25th March 2017

THRILLER COURSEWORK: FINAL PRODUCT

Here it is, finally! The 3-month anticipated and tiresome (but prideful) film opening produced by Ryu and I. Through this process, I have learnt many skills and explored new and unconventional cinematography shots, which I will thoroughly enjoy employing in future films.

Ladies and Gentlemen, I present to you...

THE FIRST DEGREE

24th March 2017

THRILLER COURSEWORK: REFLECTION

Here is the behind the scenes to our film opening; including the large amount of takes we took to perfect each shot in creating the most accurate intended meaning.

23rd March 2017

THRILLER COURSEWORK: EVALUATION QUESTION 4

How did you integrate technologies in this project?

HARDWARE:

• Laptop (Macbook Pro)
• IPhone

SOFTWARE:

• Adobe Premiere pro CS6 
• Microsoft Word 
• Microsoft Powerpoint 
• Cam Scanner for IPhone

ONLINE:

• Blogger.com
• Youtube.com
• Youtube-mp3.com
• clipconverter.cc
• imgbb.com
• Line
• Google Docs
• Google Slides
• Google Forms

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HARDWARE

During the process, I has used the Macbook Pro as a device to mainly edit my parts of the film that I wanted so the vision I have and accuracy of it is achieved. Ryu, on the other hand, used his ASUS Laptop for editing the whole film. The Macbook I used contained the Adobe CS6 software, so I edited parts of the film and transferred it to the master-file of Ryu's complete film file. I also used the Macbook to store all the hard-copy paperwork and any other research documents for evidence in the blog too. Furthermore, I had used my IPhone to communicate through calling, texting, or using some online apps to contact my crew and cast for filming dates. 

The brief look of Adobe Premiere Pro Cs6 while editing on Ryu's ASUS Laptop; the master file

SOFTWARE

The software used for the planning were mostly the Microsoft programs, such as Word and Powerpoint in constructing the physical text of the plan. After printing them out for annotation or physical reference while filming, I used the Camscanner app for IPhone that allowed me to transfer the documents in photo format for the blogging process easily.

The Cam Scanner App

The quality of the scanned photos into pdf format were very satisfying, as the aspect ratio of the photos were maintained and were of great quality to enlarge and clearly use as examples for the blog. Here are some examples...

ONLINE

Other than combining Hardware with software, I had used online applications and services to aid the process of constructing the film opening. This is done through the use of Messenger on facebook.com or the LINE application in transferring images and discuss about ideas and preparation of the film, digitally through chatting.

I found the Google programs very useful in integrating, categorizing, recording and storing my work process. The Google docs and slides allowed my files to be shared with the cast and crew so the document can be edited by them without having to do so on a person's computer. This saves time and is efficient in getting the work done under time constraint. Google Drive had also allowed me to share and categorize digital work into folders, once again saving time in finding the desired documents. Blogger, owned by Google, is an online service which was highly beneficial in recording my work process. This helped me collectively in gathering evidence of my progress in my understanding and use of media.

22nd March 2017

THRILLER COURSEWORK: EVALUATION QUESTION 3

How did your production skills develop throughout this project?

CODES AND CONVENTIONS
At the start of the course, I barely had any idea of what codes and conventions meant and how they are identified and applied. Through my careful study of thriller films like The Silence of the Lambs, Luther and The Fugitive, I had learnt and adapted their conventions to my film opening. Through my thorough analysis consisting of Hannibal Lecter's representation as an antagonist in The Silence of the Lambs (1991), I studied and applied his cold and calculative character to my antagonist. Many aspects of thriller conventions in building tension like the avoidance of the killer's identity in Scream (1991) is similarly used in my film, where the killer's face is not revealed until the last shot of the film. This focuses the tension only on the victim and intensifies the mood of the unknowing killer.

PLANNING AND ORGANISATION

Before the course, I was initially a moderately organized person with seldom schedules, which accommodates the cast's memory of the time and location to meet for filming past films. With this project, the pressure is added with it being coursework, so I had to make sure that everything was set and prepared before, during, and after the filming sessions.

 In the planning stages, Ryu and I split up to complete more tasks in little time. With the detailed health and safety forms, the emails and permits to negotiate in filming at locations, the precise schedules to the actors and crew of where and when to meet, plus visually stimulating story-boards for each scenes were accumulated in piles of categorized paperwork.


To make sure that everything is recorded and prevented from losing, I made a "Thought Book" where I title the page of the date and what Ryu and I completed in the lesson at that session, along with sliding in any paperwork that concerns the session. This thought book has helped me to carry all of the massive information easily in a book when filming to either: remind actors and crew of what to produce and how, any guards of our approved presence to film, and of course, ensuring that all of the health and safety risks are met.

The Media "Thought Book" and its creator.

A thankful Richy of the creation of the book, saving
Ryu and himself time from retrieving masses of paperwork
while filming and planning.

