Evaluation:

Evaluation:

Our media product is a 2 minute opening scene for a thriller film. As a group we decided to make a psychological thriller, due to the very interesting and effective plot lines, and the fact we all really liked other film under this popular thriller sub genre. From our planning and research into the influences, we devised a narrative that incorporates our own individual ideas and the codes and conventions found in other psychological thrillers; this was so that our product reaches the standards of other similar media products as well as offering something uncommon and exciting to our demographic. Our film circles around a disturbed young girl, where her dreams and reality torment her endlessly, there's no escape. 

We decided to name our film Parallel it really suited the narrative and it sounded more appealing. The one word title idea was inspired By Alfred Hitchcock's titles like 'Psycho', 'Vertigo' and 'Frenzy', these create a quick striking tone that's very memorable, unique and has more impact on the audiences thoughts and imagination. The name parallel has deep meanings that link directly to the plot, and also suggest further ideas to the narrative. For example the title can represent both the dreams and reality within the film, showing how they may not be the same in ways, yet are very similar in other ways, like the idea that the girls dreams and reality are the same to her, living in her traumatic life, then repeating it in her dreams- both of which she just wants to desperately escape. However, parallel lines never meet and just go straight forward which can suggest that whichever world shes in- the real world or her mind, both will lead to the same thing. Plus, this title connotes the classic thriller convention of mirrors that reflect the true inner self of a character- we used this idea in our piece.

Here is a list of generics thriller conventions we met in our product, making it similar to real psychological thrillers:

• We used Low key lighting to reflect a dark mood in the nightmare that is in the girls mind (she has a deep dark mind) we tried to use the idea of pathetic fallacy in the dream sequence by shooting the scene as the sun is setting, letting the night sky fall into our natural lighting to have natural darkness, also bring up connotations of darkness and night time. 
• A dream to outline the psychological side, showing a broken mind, a corrupt and dark subconscious, full of strong feelings, fears and negativity- that makes the plot what it is.
• A chase scene highlights the girl’s inner feelings of wanting to escape the doctors grasp, because of what he might do to her and what she thinks of him.
• A Canted angle to show panic and a foreshadow for something bad about to occur as a result of hiding behind the tree in the dream. 
• We generically used Point of view shots to relate to the character, which allows the audience to understand their feelings. Psychological thrillers are big on feelings because they can be messed up, and can drive a characters actions, which can be very disturbing.
• Continuous use of Hidden identity of the doctor’s face, and the characters in the beginning of the plot, to intrigue the audience. His face is hidden throughout, suggesting he is truly hiding something, which then interests the audience further so they keep watching because they must know what his secret is.  
• A plot twist to create an unpredictable plot that shocks the audience and maintains their interest. She wakes up, showing the audience it was only a dream, when it looked so real, showing how her dreams and reality interlink so much- can't escape either.
• Hand held shots create chaos and immerse the audience in the chase scene.
• Close ups to emphasise feeling and ideas, like the knife acts as suggestive violence and danger. 
• A dark setting/location to form negative connotations and ideas about what happens there in the manor house and forest. 
• In the post production stage we tried to use Obtrusive editing as it creates a fast blurred pace to evoke emotions of stress and excitement, playing with the emotions of the audience and keeping them on the edge of their seat during the chase. 
• A Mirror to create the idea that they reflect the inner darkness and raw emotions of the girl as she looks up, she sees the doctor, this suggests he will always be a part of her, in her mind and life. 
• A Flash back of the dream to frighten and unsettle the audience one final time, reminding them of the terror for a recapping effect.

Real psychological thrillers would use these conventions in similar ways to us. These allow us to meet the genre, and satisfy the audience through it's well served purpose to entertain, excite and engage. However, our film has challenged and developed generic conventions of thrillers, which formed an element of originality and independence within it. 

• For example, usually in thrillers the protagonist is male, this can be due to the strong and fierce role they play within some plot lines, though in our film, we wanted to challenge this convention in the way that we cast a female this role. we also developed this idea because we needed her to be young and blonde, rather than much older and capable girl. We were mainly inspired by Sucker Punch (Dir. Zach Snyder 2011) to have a young female play as our protagonist; not only does this contradict a traditional convention of thriller protagonists, but also adds to the impact on the audience, as it can distressing to see young innocent girls battle their way through a life of psychological abuse and suggested physical abuse. A film that has a similar protagonist would be "Hanna" (Dir. Joe Wright 2011) however, she proves herself to be much more masculine in the stereotypical ways that she is capable and independent. The girl in our film is portrayed as weak, vulnerable and innocent at the beginning, which can then heighten the effects further because it appears she doesn't deserve this.
• The reverse dolly zoom, which we developed into a point of view shot of the girl, looking down the long path at the doctor. We hoped that this technique would create fear and tension in the audience as it creates the illusion that the doctors figures comes forward. 
• We also used bright high key lighting as the girl wakes up, as this creates a deceptive and contrasting feel to the audience. The lighting contributes to the false sense of security in the reality scene, which this then makes any shocks more emphasised, as the light does not reflect any bad upcoming events. It also helps outline the realism in this scene, as in reality, not all weird or disturbing things happen at night. 

Our piece represents different social groups in a number of ways, firstly the male and female characters of the young girl and male doctor can represent society’s hierarchy of gender- with the idea that the girl is made inferior by the doctor in ways, like the suggestive violence against her, thus making her afraid of him. The young female protagonist is portrayed as weak and vulnerable in the narratives events and mise en scene, for example her hospital nightwear highlights her illness and her nightmare points out how she is mentally ill and weak- representing mentally ill people like her. Within the composition-her small figure compared to the man's height indicates the dominance he has over her, for example when she runs into his chest in the dream, it clearly shows this idea. The fact this girl appears traumatised by the doctor in her dreams, suggests that he's doing something to make her feel that way, therefore keeping her weak and powerless against him.  Whereas the man’s costume shows his profession that he's a doctor, which connotes intelligence, authority and capability; qualities that makes him superior to the mentally ill girl, as he is mentally and physically stronger. 

Looking at their ages (within gender), the doctor is obviously much older, which can symbolise how men have been in power for much longer than women. The adolescent girl can represent how women's hunger for power and equality is growing in society, they no longer want to be treated as inferior or dominated; as the girl just wants her freedom, because both her dreams and reality are controlled almost to the point she is very uncomfortable and tries to escape it, yet fails.

