Group: Sunday 26th January Filming Call sheet

TWGSB Media Studies Film Production

Call Sheet & Shot list 

Date: Sunday 26^th January   Location: Alex’s Aunt’s Garage
Meeting Time: 16:15         Group: 4        

Crew & Cast Contact details:

Alex McDowell                 Phone: ____

Laurel Parfitt                Phone: ____

Danielle Booker               Phone: ____

Hannah Rayner                 Phone: ____

Props & Equipment:                             Crew responsible:

Camera, Tri-pod & steady-cam frame              Alex

Fake Blood                                      Alex

Knife                                           Alex

Lighting                                        Alex

Extension Cord                                  Danielle

Matches & Lighter                               Alex and Danielle

Location	Shot number (on storyboard)	Cast	Technical notes
Bedroom	4	-	CU of the music box shutting with a crane inside. A shadow of the box is seen on the wall behind.
Alleyway	15	Hannah	Tracking of Hannah walking down the alleyway and then stop as Hannah continues walking.
Garage	41	Hannah	CU Hannah picking up the knife.
Garage	42	Hannah	LS Hannah placing the knife up to her kneck.
Garage	43	Hannah	ECU of a tear falling from Hannah’s eyes.
Garage	45	Hannah	MS Silhouette of Hannah slicing the knife across her neck.
Garage	46	Hannah	CU of Hannah’s collar bone as the blood drips down.
Garage	47	Hannah	MCU of Hannah falling to the ground
Garage	48	Hannah	LS of Hannah lying dead on the ground with blood coming from her neck.

Group:28th January Call Sheet

TWGSB Media Studies Film Production

Call Sheet & Shot list 

Date:28^th January        Location: Alex’s Aunts house/garage

Meeting Time:16:30       Group: 4      

Crew & Cast Contact details:

Alex McDowell           Phone: ____

Laurel Parfitt          Phone: ____

Danielle Booker         Phone: ____

Props & Equipment                          crew responsible

Camera + tri-pod +steady-cam                    Alex

Fake blood                                      Danielle

Lighting                                        Alex

Location	Shot number (on storyboard)	Cast	Technical notes
Outside house	1	-	Slow LS pan L to R
garage	20	-	CU Cranes swing slowly across shot
garage	30	-	Prop-blood. Dripping onto cranes
garage	44	-	Newspaper crane drenched in blood

Group:28th January

On Tuesday 28th January we filmed the remaining footage for our opening.
When we arrived we filmed the establishing shot which was a slow pan across the front of the house. We also filmed some more shots of the cranes swinging and did a few shots of the cranes dripping with blood. Alex did the filming and Laurel and Danielle manipulated the cranes and dripped the blood onto the cranes.

On  Tuesday it kept raining at different intervals. So as soon as it stopped raining and it was dry we filmed the establishing shot.

When filming the establishing shot we noticed that the light was on in the garage, so we went into the garage and turned the light off before filming to ensure continuity.

Inspirational Shot: Donnie Darko

This shot is from the film Donnie Darko, we are going to try and film a shot like this in our piece because it creates a sense of uneasiness and almost places us in the confused mind of the character themselves. We showed it to a few people to see what they thought and there immediate reaction was to say that it created a sense of discomfort adding the genre of psychological supernatural.

A.M: Title Analysis

By Any Means

 This is the order of the opening credits:
0.02    -Warren Brown                                                    -actor
0.04    -Shelly Conn                                                        -actress
0.06    -Andrew-Lee,     Potts  Elliot knights                   -actors
0.10    -Keith Allen,  Martin Jarvis                                  -actors
0.14    -Richard Lumsden,   Paul Thornley                     -actors
0.16    -with John Henshaw                                            - actor
0.18    -and Gin MKee                                                    - actress
0.20    -Written and co- created by Tony Jony Jorden     -Writer and Co Creator
0.21    -Produced by Tim Keys                                       - Produced by
0.24    -Directed by Charles Palmer                                - Directed by
0.27    -BY ANY MEANS                                             - Title


This title sequence lists the actors and actresses first. They have put the main actor and actress before the other actors and actresses who have slightly less main parts. This is then followed by the write and co creator, producer and director. The title is the last thing to appear on screen for this particular opening sequence.

The duration of the titles in the sequence doesn't appear to have a clear pattern. The actors and actresses names appear for 2-4 seconds and this is also the same for the other credits.