Therefore, I would argue that my organisation skills have significantly doubled my previous abilities.

CAMERA WORK

Throughout the course, my knowledge and application of cinematography has majorly increased. My studies collectively inspired my choices of conventional and unconventional camera angles in their ability to portray the most accurate meaning that I am intending to use. This lead to a significant increase in my understanding of each shot's potential for meaning, reflecting to the film opening's shots and its conveyed meaning.



  Take for example, the conventional canted angle from Scream (1991), is used in my film opening to portray the meaning of a confused and distressed situation the victim is in. I took a step further to create extended meaning by clearly stating the victim's presence in the positioning of the center to focus onto him. This is different to Scream's version where the victim's presence is engulfed in the night and environment. I decided to break this convention to associate the canted shot onto the character, suggesting the instability of his physical and mental state. This accentuates the tension created for the uncertain fate and now, the weak and unstable energy of the victim to survive during and after the chase.
 


Furthermore, I did not only used my understanding of meaning in cinematography for my presence on screen, but also my manipulation of the vision I have, onto the camera to create meaning behind the camera as the cameraman. The two shot used of the supposed protagonist and the antagonist is taken from The Walking Dead (2010 - present) where the Governor, the main antagonist, meets Rick, the protagonist.

Rick meets the Governor from
The Walking Dead (2010 - )

I decided to position the two shot upwards from the eye shot used in The Walking Dead

EDITING 

Initially, my editing skills consisted of producing films that were only footage based and weren't dependent on creating meaning, such as the Car Commercial Blooper Reel where I learnt through trimming and placing footage together to create reaction shots of clapping in the beat of the music of the video.

Compared to my film opening, I helped Ryu piece together the footage of the antagonist's movement of folding his arms to convey his calculative mannerism in the murdering, as well as showing his dominance over the plot in changing time from past to present without any effort. This is an increase in my realization of editing to create meaning, from the basic piecing of footage earlier in past films, into creating a pivotal transition in a meaningful plot.




CREATIVE CONFIDENCE

Rick meets the Governor from
The Walking Dead (2010 - )

Other than the significant increase in my knowledge and understanding of media and construction of meaning, I had taken that creativity and became confident in taking risks to break conventions and create deeper and insightful connotations to the film overall.

Seen above, the conventions I used was the mise en scene of the long table. This was aimed to show the distinct separation of the two sides. My creative idea in creating this shot aimed to suggest how the long length of the table may also convey tension, as two of the sides are interacting on the same material and level, yet are opposed in ideas and personalities. This serves as a mood builder of tension in the direction of the plot and the convicted killer's fate. Without confidence in using this creative idea, the boring scene of two opposing people sitting on two chairs in a room would become ordinary and free from any cinematographic interpretation.

Furthermore, I decided to take a risk and challenge this convention, using my creative confidence, where the storage items are placed onto the side of the antagonist in my film, instead of Rick's side in The Walking Dead. I did this to create the meaning of the characters' superiority and conflict of power. In my film, the boxes and items are aimed to represent the knowledge that the antagonist has, and by placing them behind the character, this creates a visual "wall", where it hints information being hidden behind the antagonist. Whereas the detective's side is seen to be clearly blank in showing her lack of knowledge, and the white background may emphasize her innocence and position of a vulnerable protagonist, ultimately giving more power to the antagonist.

One of my proudest creative confidence in creating meaning using the micro-elements involve the shot of the two cups between the antagonist and protagonist. This creative shot was constructed by my own ideas, to emphasize the antagonist's dominance over the detective (other than the two shot and the storage position), where the cups symbolize their knowledge or power in the situation. I then used my confidence in my attempt of portraying the power symbolism through instructing the cameraman to position the "half-empty" cup in a low angle shot with the detective to suggest her lack of power and knowledge; and likewise to the antagonist suggesting his superiority- slightly looking up to him. Without my confidence in ensuring that my creative ideas play out on the film, the scene and ultimately the film, would lack any meaning or cinematographic interpretation.

The half-empty cup of water, symbolizing the detective's lack
of power and knowledge in the plot

The half-full cup of water, symbolizing the antagonist's superiority
in knowledge and power over all characters

Overall, I can confirm that my confidence in taking risks and breaking (adapting) conventions, to manipulate them into my own interpretation of creating meaning, proves to be successful and effective. Therefore, it has increased majorly and will hopefully continue to increase for future projects.

20th March 2017

THRILLER COURSEWORK: EVALUATION QUESTION 2

HOW DOES YOUR PRODUCT ENGAGE WITH AUDIENCES AND HOW WOULD IT BE DISTRIBUTED AS A REAL MEDIA TEXT?

How does your product engage with audiences?

While on YouGov.com, I've discovered the similar target audience of my film using the Crime-based movies of Zodiac and The Fugitive.