 Alternatively, it can represent men as misunderstood, as the film sides more with the girl; we see what she sees in him, creating a bias in perspective. As he could actually be a good person despite all the hints that he is not, as it’s suggested that the girl is mentally ill, so her perceptions can be distorted. However, the audience could speculate why she is ill, maybe all the suggested violence and domestic abuse is true, therefore pushing her mental stability on a tilt. 

In addition, the representation of doctors challenges the audiences and societies views of them in the way that they are seen as good and trusting people who are there to treat ill people, yet this film portrays him as traumatising in the dream part, which is the first thing the audience learn about him, limiting other ways to view him. The breakfast scene shows him as nice at first, then suddenly creepy, creating the idea that mentally ill people don't trust doctors because they are deceiving. For example in "Shutter Island" (Dir. Martin Scorsese 2010) the doctor is trying to convince Teddy that he is mentally ill, and both the audience and Teddy don't know what to believe or trust, so this means our representation of doctors in our piece, meets a common convention of psychological thrillers.

Focusing on age alone, our film can represent teenagers and adults, similar to the ways it represents women to men- with the idea that the young is controlled by the old. Teenagers are represented as knowing what they want, but not always getting it; outlining elements of being weak as well as defiant towards adults, wanting to disobey the adults wishes. This can relate to the audience in ways that they too want to rebel and have more freedom, this link pull the audience close to her side, showing that she is the protagonist trying to overcome the obstacle the antagonist doctor places before her. If we could have produced the rest of the film, these ideas and representations of social groups would have been clearly defined, both meeting and challenging character conventions within psychological thrillers.

Although the group thought that an independent production companies like Warp and Film4 would distribute our film, But from the producing and editing of the main task, I thought that the narrative, effects and music have a more Hollywood style to it. Therefore I'd say an ideal Media institution would be 20th Century Fox, as they are a subsidiary of the extremely large and successful conglomerate, News Corporation. This means that through the use of horizontal and vertical integration, our film would be distributed globally through companies like 'The Times', 'Sky' and 'MySpace', appealing to a mass audience, therefore attracting a wider audience which means earning a higher revenue, allowing us to produce other films. 20th Century Fox has been around since 1935 which shows the amount of experience they have in a range of genres and types of films, and has a reliable image that the audience can trust to deliver what they want. However, we would I would have liked to use an institute that is more known for successful psychological thrillers like Shutter Island (Dir. Martin Scorsese 2010) and Inception (Dir. Christopher Nolan 2010), as the audience would see our film in the same way they did with those, suggesting our film is just as good and mind blowing, therefore attract and widen our demographic. Other ways we would market our film would be through the use of viral marketing, for example advertising it all over popular social networking sites such as Facebook, Twitter and MySpace, not to mention YouTube and Vimeo, which would also reach out to our target audience of psychological thriller fans, and generate free user content. This idea works quickly and effectively to promote the film, which will pull in thousands of views, creating a start in word of mouth.

The demographic for our film, in my opinion would be teenagers and adults aged 15 to 25 of both genders. Therefore, if the BBFC (British Broad of film Institute) was to give our film an age certificate, we would hope that it's a fifteen, rather than an eighteen at least; as this would keep it available to a wider audience that has great potential to be very interested in buying into the media product we have made for an audience of this kind. Expanding on the demographic, I would expect that they have an interest in exciting psychological thrillers such as Sucker Punch, Shutter Island, Inception, Black Swan and the Butterfly Effect, as these are all examples of some of my favourite films, and we produced a film opening influenced by these, which means the film would be of a similar appeal as these. I would also expect that the main bulk of the audience would be from the USA, the UK, and other English Speaking countries around the world, as our product would be distributed globally. 

Furthermore on the topic of our audience, from thinking about how the plot would unfold, if we were to produce the entire film, I'd quite like the girl to continue having disturbed dreams to the point it’s very difficult to sleep. Her sleep deprived state strengthens and develops her minor mental illness, until it takes over her life, showing symptoms of insomnia and schizophrenia, this causes the doctor to examine her too much. The voices tell her what the problem is, it's definitely him, if it's not him it's her, the only way she will ever be free, is if he’s gone, really gone... in a world she believes to be a dream, she wants to see how it feels to listen to them aching voices, obeying them, maybe they will go away, maybe everything finally will go away and leave her in peace. Little does she realise this world is real. She kills her step father, the doctor that only wanted to look after her, and help her get through the trauma that was her mothers sudden death. She began to think it was him who killed her, pushed her to her death in one of their many fights, but she will never know, and never be free from this insanity that is now her life. I think this idea is okay, but would the BBFC deem it to be too much for an audience of 15 year olds? I hope not, as the beginning of Sucker Punch, Baby doll accidently kills her sister, and that was rated a 15 certificate. Here's a link to their website, for further information http://www.bbfc.co.uk/. 

In our short opening, we used certain ideas and techniques in order to attract and address our target audience. Firstly I'd say the name Parallel is selling point, due to its many connotations and snappy sound, it will intrigue the audience. But from the opening scene, an example would be the young female protagonist, as she targets a young audience of teenagers, she is seen as a more relatable character, allowing them to empathise much easier as they can connect and perhaps understand how she feels, conveyed through camera shots, movement and mise en scene- e.g. the close up of her face in the dream scene strongly shows her primary emotions of fear, desperation and stress, some of which the audience can recognise and sympathise with. Not only does the protagonist relate the viewer, but also acts as USP (unique selling point) for the film, as it's uncommon in thrillers to have a female protagonist, this challenges the convention of main characters, making our film more unique in the way that it can offer a different plot line packed with interesting and engaging ideas, that perhaps some of the audience might not have seen before, also making our film more memorable and re watchable to the audience. As we used a dream chase scene, this immediately engages the audience into a new world, completely minimising any doubts and heightening their interests as they want to know exactly what is happening. This scene sets the tone for the film, outlining the psychologically disturbed side and places the audience in the girls perspective more than any other character. As everyone has dream, whether they are good or bad, the audience will have an idea just how far and extreme they can go, making the audience feel more focused on what will happen next rather than focusing on predicting what might happen, strengthening any shocks and twists. This opening scene also evokes lots of different emotions straight away which forms an emotional attachment to the plot, making the audience continue to watch and feel for the girl. Along with this, the paralleled music was on time with a lot of the visual beats, as they both went really well together, it was effective in maintaining their full attention, the fact they go together nicely, suggests to the audience that it is worth watching, therefore appeals to our audience and fulfils the purpose to entertain. When the girl is caught, it can be exciting and stressful for the audience already, so when she wakes up suddenly, it offers a slight plot twist, which then can foreshadow further events in the plot to suddenly change, catching the audience out with an element of surprise. We then drew them back in when the scary doctoshe was running from, makes her breakfast- utterly contrasting with her dream, the audience are then more intrigued, so they want to watch it even more. Finally at the very end when the girl sees the doctor in the mirror, it shows a last creepy portrayal of him, causing a flashback to the dream and s quick shot of the house, having one last unsettling effect, showing that her reality is not okay, but the audience will want to know even more. The mysterious doctor can also form another kind of USP, as he can lure the target audience, regarding what his motive and role is. The audience can speculate so much from an opening scene as there are too many unanswered questions, encouraging them to want to watch more so they can find out the answers. Moreover, psychological thrillers tend to be very confusing and difficult to understand, yet very interesting and dark, these qualities make our film something the audience will watch again.

