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...

30th January 2017

THRILLER COURSEWORK: POST STAGE 2

After reading and reflecting on the constructive feedback, Ryu and I polished and re-constructed the film to suit the feedback given. We added a few more shots like the CCTV and Interrogation room signs to produce some exposition of the plot. Also, Ryu started adding credits and overlaying templates, plus colour grading to shape up the film.

Here is our second rough cut.

30th January 2017

THRILLER COURSEWORK: POST STAGE 1

We've gathered a first rough cut of the film- still shots missing- but good enough at the moment. Ryu and I are pretty satisfied with the work made and hopefully we will try to shape an accurate vision through post-production.

---

After the first rough cut we received compliments and criticisms from our classmates to help us improve. Here is a portion of what was said...

STRENGTHS

• Love the eye shot at beginning- great cinematography
• Good music for tension
• Parallel editing is effective here
• The use of mise en scene (tap/clock/door)
• Colour composition is nice
• Great use of different shots (canted angle/zoom reverse)
• Richy's acting is like a pro
• Love the use of glass water and the hands

LIMITATIONS

• A fast pace music for the chase scene may be?
• Need to balance volume of diegetic and non-diegetic sounds
• Camera movement is quite shaky in the door scene- a bit too long
• Put an actual clock on the "clock ticking scene"?

30th January 2017

CONVERSATIONS IN THRILLERS

--- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- ---

TRAINING DAY

There’s loads of meaning to pick through in terms of dialogue, mise-en-scene and cinematography but make an effort to look at the editing, there’s a lot there.

---

How is meaning created using Micro-elements in the clip?

In the clip of ‘Training Day’, the micro-elements combine to create the meaning of two detectives meeting each other for the first time, with an unpleasant and disappointing first impression.

Black officer Alonzo, is seen as a unchanging, almost pompous to arrogant, and experienced ‘top-cop’ officer, who creates barriers from allowing mercy to new police officers, which in this case, is Jake. In the first shots of the clip, Alonzo is seen sitting backwards to the camera while it tracks during Jake’s clumsy and shaky entrance. This may hint to how Alonzo has control, as he is positioned in the middle when the camera reaches to its tracking point. How is he placed facing the door may also suggest his defenses and alert instincts put up- he is an experienced and skillful cop.

Throughout the clip we see Alonzo showing more authority of control through the Microelements. For example, he puts up a ‘barrier’ towards incoming people, with his wide-spread newspaper, and a well-positioned stance of sitting that takes up almost the whole seat- hinting how he is settled. Also, the shot showing an egg being cracked and cooked, may hint to how he is not easily containable by the government, and permanently settled in his environment- like being fried. With this in mind, the mise-en scene of him wearing black costumes may hint a sense of power, dominance and unchanging. The contrast of his black equipments like the coffee, coat, guns and costume is different to the whole vibrant composition around him. To add to this, the fact that he is sat alone from all the people at the counters may hint his preferred isolation, but also confidence.

This experience, of course, is very daunting and nerve wracking for Jake, who is portrayed as a weaker and inexperienced cop within the area. Jake is often heard muttering words being being cut off by Alonzo, and his excessive use of random hand gestures may hint his desperation to find common ground. Furthermore, the cinematography captures both of them in the 180 degree rule, but Jake is always seen from a higher angle or at eye level- which may hint the loss of power, whereas Alonzo is often seen from a low angle looking up to him- giving him significantly more power and dominance.

Using Microelements, it gradually conveys the great power of Alonzo overtime as the clip progresses. Alonzo is seen many times to show his experience of surroundings, as he is seen sitting in a wide stance with both arms covering the head of the chair- staring into the camera of Jake’s mid close up point of view, with a neutral expression that conveys the dissatisfaction of Jake’s story. This only adds more to the pressure that Jake has to fill the conversation before another scolding or awkward silence. Officer Alonzo shows many examples of cutting Jake mid-dialogue and putting him on the spot to finish his points. After quickly denying breakfast with “I’m fine”, a medium shot is seen with Jake sitting uncomfortably, facing the camera and towards Alonzo’s stare. The mise-en scene of empty chairs around him, and the obvious decrease in diegetic sound within the dinner only makes it worse. Interestingly, the cup on Alonzo is seen to be filled fully with black coffee, while Jake’s cup is seen empty. This may hint how Jake is not only inexperienced, but may also have nothing in his mind to give back to Alonzo. Another example would be the foreshadow to how Alonzo yells “Boom!” right after Jake states within his story of “...so it was real quiet…”. This again, proves to the skillful and experienced way that Alonzo tackles situations- which is similar to that when aiming to attack a criminal with surprise; exposing them when they’re vulnerable. Overall, this proves to how Alonzo is skillful in taking someone’s confidence away and breaking them down- a great skill for policemen in interrogation; the positioning and composition of the two shot between them earlier, paints a similar depiction.

