Wednesday, 30 April 2014
Final Shot List
009- Close up into reveal
018- Zoom Out
024- Mid Shot
026- Mid Shot
028- Mid Shot
0:31 Mid Shot
0:33 Mid Shot
034: Close Up
0:36- Extreme Close Up
0:40- Tilt up
0:46- Jump cuts
0:49- Long Shot
0:53- Mid Shot
0:57 Low Angle
1:02- Mid Shot
1:04- Close up
1:06- Close up
1:11- Mid Shot
1:12 Mid Shot
1:14 Over the Shoulder Shot
1:16- Close up
1:17- Mid shot
1:18- Mid shot
1:26- Extreme close up
1:31- Close up
1:31- Close up
1:34- Close up
1:37- Close up
1:39- Close up
1:43- Close up
1:45- High Angle
1:46- Low Angle
1:48- Close up
1: 57- Extreme Close up
Jade Jacqueline Flack - 8309
Preparing to Audition
When we go to audition, we will be giving the actors the voice over script and also meeting in a local park. We are meeting within the local park because it was the easiest place for all actors to meet.
We Will be auditioning our actors by
1. Asking them to read the script given to them on the day
2. Asking what they think of the character Alex that they are auditioning for
Jade Jacqueline Flack - 8309
We Will be auditioning our actors by
1. Asking them to read the script given to them on the day
2. Asking what they think of the character Alex that they are auditioning for
Jade Jacqueline Flack - 8309
Monday, 28 April 2014
Photographic storyboard
By creating this photographic storyboard, we can now begin to understand how the shots will look when put to the test, and also it allows up to think about how our mis-en-scene and also lighting will be shown in the camera.
Jade Jacqueline Flack - 8309
Friday, 25 April 2014
Film script
FADE IN:
Black screen and silence is revealed for
some seconds before ALEX’ voice is initially heard through some sort of phone
or recording device.
ALEX
It was seven months ago. I was at
home doing shit all as per usual. No job…
INT. SARAH’S HOUSE - DAY
The scene displays a family photo which
is slowly centred into the middle where Alex and his mum are seen together.
ALEX
and I was still living with my mum
(beat) Sarah. She was working late, so I wasn’t expecting the call. It was her
friend, Mary.
Sound of MARY crying at the other end of
the line.
ALEX
Mum had died. She had left me with
nothing. Just the bills and the rent.
Sound of ALEX hanging up.
CUT TO
INT. ALEX’ ROOM - DAY
Alex throws a suitcase onto his bed,
unzips the top and begins anxiously chucking various clothes and possessions
into it.
ALEX
So I ran. What else could I do? I
packed up and left.
THE SIDE TABLE
ALEX’s face is seen for the first time,
pausing for a moment and leaning on a side table whilst looking pensively at
himself in the mirror. He is an untidy looking man in his early 20s with a
vague stubbly beard and untidy hair who clearly hasn’t been outside for some
time.
His fists can be seen clenching and his
eyes reveal a mood of aggression in him until he lashes out and hits the mirror
with his fist. ALEX looks down at his distorted reflection in the broken shards
of glass and then up in the cracked mirror with a face of shock.
He finishes packing and zips up the
suitcase, before picking it up and leaving the room.
Organising Sound
When it came to using non-diegetic sounds/soundtrack in our piece, we had many ideas, and people that could help us with our ideas.
One of our first ports of call was to ask our actor (Christopher Taylor) who is also a musician to create a piece of music that we could possibly use. He did so, but when placing that non-diegetic soundtrack with our animated storyboard, we decided that the track was no good and didn't match the atmosphere that we would of liked to use.
Once we had filmed, and had our first cut without music, we decided to ask yet another musician to help with our ideas. To this composer, we organised to meet as a group and describe to him exactly what we would need, and also have him a background of the narrative and also the characters. It was a few days before we had a track we could use, and when we received the track, it fitted perfectly with our film.
When it came to sound effects, we used a royalty free website in order to not use copyrighted material, and placed that non-diegetic sound effect on our rough cut 3. This was easy as we were able to, on the day of editing, download the track and use it directly on to our rough cut three.
Jade Jacqueline Flack - 8309
One of our first ports of call was to ask our actor (Christopher Taylor) who is also a musician to create a piece of music that we could possibly use. He did so, but when placing that non-diegetic soundtrack with our animated storyboard, we decided that the track was no good and didn't match the atmosphere that we would of liked to use.
Once we had filmed, and had our first cut without music, we decided to ask yet another musician to help with our ideas. To this composer, we organised to meet as a group and describe to him exactly what we would need, and also have him a background of the narrative and also the characters. It was a few days before we had a track we could use, and when we received the track, it fitted perfectly with our film.
When it came to sound effects, we used a royalty free website in order to not use copyrighted material, and placed that non-diegetic sound effect on our rough cut 3. This was easy as we were able to, on the day of editing, download the track and use it directly on to our rough cut three.