Throughout the entire process of constructing this film opening, I have learnt things individually, and as a group, both really important in making a more successful and appealing film. In pre production, the importance of communication was highlighted as the group needed to discuss ideas a lot of the time, so we could develop them further into a concept we all liked. Sometimes this was easy, as lots of arguments occurred, however, once we established some grounding because of these debates, we felt more focused on what we aimed to produce. We formed three-way chats both on texts and Facebook, as this allowed us easier access to each other at the same time, this was better in watching our thought and idea processes progress, therefore when it came to the blog posts, we had a more shared idea of what we started with and what it changed into. Plus, this use of technologies in this way meant it was easy to send ideas in picture form, which inspired us more. and we could go back to our old chats for information and details we discussed. 

In the second stage of production, I felt I learnt a great deal in both the team work in a production team, showing just how vital it is to work closely and mutually, in order to produce quickly and effectively, and the camera equipment. We learnt how to use a Sony digital camcorder and tripod, as we experimented with different shots and movements, such as hand held shots, reverse dolly zooms and zooming, panning, the invisible camera and close ups, to capture the effects we wanted, even though I had not really used a digital camcorder before this project, so I feel that it was a good experience as I now felt much more confident in using one again. I felt that I learnt which shots are better and easier to use. I think one of the most important thing I learnt in this stage, is how to not underestimate the times things will be done, as we got it all filmed in one day, it meant we felt a bit rushed, which affected us in the way that we didn't get all the shots we wanted, and it could affect the acting. One last thing I learnt in filming, is how to use the camera more cleverly to achieve better continuity, for example in the conversation scene, we filmed it from both sides to get a smoother edit on this part. I knew it was essential to use the 180 degree rule, shot reverse shot and match on action, as these techniques make the scene appear more realistic and natural, therefore eases the audience into the scene and distracts them from an discontinuity. Not only did we use these for a smooth and flowing continuity, but also to convey ideas regarding perspectives, hidden identity and dominance, as these played a major part in the opening to create tones for the film and attract the audience more.

 In the last stage of post production, I felt it was the most enjoyable and most educational in using technologies. For example we learnt how to edit together selected shots using fades and dissolves to achieve certain effects, as well as using the time stretch to manipulate the timings and speed of the onscreen action, also fulfilling the match on action pace. I then learnt how to add titles and filter effects, altering them both to how we wanted-on the settings the Adobe premiere software provided. Whereas on the preliminary task we simply added the greyscale filter, compared to the main task dream scene, we included both colour and black and white; showing how we developed and experimented with the effects even more in this main task, extending our knowledge. Continuing on this task, we learnt how to add a soundtrack, where we manipulated both the video and audio slightly in order to achieve the right timings for the sound that really complimented the film, making it seem more professional. I feel that this stage and the filming stag were most importing in learning about how to use the available technology in the best ways we can.

Our two tasks of the preliminary and main task differ in a number of ways for different reasons. In our preliminary we stuck to our storyboard very much, which meant even though we planned out the scene; it still appeared quite robotic and unnatural, which I really disliked. So when it came to our main task, we agreed to not let ourselves and our ideas be limited by the story board sheet as we only used it as a guide for what shots and the narrative, still we changed shots in production to suit the narrative better, for example we planned to use a reverse dolly zoom, this was difficult and challenging to get it right, so we decided to make a pov too, adding to the effect of conveying the girls emotions of fear. It was very clear that we took a more ambitious route on the main task compared to the preliminary, as we were much more experimental with the shots and movement’s, these were somewhat more complex and advanced which created the idea that our film was ambitious and professional. We even included as soundtrack to our main task to strengthen these ideas, and make it more appealing, whereas the only major edit we made on the preliminary was the greyscale filter effect. Speaking of effects we manipulated one for the main task, made up of colour and colour-drain. However, one thing that we did take seriously on both tasks, was the importance of costumes, as they can paint a person in certain way, we carefully selected outfits that matched the criteria for each character, portraying them in the way we wanted to. Furthermore, we ventured out of our comfort zones in the main task, especially Lizzie, as she ran bare foot through the forest; this shows how we took the location into more consideration compared to the preliminary, where we used the schools editing suit- having only a small significance in the plot.  As you can see, our tasks differ in the ways that we aimed to create a much more realistic and professional film for our final piece.

Overall, I think this main task was a real success throughout all production stages, just like the preliminary and logo. I'd like to continue with Eden pictures to produce other films, knowing that they will be just as good as this one, our first production together. I know that our skills will continue to develop from production to production. Looking back on the entire project it has been stressful, and really long, as I think I wrote more than enough, but it has been a new and fun experience, and I’ll take that with me. Here's our final group photo to capture our first finish As media coursework in style- then caption is "22"

Thank you and I hope you enjoyed looking over my  journey and productions, I’m sorry it’s so long,

Daniel.

Main Task:

The Main Task:

We had to create a short (2 minutes) opening sequence to a thriller  film. We needed to include the 180 degree rule, match on action and shot reverse shot. In this post I am going to explain clearly how we developed our ideas for the narrative, and how we created our piece from start to finish through the three stages of production.

Pre-Production:

A lot of planning and details went into this first section

Sub Genre:
Our main tasks sub genre is a psychological thriller, this means our film will meet and challenge a lot of the conventions of the genre. Our inspirations have demonstrate strong ideas that will have analysed to bits, we know that this sub genre can be difficult and ambitious, however, we all really like it and we feel confident in creating a film for this category.

