracted by exclusive, 'behind the scenes' clips that could be distributed on the YouTube account.

'Arts Alliance Media (AAM) has struck a content deal with Pathe, making titles such as Talk To Her, Memento and The Queen available for customers to rent online.'

  Pathe are also positioning themselves and developing their institution in order to secure relevance within the digital era. For example, the institution has launched a Video on Demand service within Europe and have also singed a deal for a Video on Demand distribution through the owners of LoveFilm, as well as partner sites AOL UK and Empire, in which the deal covers any future Pathe titles, such as 'Crowe'. Therefore we understand and can be assured that 'Crowe' will be helped and supported to witstand the 'digital era', as new technologies play an extremely important role within the media industry.

Mubi:

 Our media product could also be distributed by MUBI; an online film website, integrating elements and the use of social networking with video streaming By being described as an "online cinematheque.", we can establish that this site has a certain market. The site allows people to view (feature) films, for a fee, and connect with others with similar tastes in movies.

Student film-maker status:

   Being a student-film maker, with a début product, may also offer other distribution opportunities. For example,  considering student and first film competitions enables our product to be distributed and exhibited by many, including important names within the industry. Another option are film festivals. One of the most famous, is the Sundance Film and Music Festival, which has been exhibiting short and full length, unique features here in London for 2 years. Competitions and festivals also enable a production company to establish their audience, in which they can decide on an appropriate distribution and marketing company.

Question 4: Who would be the audience of your media product?

By reseraching films similar to 'Crowe', we can begin establish our audience through user statistics and reviews, determining age group and gender.

From the research above, we can identify a strong trend between the three chosen films; the age was between 18-29 and primarily male, although women do watch the films also. Therefore, with this in mind, I have created two character profiles, with an insight into their interests and personal lives, which can then be used as attractions towards 'Crowe'.

The audience for 'Crowe':  Profiles:

• Primarily male, in relation to female audience
• ages 20-35

This is Ben. He is a 31 year old, modern man, with a stable job. Ben is particularly intellectual, enjoying a good puzzle or challenge. Therefore within his film preferences, Ben likes a thick and complex plot, in which he has to think about and question the narrative and characters, much like that of Casino Royale. Ben is also interested in films, in which he is observant in the way they are produced within the industry. Cinema City is his choice of cinema, exhibiting a wider range of niche, foreign and smaller market based productions. Previous films Ben has enjoyed include Se7en, and Casino Royale, as well as the television show White Chapel, along with The Killing. In terms of fears, Ben is afraid of making possible life changing decisions, constantly fearing they will be for the worst. 



This is Sarah. Sarah is 25 years old and working her way up to her dream job whilst living in London. Like Ben, Sarah likes to be pushed and challenged when watching a film, yet still being able to connect and sympathise with the characters. She enjoys watching the Swedish series Wallander, and films such as Essex Boys, thinking that the metaphors within the derelict and unwanted locations were particularly clever. Sarah also enjoys foreign dialogue in films, such as the switches of English to Foreign dialogue within The Third Man, also supporting her liking to the series Wallander. Whilst watching a film, she connects with the loss between characters, being particularly scared of losing loved ones herself. Sarah also likes books and adaptations; even if they are small, unknown books, becoming a niche market,  she prefers them in contrast to block buster adaptations such as Harry Potter. Because of this niche market, like Ben, she likes to go to Cinema City is order to view a film.

Thriller Animatic

Thriller Animatic:

 

Above, is our group animatic for the opening of our thriller. The purpose of an animatic is, potentially, to view your production, without the actual footage needed (storyboard pictures used). We made this by simply taking pictures of our individual storyboard shots, then editing them in Adobe, at roughly the same pace in which the real shots will be produced. By reviewing the animatic itself, we, as a group can then begin to make changes to shot type/length/continuity/ remove or add shots etc; to which these will be made in light of the animatic itself. It has informed  and clearly highlighted the changes that we need to make for when we shoot the film opening.

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

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.

Fonts

Thriller- Rough Cut

Reflection:

• Within the rough cut of our thriller opening, I am particularly pleased with the over-lay placed over the establishing shots between 0.00 and 0.15, portraying the similar fragmented and gritty tone to the opening of 'Se7en'.
• Alilcia's performance as the femme fatale Miss River' at 1.29 to 1.43 is particularly endearing and lustrous, expressing the same glamour as Lynn Bracken in 'L.A Confidential'.
• This is supported by the uncomfortable, whispering soundtrack.
• I am also pleased with the tilt shots at 0.16 and 0.23, creating a sense of secrecy and obscurity  much like the disorientating sewer scene in 'The Third Man'.