Jade Jacqueline Flack - 8309
Actors we would like to use within our Film
One of our exercises was to act within our chosen company (independent) as if we were to cast our entire film, and to create a short paragraph about the characters.
Alex is within his early twenties, medium height and has a rough edge look. Acting ability is required and no accent needed.
Amy steel-man:
Amy is the female lead and like character Alex, is within her early twenties, medium height and weight, and also has a calm, motherly look. Acting ability is required and no accent is needed
Sarah smith:
Sarah is Alex's mother and only appears in the flashbacks later on in the film. Medium height and weight and must resemble character Alex. Acting ability is required with no accent
David smith:
David is Alex's father and appears later on in the film as a figment of Alex's imagination. Actor should be of medium/large sizing with acting ability, no accent is required.
Alex smith:
Alex is within his early twenties, medium height and has a rough edge look. Acting ability is required and no accent needed.
To play this part, we would choose, Luke Treadaway, because of his work within characterisation would then be at ease to become 'Alex Smith.'
Physically also, Luke would be able to pull of the 'Grunge' look to the point where we, as directors would want the character 'Alex' to look.
Physically also, Luke would be able to pull of the 'Grunge' look to the point where we, as directors would want the character 'Alex' to look.
Amy steel-man:
Amy is the female lead and like character Alex, is within her early twenties, medium height and weight, and also has a calm, motherly look. Acting ability is required and no accent is needed
To play this part we would choose, Jenna Coleman as her acting carer, mostly known as 'Clara' she shows compassion, and independence that we would like to see within the character. She also, physically shows the characteristics that we are looking for.
Sarah smith:
Sarah is Alex's mother and only appears in the flashbacks later on in the film. Medium height and weight and must resemble character Alex. Acting ability is required with no accent
To play this part, we would choose, Miriam Margolyes because she, physically suits the character. With her other roles, including a professor at Hogwarts, with her acting carer and the type of roles she plays, we believe that she would be able to become 'Sally Smith.'
David smith:
David is Alex's father and appears later on in the film as a figment of Alex's imagination. Actor should be of medium/large sizing with acting ability, no accent is required.
To play this part, we would choose, Keith Wickham as we believe, he could portray the character 'David Smith' to the capacity that we would like to have. Also with his work within Children TV, for example, his role of the voice of the 'Fat Controller' in Thomas the tank engine, if we were to use an accent, or a differ in voice, the actor would not struggle.
Jade Jacqueline Flack - 8309
Jade Jacqueline Flack - 8309
Tuesday, 1 April 2014
Film Diary (Part Two)
We filmed the interior scenes afterwards to avoid lighting condition problems which would affect the Mise en scene of the opening by making the exterior scenes look like they were based at a different time of day than they were meant to be.
We began filming the interior scenes after a break for about 45 minutes during which we prepared the first scene for filming while the actor relaxed. A lot of the room we were using had to be changed and replaced to look aesthetically appropriate for our character and narrative, e.g. an untidy bed, no female related products or bright pink colours, etc...
In order to save time we created the broken glass mirror first and filmed this part before any other scenes so we could clear it up and film the rest of the scene afterwards.
The most difficult part of filming we found was achieving the right angle with such little space, so some shots appeared smaller than intended. The filming took about an hour overall.
Afterwards we gave the actor another quick break so we could clear up the last scene and set up for the final one, which took roughly 20 minutes.
This was our first set up for this scene (right)which we decided looked a little plain on its own an it needed more meaning given to it.
We then found a bright building light which we wanted to use to highlight the daytime setting and give the scene a more nostalgic feel.
This lead to us finding it looked very effective when half the scene was darkened to reflect the character's path of going from light to dark.
The problem with this was when the character walked past the light there was a large shadow on the wall behind so after a few minutes of experimenting we figured a book covering the side of the light was the best option or hiding this.
Once set up was complete we began filming which took us more or less 45 minutes due to us testing angles which might work better to make the scene more interesting for the audience.
We began filming the interior scenes after a break for about 45 minutes during which we prepared the first scene for filming while the actor relaxed. A lot of the room we were using had to be changed and replaced to look aesthetically appropriate for our character and narrative, e.g. an untidy bed, no female related products or bright pink colours, etc...
The most difficult part of filming we found was achieving the right angle with such little space, so some shots appeared smaller than intended. The filming took about an hour overall.
Afterwards we gave the actor another quick break so we could clear up the last scene and set up for the final one, which took roughly 20 minutes.
We then found a bright building light which we wanted to use to highlight the daytime setting and give the scene a more nostalgic feel.
This lead to us finding it looked very effective when half the scene was darkened to reflect the character's path of going from light to dark.
The problem with this was when the character walked past the light there was a large shadow on the wall behind so after a few minutes of experimenting we figured a book covering the side of the light was the best option or hiding this.
Joseph Anderson-Luck -8105
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