The Original Narrative:

We knew that we were making a psychological thriller, and we wanted it to interesting, and take on a lot of the points and ideas we gathered from our inspirations. So as a group, our first idea consisted of a few disturbing elements to highlight the psychological part; we thought about the protagonist character being a young innocent girl, who tried to escape from a corrupt orphanage that was owned by a psychotic doctor who experimented on the orphans as patients for creating a sixths sense. We liked this idea of barbaric experimentation, that would lead up to her gaining the ability to see ghosts (from an eye transplant). We thought that perhaps this idea wasn't quite opening scene material, as well as too ambitious and too dark to begin with. We then tried to manipulate some ideas, for example Iain suggested that maybe she is caught in the act of stealing something, or retaining a ball for instance, from the dark basement of a sadistic mans house. In theory, our ideas were good, we all liked them and they were strongly demonstrating psychological aspects in the plots we devised. We even made a few small videos to start us off with the sixth sense idea, where the clips of certain objects would represent the 5 senses, in order to hint at the plot line. Here is the video montage of senses:

We didn't finish the senses video as we were unsure about our ideas, but when we discussed it we planned to have these representing the sense:

1. Touch- hand feels the tree trunk 
2. Sight- the match close up or a shot of the forest
3. Smell- the girl smells a rose
4. Taste- the girls bites into an apple (Eden ref.)
5. Hear- Birds tweeting

When we planned out the idea, the young female character was taken from Sucker punch, and she was going to escape the house, where she'd be chased by the man through different peculiar places, that almost make not much sense (this is because it is in fact a nightmare she is having- dream idea taken from inception) where these places symbolise darkness in her subconscious  and the journey she ventures through to escape. This part would effectively grab the audiences full attention, keeping them on the edge of their seats, it would have worked well and we liked this idea so far.   As we know chase scenes are generic features of thrillers, and that dream are conventionally used in psychological thrillers. The girl would end up in a graveyard, which has strong connotations of death which can link back to her past, suggesting her parents died. She'd then see a ghost and talk to one, highlighting the fears of eye experiments. To have a vary in locations, Iain looked at the tunnel near his area; as we thought it would be good to include different locations, to mimic the unexpected and weird parts of our dreams were the things around you change- we wanted this to happen in our dream sequence. We planned for her to run down the tunnel and meet the light at the end, where she'd eventually wake up in her living nightmare. We started looking for the locations, props and costumes, etc to use. Here are some images that inspired us:

 

We even discussed how perhaps she wakes up twice, like a dream within a dream to nail the psychological aspect straight away, but then we thought that it might confuse the audience too much, leaving them more distant than to begin with, and disliking the plot line. Anyway, next we talked about how she might have a conversation with the doctor, where he could be treating  her too nicely, stroking her hair, knowing she frightened, but again we weren't too sure at this point. We still had some major developing in details to go over, if we wanted these ideas to work as well as we hoped. We also wanted to include more parts from our inspirations that we wanted, we used these again to help improve our ideas. 

From a practical point of view, we didn't have a mature male actor to play these roles, nor did we have any sophisticated or realistic medical props, or the believable and suitable locations. For example, after looking at the tunnel, we deemed it unsafe and difficult to include, so we dropped this idea. Therefore on these negatives, it was crucial to change our ideas, based on our inspirations, our skills and the availability of things such as the location, etc. It was time to change the plot once more. We dropped other ideas such as the sixth sense, thinking it may be too much to reveal in the opening.

New and Developed Narrative Idea:

Our new idea began with a chase scene in a forest, in the girls nightmare, where she was running from creepy looking doctor, she then suddenly wakes when she is caught by the man. This next indoor scene included a weird and unidentified doctor who brought up breakfast for her. We aimed to create a dramatic contrast to emphasise both the freakiness of the dream, and the sickly sweetness of the reality. The young girl would appear distant from the doctor, and overly aware of her surroundings to add some edge, while appearing fine and normal... Conveniently, Lizzie suggested we use her room, as the pale colours and design looked quite clinical and empty, reinforcing the medical side to the plot. The doctor would leave her room, giving the girl a chance to go the bathroom to refresh her sleep deprived state, where she is shocked to see the doctor in the mirror, as he stands from the other end of the corridor; and the sequence ends.  This was much more simpler, more effective and more like an opening sequence compared to our previous ideas; we thought they were too much regarding the dark psychological side, so we added the normal breakfast procedures to add some realism and contrast. Of course this mean we dropped the other ideas of the tunnel, sixth sense and double dreams, keeping it simple and better. Here's a breakdown of events:

(DREAM SCENE)

-The protagonist is chased
The protagonist hides 

-The protagonist is caught

(REALITY SCENE)

-The protagonist wakes up

-The Antagonist makes breakfast.

-The protagonist goes to the bathroom

-The protagonist gets shocked

(OPENING ENDS)

The Locations:

The exterior scene- For our dream sequence, we had a number of location ideas, that all had their own nice contributions, that we all liked, for example, we talked about mysterious crop fields to deserted beaches- both of which are available. Although, from looking at what went with the chase the most, we decided to for a forest chase. Look at Twilight for example, they opened with an unseen vampire hunting a deer in a deep forest, where lots of obtrusive cuts and point of views were used to capture the scene, I really liked that part. Therefore, we thought it would be effective to use a forest like location. For this we went to Ormesby Hall. 

The interior scene- Our second half where the girl awakens, it was obvious to us that our bet was using one of our homes to film it. As I've previously mentioned, Lizzie suggested her own home for certain reasons; so we did use Lizzie's house.

The Manor House- We planned on using this as the establishing shot, this would imply that that she lives in the big creepy looking house, like she was trapped there. We liked how this big house looked dark from age and weathering as it created ideas that it was sinister and evil, therefore what happened in the house were too. We were glad it didn't look perfect and new, as that would form other ideas. 

The Forest- From all the places we could have filmed the dream sequence we chose this as it created idea that the woodland could represent her wildly overgrown subconscious filled with her fears and unpleasant suppressed feelings, for example, it would be full of horrible insects, where some childish fears lay. The track could show how she ventured down this path many times in her dreams, suggesting how severe her nightmares are, and her feeling towards this doctor who follows her. As well as showing her desperate she is to escape. Conveniently, this ear is located very close to Lizzie's house, and it's a part of the manor house.