However, from watching the rough cut, I am now aware of what aspects i need to improve on:

• A soundtrack from 0.00 to 0.16 needs to be included, in order to set the enigmatic tone from the very start, and continuing throughout the opening.
• The fragmented flashbacks (of 'Iga' running and 'Miss River') would be more recognisable if in black and white, to symbolize being part of 'Crowe's' imagination and thoughts, like those in 'Casino Royale'.
• This will also be supported by a fade transition at 1.14 to signify that we are going into 'Crowe's' thoughts, as the narrative is a little unclear.
• Within the 'Iga' flashback, the tone slightly drops as there is now soundtrack. Therefore, including dreamy, idyllic music would sustain the tone.
• Edit the alley way scene at 1.07 slightly sooner, as we can see 'Iga' smile, which is certainly out of character.
• Not all the titles rendered properly when exporting. However, despite this, we will change the font seen at 0.04 to a slimmer, 'scratchier' one ('A. Typewriter) to suit the uncomfortable overlay, achieving the same effects as 'Se7en'.
• Also, to build up tension, we are considering to start the soundtrack slightly early, like 'Layer Cake', to introduce and hook the audience before anything has even appeared on the screen.

Below, I have included our group analysis and improvements of our rough cut, a class feed back sheet and a teacher feed back sheet.

Logistical Changes

Due to logistics, we have chosen to make changes to our thriller  in terms of locations and actors.

• CNS field- This location achieves the same "dreamy effect", as the past decided location of the Mulbarton Common, aswell as being a spacious location. Instead, all group members can easily get to the field, as well as our actor. 
• Flats- Whilst scouting for locations, the house we have found suites the grimy tone; particularly with grafitti, dustbins and moss. Also, we figured that there would be less noise pollution from cars and traffic, which was inevitable at the St Stevens flats. Without the noise we can achieve an enigmatic and eery tone.
• Actor- Due to availability, we have chosen another actor to play 'Damien Crowe.' This actor still suits the profile write up of Damien Crowe, although slight costume changes have been made; moreover, a more "modern" image:
• Actress-Again, logistically, "Veronica" will now be played by me. This role is a short, no speaking role and will not affect the narrative or tone in any way. I shall be wearing a brown hooded coat to achieve a sense of concealment.

Damien Crowe's 'Modern' image re-vamp:

Black hooded coat- instead of a high collar on a coat, the hood completely covers the back of the protagonist, enabling us to reveal him in an enigmatic climax.

Trousers and dark shoes- smart trousers ad shoes still fit with 'Damiens' smart and sophisticated image, only connects with a younger audience by being a slightly more casual, relatable and modern image.

Editing

Actors

'Damien Crowe'
Joseph Murray
Due to logistical problems, Joe Murray was a very helpful, replacement actor, suiting the role of 'Damien Crowe' perfectly. Visually, Joe suits 'Damien's' character profile; smart with a modern dress sense, with a strong sense of ambiguity, especially with his hood up, to which Joe cleverly suggested. Joe portrayed great emotion within close ups, strongly influenced by those in 'Casino Royale' (before the flashbacks). His input and ideas were very well received, as well as his flexibility and reliability.

'Iga'
Iga Madejowska
A fellow group member and actress, Iga's role was quite literally 'written' for her. After a few costume adjustments, Iga's visual profile was perfect to the character. After deliberation, we decided that red high heels were not right logistically, for the cold and cobbled streets of Norwich, despite their great connotations. However, the connotations of the red shoes are still in place, with Iga's input of wearing pinky-red lipstick and coincidently, red hair. 'Iga's' statement leggings and bowler hat make her a very recognisable character also. Iga was extremely professional, constructing Polish dialogue as well as clearly understanding the direction we wanted to go down with this character. Her versatility and emotion portrayal was great, especially within the flashbacks. 

'Miss River'
Alicia Arnold
Alicia Arnold studied Drama for GCSE as well as Media Studies, continuing Media Studies in particular, through to A-level. Because of this, Alicia had a great understanding of the 'Thriller' concept and therefore, the 'Femme Fatale' role she was asked to play. Alicia's costume was very successful, with a lustrous fur coat, black trousers and high heels. Along with her long blonde hair, Alicia very much reminded me of Lynn Bracken in 'L.A. Confidential'. Like Joe, her close ups were fantastic, portraying great and authority and emotion. Alicia was very reliable and hard working, taking direction from us, as well as adding her own inputs with props such as jewellery.

'Veronica'

Megan Edwards

An extremely small role, I myself, took on the role of 'Veronica'. There was no need for much direction or emotion, just simply there to exchange the letter with 'Iga' (on the other end of the phone at the start of the opening). With a coat, with hood up (in the scenes) and a scarf on, 'Veronica' is very much secretive character, and small connection to 'Iga'.