Later on, it is revealed that Alonzo also has control over the micro-elements, which brings the overall power towards him in the entire clip, and demotes that of Jake’s remains. The editing between the shot of the diner to the scene with the cars outside is lead by a transition of Alonzo’s loud diegetic smack on the table. This quick and well timed shot suggests to how Alonzo is calculative and powerful to change the shots in a single action. Outside, the camera does a tracking shot with Alonzo as he walks sideways on the street, ignoring all the cars that were trying to pass- again, proves to his ignorance and arrogance. Interestingly, Jake comes in afterwards, almost stumbling and running in an uneven pace to catch up with Alonzo, in only little screen time. In contrast, Alonzo is seen walking with an even pace, a steady stance, and the sight of looking forward only. This strongly conveys the stability in his actions and decisions, as an experienced cop.

Finally, the knowledge and cleverness that spawns Alonzo’s confidence is undermined again, during the scene where they arrive at the car. The camera pans around Jake from Alonzo’s side, seeing Jake to be moving and unstable. He is also seen fidgeting with the parts of the car, trying to get in. Alonzo cuts this clumsiness, as the shot cuts to a close up to Alonzo stating “It’s unlocked”. This undermines his familiarness of surroundings over Jake- and may be, his ability to see the big picture, rather than pinpointing a small point to try to unlock the car.

In conclusion, through the Micro-elements, the meaning combined are that of an arrogant and unchanging officer, Alonzo, pressuring and analysing the new detective, Jake, through his power and skillset.

--- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- ---

Mr Harrison's Comment:
There's so much good in this Richy that I'm hesitant to pick any fault. Just don't miss a chance to bring in terminology, it changes of the tone of the writing which will work well with the examiners.

20th January 2017

THRILLER COURSEWORK: PRODUCTION STAGE 2

This is it! The first structured and scheduled day of filming- and arguably the hardest sequence to pull off! Ryu and I booked the rooms and corridors (from the health and safety list below the blog), from 3:00PM to 5:30PM so we could have a late to sunset lighting for the mood, hence Ryu's colour grading in post-production. 

Speaking of technicality, I made some fake blood from careful portions and mixing of food colouring, water and soap. Ryu and I took the first 20 minutes of the production time to bloody-up the shirt and dry it off. I'm pretty proud of the work we made.

After a helping hand from Toy, Ryu's fascinating shots, and my limping... I could say it was a bloody good shot! (no pun intended)

PHOTOS FROM THE PRODUCTION ON THE 20TH

Coursework schedule and plan for actors and crew.

The story board we were following throughout the shoot.

Whole overview (shot by Toy) for one of the hardest and longest
scene to pull off compared to all the shots so far.
"THE EYE SHOT"

Front Overview

Front left shoulder with drops of blood stains

Front right torso where the main wound is located

Back Overview

The corresponding wound from the front to back which indicates a full
through stab of the torso

Back left shoulder that shows bloodied hand prints which symbolizes the
desperation of help and assistance that never came.

Me, on the verge of my neck broken after 28 tiresome takes
of a horizontal neck showing my large eye- without blinking-
for at least 20 seconds

A preview of the "EYE SHOT" and the starting point of the camera

A whole body shot of a bloodied Richy

Shot of Richy currently in pondering of what to explain to his mother, about
the shocking surprise that she will see

Here's a little Behind the Scenes on how I became so passionate in my acting of an exhausted and distressed victim through the help of Toy...

19th January 2017

THRILLER COURSEWORK: PRODUCTION STAGE 1

Today, I decided to stage a trial of the interrogation room pre-production of the scheduled one on Tuesday 24th January. I asked Jay to act as an interrogator, and Ryu to film initial shots so that we can have a visual, to later compare with for the chase scene.

The mind map from the thought-book that we use as an initial outline.

The set created: two chairs, two signs. Symmetry.
Notice the theme of the room to blend into the white and beige tone of colour.

Props: Paperwork for the interrogator.

CCTV Signs on the board to create more realism within the scene.

FINAL PRODUCT: the interrogator on the side with a blank wall to symbolize his shallow knowledge of the case.
The suspect on the left with a white shirt- not only continuity from the crime scene (what he wore)-
but also hinting his rather cold and calm mannerism. Also, there will be loads of folders and paperworks
on the table next to the suspect- this symbolizes his knowledge of the crime and how much more he significantly
knows than the audience (the detective).

SAVE THIS RYU

17th January 2017

THRILLER COURSEWORK: Planning Phase 10

The Aim:

This film gives an account of a suspect’s reminiscence of a haunting chase that sparked a major and horrific crime scene. The time of the present employs the suspect within an interrogation room, giving a rather subtle but dangerous manner. The switch to the past through montages of flashbacks paints an idea of a victim being chased by a figure- before meeting his fate. Scenes of contrast between the cold and calculative mannerism and composition of the suspect, to the hectic and intense pace of the crime, is obviously acknowledged.

---

FADE IN:

INT. EVN.