The Bed room- This is Lizzie's room, she suggested we use it for the bedroom scene where she wakes up. We were really pleased to use this room as already it looked homely, yet clinical, pale and empty; this was good to replicate the idea of a room in a hospital but in a house, this would reinforce the barbaric medical side to the plot, suggesting that also the girl is ill- we conveyed the idea she is mentally disturbed through the nightmare, therefore implying she is mentally ill because of the traumas shes experienced. This helps outline the sub genre we chose, a psychological thriller.

The bathroom- After we basically used all the locations closest to Lizzie't was logical that we used her bathroom to continue the indoor scene. We were glad to use this bathroom as it also had a main mirror, which we needed in order to show how the girl is looking at her reflection of  her inner darkness and disturbance; conventionally used in our sub genre. Despite the size of bathrooms that can make it difficult to film there, we still planned to use it, as we were confident it wouldn't be a major issue. 

Cast, Costumes and Props:

The Protagonist- We cast Lizzie as the role of the you female protagonist, she fitted the descriptions of what we wanted the girl to appear like, for example blonde hair, white skin and small. We wanted the girl to look like this to look innocent and weak compared to the antagonist; Lizzie was obviously available to play the role. For this character, we all decided that it would be good if she wore pyjamas to again highlight the innocence and vulnerability of the girl. This idea was inspired by Sucker punch, in fact the appearance of the girl from Sucker punch was kind of what were going for. We planned that the girl would be wear the costume throughout the opening in both the dream and reality, thus form a visual link between the scenes, creating the idea that there's a bit of horror and reality in both her life and mind, which helps emphasise how she is both physically and mentally trapped, we loved how this conveyed these ideas. Lizzie was at the town one day and found a good deal on some nighties (we wanted a more feminine and hospital like style) where she found two suitable ones at tk max, Lizzie sent us an image of them together, asking which we liked most. Here is the image:

We all agreed that we liked the one on the right more, as it looked more plain and similar to actual hospital patient clothing, whereas the other was more delicate and detailed with warm white patterns on it. Therefore, we bought the one we all agreed on, paying equally from our own money. Here is a closer image of the girls costume:

The Antagonist- For this character, we needed a doctors coat/lab coat to outline his profession, in order to create the negative connotations of an evil doctor who conducts barbaric experiments. We also wanted an older male to play this role, however there was no one available, so Lizzie suggested her cousin Alex, because he would be available and Lizzie added the fact he's 6ft3" tall, ergo he would be fairly suitable. We were glad to have someone to play the role, even though he didn't look anything like an stereotypical doctor due to how young he is; but this wasn't a major worry as the costume provided a degree of hidden identity in the way that we wouldn't see his face clearly. Obviously we wanted the costume as soon as possible so we did some research in lesson, none of us conveniently had this costume, so we had to get one ourselves, like we did with the girls- we went on Amazon and looked at a small range of costumes, we gathered a few links to costumes we would consider buying, based on quality, design and the price. Here are the links:

1. http://www.amazon.co.uk/Doctors-Coat-Mask-adult-size/dp/B0060KEMPI/ref=sr_1_3?s=clothing&ie=UTF8&qid=1367344611&sr=1-3&keywords=doctors+coat
2. http://www.amazon.co.uk/Adult-Costume-Doctors-White-Coat/dp/B001OD2ICA/ref=sr_1_4?s=clothing&ie=UTF8&qid=1367344611&sr=1-4&keywords=doctors+coat
3. http://www.amazon.co.uk/White-Coat-Chest-Size-108cm/dp/B004Q9EX8Q/ref=sr_1_1?s=clothing&ie=UTF8&qid=1367344611&sr=1-1&keywords=doctors+coat

The semiotic meaning behind Alex's costume can be perceived in the blank white colour of the doctors coat, this white colour suggests innocence, whereas the black top we planned to have Alex wear under the coat, highlights the doctors dark and evil side that lays deep within his personality. The white coat can be implicit of how he wraps himself in the coat of innocence and purity to appear that way, when in fact his true colours of black makes him who he is. The narrative suggests that the doctor is evil, straight away the audience will learn this from the dream, therefore will ignore his deceptive costume, but will still understand further why he appears that way symbolically. The connotations with the doctors coat also included power, intelligence and dedication, although these can be positive, contextually we aimed for them to perceived as negatives, for instance, being overly powerful,dominant and controlling towards the mental patient girl. I found a doctors face mask in my house, that was weirdly given to me in a university prospectus bag, so I informed the group we can use it to hide Alex's face as well as match the costume perfectly. Here are some images of Alex's allocated costume:

The Film Title:

When it came to the part of naming our film, we all decided it needs to be short, catchy, memorable, with a deep and relative meaning to the plot and perhaps sub genre. Over Facebook chat, together we spun out names, where we either expanded on them or made it clear what kind of names we want and don't wan't and even names we can't have. We had lots and lots of ideas, but here are just some examples that I remember:
Dream catcher (link to plot and sub genre)

1. The happening
2. Insomnia (mental illness strongly links to the plot and sub genre) 
3. Trauma (German word for dream) Clever link to bad past experiences
4. Mirage 
5. The witching hour (another phrase for midnight- scary connotations)
6. Parallel (idea of self reflection in physical and mental forms, link to plot and sug genre conventions. Inspired by Hitchcock's titles)
7. The imagining (inspired by the Sucker punch speculative point that she could have imagined it all, created by dark subconscious)

We all really liked our ideas, we actually said we all liked Insomnia the most without a big discussion; however it occurred to us that this name was already taken by a major motion picture, therefore we could not use it for out piece. This was really annoying because we had to then make another decision on names we liked less, nevertheless, we soon narrowed them down to three main ones we liked the most. These were:

1. The imagining 
2. Parallel 
3. The witching hour

• I liked 'The imaging' for the idea that it's all imagined and created by a mentally dysfunctional mind, which can be very interesting. It's always been in peoples interest to understand and know what goes on inside a disturbed mind; this title offers that idea to the audience and will attract them. 
• I like Parallel more as it's short and snappy, making it memorable and catchy, inspired by Alfred Hitchcock's film titles, such as 'vertigo' and 'psycho', which seem to have more impact on the audience and being easier to understand (as it's only one word) . The name even linked to the narrative of the opening scene where the girl looks in the mirror, as well as relating to a generic feature of psychological thrillers- where mirrors are used in the way that they show a deep self reflection of one self, often showing the darkness and disturbances within the character. 
• The title 'The witching hour' in my opinion isn't as strong as the others. It's nice in the underlying meaning that it refers to midnight, a time where bad things and childish fears of monsters, reveal themselves, which could be like dreaming is the time we go to face our fears and desires. 