 Typography

 font style- It is a very simple font style, making it easy and clear to read.

 size- the text is of an average size to ensure that it is big enough to be clearly vissible. The title is a very large size to make it stand out more and make it so that it is obvious it is the title of the programme.

 colour- some of the text is black and some white. It is cleverly coloured to contrast with the background making the text bold and stand out.

 position- The postion of the text is very varied. Most of the time it is tilted or on its side making the title sequence very interesting.Also as the credits are at different angles it will make the audience pay more attention so them and make them try to read them. The title at the end is in the centre of the frame.

letters- The names are in capital letters to make them stand out. Where as smaller lower case letters are used for who the people are i.e 'directed by'

Animation-The titles often rotate with the footage. They also slide across the screen slightly following the path of the background image and they fade away.

-As screen shakes text disappears
-The title of the film is horizontally reflected.


what we could take from the title sequence?
I think that putting the names in capital letters is very affective as it makes the names stand out more from the opening. Also I like the fact the titles move with the footage making them integrated. I think that using two different colours for the text makes them look more interesting and would be helpful when making the titles stand out from the background.

Group: Props

One of our main props is the newspaper article hanging on the wall of the garage:


























This was created using this website: http://www.homemade-gifts-made-easy.com/newspaper-generator.html

We ensured that all the information was accurate on the newspaper. We headed the newspaper 'San Francisco Chronicles' to show the fact that the opening is set in America. We used a photograph of Hannah in the corner of the paper to clearly show the article is about her. Also we titled the subheading 'Teenage Death'. This is quick and to the point so the audience viewing the opening can quickly read what it says and understand what the article is about.
I printed the article on thin Newspaper paper to make it look like a real generic newspaper.

The fact that the newspaper is reporting Hannahs death which is just about to happen is very mysterious and adds tension to the opening. It will intreige the audience to watch on.

Group: Friday 24th January Shoot Evaluation

After school we went back to our location to continue filming our opening sequence. Everyone, including Hannah and Eloise, met at the house and our plan was to film all scenes that Eloise was needed for so that she wouldn't have to come back. Laurel painted Eloise's face with white and black face-paints in the style of Mr. Boogie from Sinister (it was important that we shot all scenes with Eloise to ensure continuity of her face).
We managed to get a lot done and we were proud with what we managed to shoot. Alex was the main camera recorder ;Laurel spent time perfecting Eloise's sinister make up and some camera work; and Danielle positioned lighting and the composition of the shots. 

We were most pleased with the shots of Hannah reading the newspaper article whilst Eloise is watching over her. The lighting makes Eloise look especially sinister and eerie with her make-up and clothing and the fact that Hannah acts oblivious to her presence demonstrates the control Jane has on her. We created the newspaper article specifically for this shoot, on the article was an image of Hannah and titled 'Teenage Suicide'. We also took a lot of filler shots of the hanging cranes so that we could add them to the montage and create a broader representation of the garage.

We stuck the newspaper article onto the brick wall with masking and duct tape which we didn't realise would cause problems until Hannah had to rip it off the wall and fold it into a crane. We also realised that it wouldn't be in exactly the right place as soon as she ripped it off because it would have been difficult for us to remember. To overcome this we positioned the camera perfectly so that she could take it off the wall in one shot. We also filmed close ups of her hand taking it off the wall making sure the tape on the back wasn't seen.

We realised how important the storyboard was when filming because it gave us a clear sense of direction and an understanding of what we still had to do. We did the main shots that we had drawn in our storyboard but added plenty more so that when we come to film we can choose what worked best and have numerous options.

Group: Sunday 26th January Shoot Evaluation

On Sunday Alex, Laurel and Danielle went to the location at 4 o'clock. We went at 4 to prepare for the shoot and to make sure that the set looked exactly the same as last time ensuring continuity. We did any shots that we didn't need the actresses for. For example:

- we re-shot the shot of the music box closing as we wanted a more crisp shadow in the background.

-Also we attempted to do an establishing shot of the front of the house. The shot did look good however we are going to re-shoot it on Tuesday 28th January when it is slightly lighter to ensure we can clearly see the house, and then if we want the establishing shot to look darker we can do this in editing on after affects.

At 5 o'clock Hannah Rayner playing Hannah Dodds arrived and we began filming. We each had a go at filming throughout the shoot. Firstly we did a re-shoot of Hannah walking down the alley way, this shot was previously still and we thought adding movement of the camera would improve it. We received some feedback that suggested using more movement in the shot would look more effective. We tracked the camera behind her while she was walking and then stopped so it went to a still shot.