In the heart of an innocent school, lies a big mess of what happens to be a crime scene.

DISSOLVE:

INT. CRIME SCENE. EVENING.

PLAY: [Beethoven’s Symphony 9 Movement 1]

• Gradually crescendo before tutti hit

A wide shot of plain black that zooms out gradually- within the same shot- we slowly make sense of an extreme close-up of an motionless eye.

The camera then gradually zooms out and turns within 90 degrees clockwise to position and establish the lifeless and bloodied face lying identical underneath a pool of blood, on the concrete and uneven floor.

As the camera takes all the time in the world to establish this horrific scene, the lighting becomes significantly violent and the orchestra reaches its verge of climax as Beethoven becomes revived from the dead.

Violins screeching and musical notes- of what are now noises and harsh hits- intertwined within a potion of misfortune that shapes the audience into a sense of being trapped. The unchanging shot stays true to its consistency.

STOP: [Beethoven’s Symphony 9 Movement 1]

IMMEDIATELY--

“BANG!”

A horrific face appears- black out- again, the face- black out.

Following the aftermath of the climatic conclusion, there are a group of shots that provide a montage of interrogation sequences and the flashbacks of the victim’s POV, before fate takes him into the tragic crime scene, that we saw at the beginning..

After the montage, only the plain room can be seen. Here, the suspect has already sat across the table- and with the same type of zoom from the beginning- but in reverse- the suspect’s familiar face gets focused in a slow build-up, before we see his dry cheeks open up a sinister grin.

FADE OUT

17th January 2017

THRILLER COURSEWORK: Planning Phase 9

LOCATION EVALUATION
Media AS 2017

LOCATION 1: THAI PRINCIPAL’S OFFICE

Script Location: Using this place for the interrogation scene

First Impressions:

Seems like a promising site to film and stage an interrogation office. The chairs are very formal and appropriate for the setting. The additional computer and vague post it notes make it more office like. So it isn't exactly what we wanted to begin with; as a silhouette and disturbingly plain room.

Strengths:

• Formal
• Small
• Realistic
• Room can be adjusted

Limitation:

• Limited shot types because the room is quite small
• Mise en scene creates more of an ‘office’ type of atmosphere

LOCATION 2: MR JOHNSON’S OFFICE

Script Location: Using this place for the interrogation scene

First Impressions:

Vintage. Vibrant and formal. Full of musical statues and references that can be used to build a character. However, it's more of like a meeting room, and the room is physically too small and out of bounds to what we have visioned. So it is unlikely that this will be used in the final cut.

Strengths:

• Good lighting
• Room for variety of camera angles
• Room can be changed
• Lighting can be manipulated; dark and hostile; bright and friendly

Limitation:

• Looks too friendly
• Does not look serious

LOCATION 3: SOCIAL SCIENCE OFFICE

Script Location: Using this place for the interrogation scene

First Impressions:

So far, this site has the most similar type of colour scheme that we are looking for. The load of books and paperwork creates more of an office and busy detective's office setting.

Strengths:

• Good lighting
• Room for variety of camera angle
• Interrogation room like

Limitation:

• Glass wall may affect the film
• Only available on certain time of day

LOCATION 4: SECONDARY BUILDING CORRIDORS

Script Location: Using this scene for the chase scene

First Impressions:

PERFECT. Exactly the perfect length we were looking for with the beginning scene with the zoom outs and panning. Now we must find and manipulate the lighting.

Strengths:

• Long corridor
• Great for a chase scene
• Able to be used for dramatic or gradual zooming in/out
• Takes a long time to make of the whole shot (long and narrow corridor) so this wait may be used to build tension

Limitation:

• Because of lockers, it looks more like a high-school; doesn’t provide a scary atmosphere
• High amount of light needed

LOCATION 5: WALKWAY NEXT TO CONSTRUCTION SITE

Script Location: Using this scene for the chase scene

First Impressions:

Great for a tracking shot for running. May be some POV could be included here? The lighting is powerful, but the photos bother me... this means only one side of the alley can be filmed. Camera angles need to be appropriate and carefully thought of before using.

Strengths:

• Provides a good atmosphere of an alley way
• Long path
• Contrast divide of lighting- gives a perfect shaded and lighted area; great for cameraman to expose and play with shadows in post-production

Limitation:

• Pictures to the left restricts the amount of camera angles
• Construction site; noises and debree (health and safety)
• A lot of white noise

LOCATION 6: SCIENCE BUILDING CORRIDOR

Script Location: Using this scene for the chase and crime scene (where body is found)

First Impressions:

Another good corridor, floor is easier to clean up (there will be the use of fake blood). Many switches to manipulate lighting! Great!

Strengths:

• Able to control amount of light- many switches available: dramatic, bright, sinister, plain black
• Range of camera angles can be explored

Limitation:

• Excessive amount of posters; very high-school setting
• Bags and benches
• Classroom doors exposes to classroom settings