Stuck on which one we liked best, we thought it was best to create a chart for the three and take advantage of the other students and teachers around us around the college. So in our lesson we went around a range of areas containing different people and asked them which title they liked best- which one they found most appealing if they were to see the thriller film based on the name? This step was crucial in the way that we could give the audience what they wanted in the fairest way. The sample included different people regarding age, gender, and interests; and because we asked a fair amount of people, we thought we could more or less generalise the results to the rest of the public. Here are the results in a pie chart:

The results clearly show that the most popular film title was 'Parallel' as just over half preferred it over the other two choices. As a group we were pleased with this outcome, as we all liked this name for a number of reasons, such as meeting the criteria we originally set out for a suitable name. As you can see 'The witching hour' was least popular, so weren't going to use this idea, we went with the most popular, to satisfy our demographic, as this would also reach out to them to engage with them more effectively, pulling in more viewers. 

The Storyboard:

(DREAM SCENE):

-Shot number one is simply the production company logo, creating the effect that the following film is going to have a degree of professionalism and is to be taken seriously like a real thriller film. We wanted this ti then fade into our next shot, as a fade would create suspense right before the film starts, instead of jumping straight in.

-Shot number two introduces the setting through an establishing shot, we planned to give the audience a simple idea that the dream is set in a woodland area, which would begin to form ideas in the mind of the viewers. It also helps the audience develop an understanding of the geography of the scene, which helps them navigate the scene more easily and immerses them. We also planned to include the institution titles on this frame, both 'Eden pictures presents' and 'a white stag production'. 

-Shot number three was where the camera would be placed on the ground in order to capture the foot of the girl as she runs past; this intrigues the audience and teases them through hidden identity. The foot gives it a weird feel, knowing the first thing you see is a foot. On this frame, we wanted to include the first actress name title 'Elizabeth McLaughlin'.

-Shot number four carried on the hidden identity through the use of a point of view shot of the girl. We planned that we should be able to hear the diagetic sound of  her heavy breathing and foot steps to suggest panic and a chase scene coming on. It was a hand held shot which showed the audience more that she is very fearful and shaken up with adrenaline, desperate to escape. This began to form an emotional connection between the girl and the audience. 

-Shot number five was again another low angle ground shot, this time the camera faced the direction of the girl and watched her run past the camera, which finally revealed her figure but not her face; still maintaining the hidden identity slightly, this slowly eased the audience into the plot and characters. 

-Shot number six is a pan shot that was planned to track her figure running past the trees, we liked the thought of the tree trunks quickly passing her, as this could express the idea further that she was panicked and trying to overcome these obstacles that were aggressive looking tree trunks. This shot also offered more range in shot and angles which would help the audience navigate themselves. 

-Shot number seven contains a point of view shot of the pursuer/monster that chased the girl through the forest. This confirms a chase scene which heightened the excitement and suspense, therefore pulled the audience to the edge of there seat- fulfilling a major thriller convention. This shot was planned to include the diagetic sound of the monsters more aggressive/masculine breathing to create negative ideas about this character straight away. This was also supposed to be a hand held shot to strengthen the chaos and desperation in the chase. This would also push the audience to become more interested, through the new hidden identity of a seemingly bad character. This is where we planned to have the second actors title 'Alex Sherlock'.

-Shot number eight is another pov shot, this time the girl- the audience now kind of know it's the girl as there's no one in front of her. She would start to turn and direct her run towards some bushes where she'd hide and hopefully escape. The use of a pov shot emotionally involves the audience further, now they would start to feel more what she might be going through in her attempt to escape; this creates sympathy and hope in them for the girl.

-Shot number nine aimed to confirm that it the girl is hiding in the bushes. We purposely planned to make this a long shot to include a range of shots, helping the viewer navigate.

-Shot number ten is on a canted angle, further in the bushes than the girl, watching her enter. The canted angle creates the idea that this was a bad decision, suggesting that maybe now she will be caught. It also shows the disorientation of the girl, as her world is beginning to tip over until eventually its truly up side down. 

-Shot number eleven included a small pan from the path across to the girls face, this shot finally reveals her face, we want the audience to immediately sympathise when they see the fear in her face; this would captivate the audiences views on who's side they are on, as they like to take side because it helps them understand the plot more, as well as emotionally involves them from a characters point of view, ultimately making any traumatic events more effective in impacting the audience. This frame is planned to also include the 'executive producer James Walton'.

-Shot number twelve is an extreme close up of the girls lips as they tremble in terror, again close up pull the viewers in more, and it demonstrates a range of shots. 

-Shot number thirteen is a tracking shot of the girl as she slowly peers out to check if its clear and safe. This shot shows the relationship of the character and camera, showing how we are more on her side anyway, as we follow her every move. The closeness of the camera to the girls head reinforces the relationship the audience have developed with her, that they will be by her side no matter what. 

-Shot number fourteen is planned to be a reverse dolly zoom ( if you look on the extra storyboard planning sheets, it explains how we might film this shot twice, with and without the doctor standing at the end of the path waiting for her- we chose to include him) The man is revealed through this shot as a doctor. The illusion of the reverse dolly zooms makes the audience feel strongly involved, as they are pulled to the screen which can also freak them out hopefully... This depends on how well this shot goes as it will be very difficult and challenging. 

-Shot number fifteen show the girl get up further after noticing how far away he is but also coming closer, encouraging her to run now! The next title 'executive director Iain Guy' is shown on this frame. 

-Shot number sixteen captures the girl do a quick turn to run, finding that she has run into the chest of the doctor which shocks both the girl and audience. We want to be able to seea bit of the surgical mast to also unsettle the audience, as it can create negative and creepy connotations of barbaric experiments on the girl, explaining why shes afraid and why he wants her. The fact he was in one place then suddenly another helps outline the dream, as dreams don't make physical sense at times. It's also known that chase dreams are very common, so hopefully the audience might figure this out, however the next shot confirm that it was a dream.  This is the last shot of the dream sequence and please note that there was music throughout.

(REALITY SCENE):

-Shot number seventeen is an extreme close up of the girls eye dramatically opening as wakes up from the nightmares shocking end. We want diagetic sound to be evident here, of the girl gasping in shock.

-Shot number eighteen is a long shot from the 90 degree side angle on the 180 degree rules circumference line. This would show the girl jumping up as she wakes, this acting would show how again she is surprised from the dream. 