As we were shooting the section of the opening when Hannah commits suicide we used fake blood and a knife. It was quite difficult to create the shot when the blood was dripping down her neck as we were applying the drips at the same time as filming them. However I think we have got some very realistic looking shots.

-We also did some shots of the paper cranes on fire. To do this we used matches and set the wings of the cranes on fire. As they didn't catch alight as easily as we thought we used white spirit and put them onto the cranes. When doing this we wore safety gear such as goggles and had a bucket of water incase anything went wrong.


- After completing the shots of Hannah bleeding we had ran out of fake blood. We now need more to do the shots of the cranes dripping with blood. So on Tuesday 28th January we will create these shots.

Feedback 2 - Mrs Fernandez

Alex, Laurel and Danielle,
Well done, you have made excellent progress so far and the blog is shaping up to provide evidence of high level 4 planning from all of you; your research is thorough, focused on the response to brief and this was evident in your excellent pitch.  You are clearly working very effectively as a group and are pro-active in your approach to testing and refining your ideas, particularly in terms of technical aspects.   Logistical planning is evident and again very effective.  The set design evidence here is outstanding and your test shots demonstrate a real flair for filmmaking.   You will need to edit carefully to ensure that meaning is clear in terms of the split shots; make sure you test it to non-media audiences to make sure that it 'makes sense' at early stages of the edit.

Just keep going as you are in terms of use of the blog - you are well on track for a high A grade in this aspect of the course.  A couple of minor observations:
1. post audience research findings
2. Danielle and Laurel - can you add a final evaluation to your technical analysis (Alex - your's is excellent) reflecting on how useful the process is at that point and how it fed into your concept development.

Group: Fonts

Group: Storyboard Animatic

Completing the Animatic has helped us focus on where we exactly want the titles to be placed and how long the duration of certain shots should be.

We are thinking about making the section of Hannah in the house shorter so that more shots of her in the garage can be included.

Also we are thinking about including some flash shots of inside the garage to be slotted into the start of the opening. This will make the start more intriguing for the audience to continue watching and create & sustain tension from the very beginning.

We have also realised that we may want the title to appear at a different time to ensure that it comes across as a film opening rather than a trailer. We are considering having the title appear just before Hannah enters the garage.

D.B: Title Research - Six Feet Under

Order of titles:
 - Actors - Peter Krause - 0:04
                   Michael C. Hall - 0:09
                   Frances Conroy - 0:13
                   Lauren Ambrose - 0:17
                   Freddy Rodriguez - 0:21
                   Mathew St.Patrick - 0:26
                   Rachel Griffiths - 0:31
 - Guest Stars - Richard Jenkins - 0:33
 - Casting - Julie Lowry Johnson & Libby Goldstein - 0:41
 - Main Title Theme By - Thomas Newman - 0:47
 - & Music By - Richard Marvin - 0:47
 - Editor - Christopher Nelson - 0:50
 - Production Designer - Marcia Hinds-Johnson - 0:53
 - Director of Photography - Alan Caso
 - Co-Producer - Lori Jo Nemhauser - 0:58
 - Producer - Christian Taylor - 1:07
 - Co-Executive Producer - Alan Poul - 1:11
 - Executive Producers - Robert Greenblatt & David Janollari - 1:13
                                              Alan Ball - 1:16
 - Created By - Alan Ball - 1:18
 - Written and Directed By - Alan Ball - 1:21
 - Title of show - 1:27

TYPOGRAPHY: 
The writing is simple and black with no fancy design so as not to distract from the text. It's smart, simple look matches the shots and genre of the sequence. We need to make sure we choose a font appropriate to the genre and story of our film opening but not so much that the text is distracting and unreadable. The title for each name is written above and smaller than the actual name concentrating the praise and attention to the actual person. I think that this is something we should do in our sequence because it is a simple technique we can use to achieve a high grade.

The letters are written in all-caps with a dark striking colour to make sure it is easily visible. Almost always the titles are written on a blank background to add to their striking nature and to make sure they are the focus of each shot. Sometimes it is obvious as to where the titles will appear leading the audience to pay attention and focus in that area of the shot.

SOUND: 
The beginning of the title sequence presents the titles in time to the music. With every chime a new title appears in-time on the screen. 

PRESENTATION: 
Every title does not appear the same; the producers have tried to use their creative integrity to continue the audiences intrigue  For example, the shot where the 'Main Title Theme By and Music By' appear they look as though they physically exist and are being seen behind the glass cylinder. This is an incredibly clever way of anchoring the text to the visual context of the title sequence. Another way in which the production team have managed this is when the 'Editor' title is shown and the text follows the level of the water. I think that we could attempt to do something like this in one of our shots so that we can demonstrate our understanding of a title sequence and show that we have carefully planned for the placing of the credits.