Interestingly, both audience representatives share a connection in the age range of 40-50, and are strongly political, but in this case are completely opposed in parties. Nevertheless, this suggests of their interest in watching films with political motifs and involvement of government forces. Like Air Force One, the military is involved in the rescue, while police officers and detectives are employed in Zodiac. My film opening and plot offers the use of police detectives that may stimulate the attention and interest of a specific and niche audience.

To summarize, my film will be aimed at audiences with a mature taste and preference in liking a psychological and sophisticated unraveling of the plot- different to a linear and simple structure. They may also be drawn to the aftermath of a murder and how it resolves, rather than witnessing the gruesome nature of the act.This is achieved in my film opening as the violent is implied off-screen; where the victim has already been injured by the time the film begins.

How would it be distributed as a real media text?

As the audiences are niche and specific to their genre, the film would not be a success as a Hollywood Block-buster film, as my audiences prefer films specific to them, and may not be attracted to a over-advertised film. Therefore, my film should be distributed through local cinemas and digitally through streaming websites such as Netflix. According to YouGov my audiences are also a big fan of television, so the option to publish the film onto Netflix may attract more viewers that are not within the local cinemas to experience the specific film. As of January, 93.8 million people are registered onto Netflix. This will increase my audience base worldwide. 

In addition to expanding the specific audience base worldwide, I would consider using social media, such as Facebook pages to promote the film. This is very effective as Facebook will aid me in reaching my audiences as they suggest the page to users with specific interests in the genre of my film. To top it off, it is less costly than producing a trailer to televise which would take millions. Also, as each posts unravel aspects of the film, people are able to share, comment and like the posts, so the audiences are also helping me reach to further target audiences worldwide.

This is the final product of my film opening, with annotated captions regarding the model audience's presence and their impact/outlook on the opening.

6th Febuary 2017

THRILLER COURSEWORK: EVALUATION STAGE 1

How does your product use or challenge conventions and how does it represent social groups and issues?

Part One: CONVENTIONS

My film opening consists of conventional, symbolic and technical codes found in thriller films. I have partly challenged some aspects of conventional codes to create shock and tension, for example, the setting of a horrific murder in broad daylight and clear sights of civilization.

Taken from the Fantasy/Thriller "Resident Evil: Retribution (2012)", the beginning zoom and turn shot of Alice's eye was referenced and used in my film opening. I found the shot effective to set the mood, and take time to build tension.

Taken from the Crime Film/Thriller "The Fugitive (1993)", the tracking shot of the protagonist running was referenced and further explored with such of parallel editing, in which the reminiscence of the events after the killing and some plot is revealed, along with the moods of tension and suspense.























Below are some more examples from the film opening consisting of conventions used or challenged...

Part Two: REPRESENTING SOCIAL GROUPS AND ISSUES

My film opening aimed to portray the social groups of serial killers and psychopaths. In the construction of my antagonist, I researched the traits of a psychopath from a credible study conducted by Robert D. Hare in 2003.

My antagonist consisted of the highlighted traits of a psychopath that represents a darker killer for the intensity of the thriller film. An example of the application to my film in representing social groups of psychopaths is the category of "interpersonal" at "manipulation", shown through subtle symbols of the micro-elements, such as the editing of the last eye level close-up of the killer as an ending shot similar to the trailer to Silence of the Lambs (1991), where Lecter's face is shown with quick cuts and loud inhuman voices to allow the audience to associate fear with him and remember the haunting face.

Hannibal Lecter's haunting yet remarkable stare
in The Silence of the Lambs (1991)

My antagonist is also largely inspired on the character of Hannibal Lecter, where his characteristics are sophisticated yet seeming simple, slow moving to suggest predatory aspects of his cunning and cold mannerism, and the dominance of this presence through contrasting formal appearances to horrific and gruesome murders.

In my film opening, I chose the shot to be placed as a last shot to leave the audience with the image of the haunting killer for a scary and intense mood to last with their impression on the film. 

The antagonist in my film opening, mimicking that of  Lecter's
face after a build-up of plot to show his dominance

The manipulation in this is the fact that the detective's scrambling of evidence papers- which symbolize the piecing together of information that the audience is supposedly doing- lead to a POV of the audience becoming the investigator themselves and lowering the papers down to reveal the antagonist staring in center position. This strongly suggests that all evidence leads and revolves around the antagonist, and his dominance over the dead victim, the police, the audience's expectations and ultimately the film itself is exercised effectively in ending the film with his breaking of the fourth wall as a manipulative and calculative killer.

The build-up of the POV shot to the eye level close up, suggesting
the antagonist's dominance and further emphasizes his association with
the murder; spawning more questions and tension.

30th January 2017

THRILLER COURSEWORK: POST STAGE 3

Decided to try something new; a short video blog explaining briefly the thought and decisions in a part of the unfinished editing of the film opening in this filmed session...