-Shot number nineteen is more than one shot as it is a montage of breakfast being prepared by the doctor- full of close ups and high angles of for example sizzling bacon, pouring a kettle and buttering toast, etc. This scene create context and some contrasting ideas to the bad dreams portrayal. This breakfast montage idea came from the popular tv series called 'Dexter' which is about a psychopath that murders other psychopaths- the opening credits include a montage of morning preparation.

-Shot number twenty is a close up of the doctor opening the girls bedroom door. This movement of the door opening was used to also recreate the match on action for the reality scene to help link the other shot and from stronger continuity.

-Shot number twenty one is a mid shot of the doctor walking into the room with the breakfast tray which portrays him as nice, we deliberately made sure that we couldn't see his face to maintain the hidden identity. 
-Shot number twenty two is the 180 degree rule which captures both characters, we aim to show an imbalance of power again through a height difference, showing how he dominates her in both dreams and reality. 
-Shot number twenty three is an over the shoulder shot, used to show how the girl views him, also they are generically used in conversations, the doctor begins a conversation, as  'so how are you feeling this morning?' making him appear caring and kind, contrasting with her dreams portrayal. We also want to ensure that the audience still don't see his face.
-Shot number twenty four continues the dialogue as the girl replies 'I feel good thanks,  still tired though', this shot also begins the shot reverse shot, as its from the doctors side, using an otss.
-Shot number twenty five is a high angle shot that captures the doctor put the tray on the bed, at the same time accidently dropping the knife on the floor, to create a slight unease and suggestive violence.
-Shot number twenty six is a close up that shows the doctors hand grab the knife of the floor. We plan that he says 'Oh I'm so clumsy, I'll go get you another one'
-Shot number twenty seven goes back to the 180 degree rule, as he lifts up and goes out the room to get another knife, the girl simply says 'thank you'.
-Shot number twenty eight is another otss from the girl, showing that she is watching him leave the room.
-Shot number twenty nine is a long shot that shows the girl get out of bed, pushing her breakfast tray aside, her behaviour begins to create tension as its unsure what she might do. she will walk out of one side of the frame.
-Shot number thirty smoothly re enters the girl into the frame, forming a visual bridge because of the match on action created here, the smoothness makes the audience think she knows what she is doing. 

-Shot number thirty one is a mid shot of the girl opening her door to leave.
-Shot number thirty two is just a mid shot that captures the girl from the side as she walks out the room. 
-Shot number three and four is another mid shot where the girl is walking right towards the camera, here we plan to use a technique called the 'invisible camera' as the next shot is the camera facing the direction the girl is walking, as she walks forward. To join these shot we plan to use a fade to black, as if she walked through the camera. This helps the audience feel more a part of whats going on, by involving them through this technique. She would then open the bathroom door.
-Shot number thirty five is a pan, following the girl walk in the bathroom towards the sink.
-Shot number thirty six is an extreme close up of the tap, as she turns it. we want to hear a squeaky tap, however, Lizzie informed us that her taps don't squeak. 
-Shot number thirty seven is a high angle of the girls splashing water over her face to refresh herself, as she's just had a bad dream she needs to pull herself together. This action also relates to the audience as we thought everyone does this. We wanted to increase the sound of the water running, as hyperbolic sound can begin to unease the audience, and maybe prepare them for shock. 
-Shot number thirty eight is where the camera acts as a mirror, the girl looks up into it after washing her face, and sees the doctor standing and watching her, from the other side of the landing. Which freaks her out, knowing shes just had a nightmare about him, and it suggests that reality for her is similar to her dreams, which means her reality is like a night mare. This use of the mirror idea outlines the psychological feel, as mirrors a conventionally used. 
-The final shot number thirty nine, is a close up of the girl dramatically turning her head to see is is really there. We haven't decided whether we should have the girl scream or not. The opening then ends on this.
-The title of the film appears on shot fourty- PARALLEL.

Here are some more story board planning sheets for extra information:

Production:
Now we had planned it all to the best we could, we began planning to film it.

Planning, Dates and Issues:

Before we got around to actully filming our final piece, we set out dates and plans for the day. Orignally we planned to film on Saturday the 30th of Marth 2013- we planned that Iain would stay over at my house so I could provide transport, ensuring we both arrived at Lizzie's on time. We also discussed the catering for the day, where Lizzie's mum generously prepared tea for us. We planned to arrive at around 11am to film to interior scenes, this was so that we could capture the natural day light in order to create the effect of being a morning when the girl wakes. Then we planned to begin editing until 5pm where we would have tea. After this we planned to go outside into the woodland like area opposite Lizzie's house and film the second half of the piece; this was also deliberate in the sense that we also wanted to capture the naturual light, slowly turn into low key as the sun set. This would aslo match the connotations of nightmares and strengthen any symbolic meanings withing the lighting.

Unfortunately, Lizzie got ill right before this, which meant we had to post pone the dates for filming to the next week (in the middle of the two week period) which was Saturday the 6th of April, so this issue was resolved quite easily as we were all free and able to film then instead. The same procedures applied for the day. I think our group can agree on how we should not have underestimated how long it would take to both film and edit the entire piece in one day- as we planned to film it in two sections as well as begin to edit it inbetween parts and eat. After we had film it all in that day, there wasn't really any time to edit, and we couldn't any way as the editing software refused to work on my laptop for some unknown reason, which meant we had no stable choice but to wait until we got back to college, so we could use their editing software.

The actual Filming:

When the day came, Iain and I got a lift of my dad to Lizzie's house, when we arrived we became aware of the house etc, which then lead on to us jumping straight into filming the indoor scene. Lizzie and Alex were eagerly ready in their costumes too, so all in all it was at a good start. We didn't film chronologically, firstly we captured the breakfast montage scene, as this allowed us to continue with the bedroom scene, where the doctor brought the breakfast up. The breakfast scene was sometimes awkward to film, as we had to avoid the toasters reflective surface, be very silent and patient to wait for the toast to pop up, and make sure Alex's hand action didn't disrupt a shot too much by being too close or awkwardly covering parts we wanted to catch, so we had to direct him here in how exactly he cooked the breakfast! 

This section of film took the longest, there must have been over one hundred takes! Lizzie couldn't help but laugh, neither could we, although we did anticipate this... It was quite difficult in parts, like having to preposition shots until it was good enough, and having to record Alexs line about the knife seperately, to then later add in the editing stage, as we couldn't master this shot and have Alex talking, plus it was a quick shot. After this was finally done, we quickly got onto the bathroom part  (aka the ending)  After we successfully filmed this half, we relaxed a bit, as the editing software wouldn't work. Lizzie's mam prepared tea, and after this the late was on it's way which meant it was time to prepare for the dream sequence. 