D.B: Titles Research

I have been doing some extensive research on what are titles should consist of and how we can incorporate them into our opening sequence. I have come to numerous conclusions from my research:

• The order of the titles are decided by the amount of work and time the person must do to contribute in the production of the film. For example,  films that are quite gruesome and graphic often credit the make-up & prosthetic designer fairly soon after the director and producer.
• Some films will credit the cast before the crew whereas others the crew before the cast. It all depends on the main selling point for the film.
• Main contributors to each department are credited alone. A major name will be credited with no other name but their own on the screen even if they have worked with other people, other roles that are considered to have done slightly less work will be credited along with other members of their team.
• Actors that have a major part will be credited before any other role. In our opening sequence, Hannah is the main character but she does not feature heavily in the actual film. Bridget will be our main character therefore the actress that plays her would be the first actor's name that would appear. It would be followed by Eloise's name because she plays the antagonist and therefore would also have a major role in the film. Hannah would be credited nearer the end of the titles and in a list with other minor roles because her only appearance is in the title sequence and briefly in pictures in the film.

• Evil Dead (Alejandro Damiani, 2013) shows the title of the film as the very first thing that the audience will see. We will not do this for our own sequence but it did give us inspiration of how we will order the crediting our cast and crew.

• Some of the credits, in the clips that I researched, didn't start until quite late into the sequence. For example, in The Shining (Stanley Kubrick, 1980) the first title only appears at 1:05 into the sequence. In The Exorcist (William Friedkin, 1973) the first title was shown 1:38 into the sequence. However, the majority of the sequences that I researched started showing their titles in the first shot. Almost every time the first credit to appear started with the sponsor or director of the film written as 'A [sponsor/ director] Film'. We took this inspiration to imitate it into our own title sequence and we wish to show it in the first shot.

• It is important that, despite the fact we are the sole people who have created the sequence, it would seem unprofessional to name ourselves numerous times. Instead, I have researched professional names that would be appropriate and could realistically work on the film we would make. These are the people I have researched so far:

A [insert sponsor here] Film
Directed By: James Wan 
(Director of previous films such as Insidious, The Conjuring and The Silence) - http://en.wikipedia.org/wiki/James_Wan 
Screenplay By: Diane Johnson 
(Co-aurthored the Shining and often writes about strong women who live abroad - the exact storyline of our film) - http://en.wikipedia.org/wiki/Diane_Johnson
                              Scott Spiegel
(Previously worked as a Writer, Executive Producer and small time Actor on horror films) - http://en.wikipedia.org/wiki/Scott_Spiegel
Produced By: Danielle Booker, Alex Mcdowell, Laurel Parfitt
(this will be repeated 3 times for each of our names. As we are the people who have created the sequence it is right that our names would be credited with no other name but our own on the screen to avoid distraction from the praise.)
Executive Producer: Scott Spiegel
Co-Producers: Robert Shaye 
co produced Nightmare on elms street
Line Producer: Jeanette Brill 
(Previously worked on titles such as Insidious 1& 2 and Sinister) - http://www.imdb.com/name/nm0901822/
Director of Photography: John. R. Leonetti 
(He is most well-known for collaborating with James Wan and has previously worked on titles such as The Woods and I Know Who Killed Me) - http://en.wikipedia.org/wiki/John_R._Leonetti
Production Designer: Kave Quinn
( Worked on beautiful titles such as Trainspotting and The Woman in Black) - http://www.imdb.com/name/nm0623289/?ref_=ttfc_fc_cr23
Film Editor: Kirk. M. Morri
(Has mainly worked on horror films such as The Hills Have Eyes II, Pulse and The Conjuring) - http://www.imdb.com/name/nm0606294/
Costume Designer: Keith Madden
Women in Black costume designer
Hair & Make-up Designer: Shaun Smith 
Worked on Cabin In The Woods
Make-up & Prosthetic Design By: Rich Krussell
 Worked on Sinister
Visual Effects Supervisor: John MacGillivray 
(Worked on previous horror films such as Mama, American Psycho and Carrie) - http://www.imdb.com/name/nm0532268/?ref_=ttfc_fc_cr82
Casting: Stephanie Holbrook
(Worked on perfectly casted titles such as Life Aquatic and The Happening) - http://www.imdb.com/name/nm1220923/?ref_=ttfc_fc_cr17