We brought Lizzie's old bike for the reverse dolly zoom as we planned to attach the camera on the handle bars and roll backward while zooming in slowly, and obviously all the camera equipment. We tried a number of times to do to rdz, like on the bike, and holding it ourselves, walking backwards. It was rather cold so Lizzie wrapped herself in a snug parker coat for inbetween shots. Lizzie was very dedicated to her role as she agreed to run bare foot for the chase, under the condition that we made sure it was safe with no broken glass etc lying about- so we helped clear the path.  I'd say that the acting in this part was much more serious and professional compared to the indoor scene, I guess Lizzie was too comfortable perhaps, in her own bed while acting! Nevertheless she was really good in this part, as she seemed to really get into her role, you could see the primitive fears in her eyes for example in the shot where the audience finally see her face. However some narrative shot issues still occurred in this part. Although Lizzie was an actor, she still jumped at any chance to help direct and frame a shot, so she was helpful in all areas. 

Changes made in Production:
While we filmed our piece, we seemed to make a number of minor changes that didn't really affect the final piece, but here are some examples:

1. In our establishing shot, instead of just showing the forest from afar, we thought it would more effective in forming ideas if we used the manor house, zooming towards and slightly to the side of it. On our extra storyboard planning sheet we thought it would be good to maybe have a range of establishing shots all varying in angels, but we didn't stick to the plan on this idea; we just got the simple one shot to waste less time and get straight into the plot.
2. In shot number six, in the dream sequence we did plan to use a pan shot which tracked the girl as she ran through the forest, I really liked this shot as it offered a wider ranger of angles which would help immerse the audience quicker. However, at first we decided to post pone this shot until it got darker, as the angle of sun light made it too bright which would contradict what we wanted to represent through lighting. Sadly, when we got around to filming this shot, it was too dark to even see the girls figure in the darkening forest. Even though I wanted this shot, we thought that it might even disrupt the continuity.
3. Another example, is shot number nine, we didn't include this shot as we felt we might be repeating it too much, as we used a point of view shot of the girl running toward the bushes. It didn't create any issues as it was a mutual agreement to exclude this shot, in order to keep the scene quick, which meets the convention of a thriller to have obtrusive quick cuts.
4. Shot number fourteen was planned to be a reverse dolly zoom, obviously it was very challenging to try to capture it effectively. We decided to also try and combine it with a point of view shot of the girl. When we filmed this shot is was basically a hand held shot, which made it shaky; however this went well with the type of shot, as it creates the idea that she is very frightened and fearful of the doctor.
5. Dialogue changes were made in order to sound more natural, as some parts sounded too rehearsed and even camp, for example, the doctor was supposed to say 'Oh, I'm so clumsy, I'll go get you another one' and we though the first part sounded too feminine for the evil doctor, therefore we simply changed it to 'I'll go get you another one'.
6. Shot number twenty was originally planned to film the door opening from the inside of the room, whereas instead we captured it on the other side with the doctor. This was partly done to avoid the huge Tangled poster on the back of Lizzie's door that was glued on... we didn't want to draw attention to it as it might make the room seem to girly and fun when it's supposed to look clinical and empty.

We knew it was okay to make changes to our planned piece we only used it as a rough structure to guide us.

Post-Production:
Now we had filmed it all, we were ready to move on to the next production stage and edit it together.

Editing and Music:
We tried to begin editing at Lizzie's, but the software didn't work, so as soon as we got back to college, our editing period began on the 15th of April and we finished it fully on the 1st of May. During this time, at first we suffered a few issues with what computers to use, and it took a lot of effort to extract which clips we needed for the final piece, out of about 200 clips - we done it manually lots of times to find it refused to work, so we had to go into the editing suit to see if it worked there, and finally it did. It didn't take that long to edit our piece yet it was longer than anticipated, as we had to really try and perfect the finished piece!

After our preliminary task, we felt much more confident and familiar with editing, so we got straight on. We used Adobe premier editing software to edit our piece, it was very easy to use and advanced. We firstly edited the reality part, by arranging the shots chronologically, then cutting them until they fitted accurately to how we wanted. Then we began on our dream scene, again we arranged them and added the music (which we collected weeks ago before, as we researched into a range of sound tracks until we found the one we wanted and suited our film the best), this was so when we edited them together properly, we could try and make the video correspond with the musics rhythm and beats, which would be more thrilling and exciting for the audience, effectively keeping them hooked and entertained. And the music did, there are lots of thumps in the music, where the titles and acting match perfectly, for example the foot and the girls eyes opening were really effectively edited to be on time.

This was a successful yet rather long process. Sometimes the software inconveniently switched itself off before we has even saved our process, which would set us back a bit, for example the part of the editing where we finally started adding titles it turned off. Eventually we got it done safely and we thought it was a huge success and relief, we went from disliking the film at the beginning, to really liking it at the end. Before we fully completed it, we edited the dream sequence some more by adding filter effects, after exploring a range of effects that didn't quite fit what we wanted, we found something that sufficed. It was a drain in colour, making part monochrome, and others in colour. I especially liked how when the girl ran, it was like the colour from the trees was sucked out of them, as if they died as she past, which would create good symbolic ideas that suited the dream. Also, throughout this process we were able to add the fades and dissolves we needed to patch parts together, like the invisible camera and titles for example. We decided to add a tiny flash of video right at the very end, both a shot of the manor, and a shot of where the girl meets the doctors chest, to show a quick flash back to her dream, as she sees the doctor behind her when she in the bath room, as this creates a final punch at the audience to unsettle them and interest them further- was very pleased with this part. Look the the production diary for more information on dates we started and finished tasks.

Here's my finished production diary, noting all important dates of the making of Parallel:

Bloopers:
The video wouldn't upload and Blogger couldn't find it via Youtube, so here's the link:http://www.youtube.com/watch?v=MKZGx1aYozc

Conclusion of task:
In conclusion, although this was a challenging, ambitious and very long task, I think we handled it successfully and professionally. We were very proud and relieved to have finished it as well as we did, despite all the obstacles and issues. My favourite part was editing the piece together because only then, I could begin to see how well we done as a group. If I could have re done the task, I'd have made sure we got more shots for the dream, and improved the reverse dolly zoom, knowing it was difficult and dark. And I hope you enjoy the finished piece.