Techno Terror Final Export

Distribution and Exhibition

Logo Final Export

Smoking Computer Hologram Effect - Final Export

Techno Terror Title Sequence - Final Export

Smoking Computer Version 1

The clip would be greatly trimmed to fit the Final Export if originally Used (Considering the shot is only meant to be a second or so long)

Foundation Portfolio CCR

Question 1: How does your product use or challenge the conventions and how does it represent social groups or issues?

Question 2: How does your product engage with audiences and how would it be distributed?

GRAND by Jackson Veale

Question 3: How did your production skills develop throughout this project?

Question 3 by Jackson Veale

Saber Website

Question 4: How did you integrate technologies?

For the logo sequence, I used the Saber effect , and with this I integrated several effects onto them to create a symbolic logo (And logo sequence also).

The saber package allowed me to create an authentic neon look, also being realistic with the shadow and wind effects Pre-Built into the ad-dons software.

Our Studio Logo

This is the Package I used to create the effect seen. We chose to have a neon-like look to add to the 'Techno-Thriller' Vibe, perfectly fitting with the music also chosen to make the genre very evident. Our Film is essentially a Hybrid of Science-Fiction, Action and of course a Thriller.

Many problems were faced with creating the Still, mainly with several layers attempting to take over our saber layer, rendering the effect invisible. We were able to fix this by setting them all to 'Screen', essentially making the troubling layers Transparent,

 Another problem was with the Saber effect refusing to work on the lettering provided, creating a blank background with no lettering what so ever. After many retries, we were able to fix this by adjusting the Saber Core settings and setting the lettering to a layer mask (As seen below).

For the first part of the sequence, we simply filmed a pair of hands expanding and clapping, with the Saber neon to be tracked along with the hands. This could not be tracked automatically due to the Add on being incompatible, so I had to manually move the Ray with the hands with several Key-frames. After this was done, we settled on a Fluorescent blue colour (As seen above), also representing our genre with the very Fluorescent yet grim look.

After this came for the need of Sound Fx to add onto the sequence. I aimed to install a sense of Awe within this sequence, and the Sound drove this factor greatly.
The majority of problems I faced were with Motion tracking, having to manually move the energy to follow the hand movement, which in result looks a bit choppy compared to an automated sequence (Which some of our other members used to create authentic holograms and a realistic smoke effect on my part).

 

- Original clip used to make the Sequence

Not only did I choose Music from Hans Zimmer (From Interstellar), but I added several small Fx along the lines of Loud Thunder Claps, Electrical Flowing Currents, Neon Flickering, and Star Wars Light Saber Fx. To do this I prioritized the most important sounds, ones that would evoke the feeling we were aiming for, not just sound pleasing to the ears. First was the Musical number, secondly came the Thunderclap, then came the sound FX relevant to the energy and lastly the Neon Flickering which is subtly there.

We considered many different Fx before the Light-saber effect was chosen, ranging from A clap, A siren or even A Gong. We Effectively  looked for anything with a loud sound, or relevant to our Logo which none seemed to be.

This proved rather difficult as each clip was overally loud, as we wanted, but having to adjust each severely to make it presentable and not take away from the sense attempting to be portrayed. I had to also play around with the timing and length of each, making sure that one doesn't take away from the others by staying in the sequence to long (Like the Thunder Effect).

The gains of several of the Audio Tracks had to
be severely adjusted to make a Coherent piece

Not only did I have to mix all the sounds together and raise/lower the gains to have a coherent sequence, but I had to keep in mind sound effects used by the editor within the intro sequence, having to attempt to make a seamless blend between the Sequence and the start of the film to keep the audience engaged.

List of Sources used

Saber Effects
Light-Saber Sound Effect
Lightning Sound Effect (LOUD)
Electrical Arcing
Neon Lighting Powering
Background Track 'No time for caution'

Logo Analysis

20th Century Fox

 

Logos

1914:

This logo is simply used to present the company behind the film, obviously back then not having the technology to create as advanced logos that we see today. This short and simple take on the logo allows them to get into the film faster, but doesn't really create a memorable moment, nor does it set the viewers up for the mood of the movie (With this obviously being Pre-saul bass, and obviously in a technologically inferior age to nowadays). This is also lacking audio (obviously due to the time period it was created in), with this making it simpler

1932:

The company's logo is now actually present, being able to convey themes of awe almost as the logo is set up on top of a podium, creating a sense of importance through height (Also with the lights on each side lighting the logo in the night sky which is more implied in this). The backing track is also added in this addition, shorter than the more recent track, creating a sense of royalty, almost a greeting song in the presence of a guest. This also adds a triumph feeling, adding to the structure of the logo. Not only that, but a theme of Power is Portrayed through the use of perspective (and the viewer looking up at it).

1935-1950:

This adaptation adds more to the theme of Importance as they enlarge the logo greatly, positioning us lower almost as if we are looking up at it. This is added to once more in the later adaptations as they show the lettering for the company in almost a Bronzish/Goldish shine as the lights continue to help it shine in the evidently dark blue night. The backing track is the same as previous installments, yet a bit clearer through the new technology available to add to a more crisp sound without error.

1953:

This new reinstallment drastically changes. They extend the logo to fit the full length of a screen, adding more to the theme of importance through size and height, also using more evident colors to get the message closer to home. The backing track is extended for the first time in this logo sequence, overall almost making the importance longer as the trumpets play a longer tune, with us also being situated lower, looking up at the logo. This sequence is the closest to the original currently, being the second one (Including the original) to add a simple text screen within the sequence with the Companys name and the technology used. 

1955:

This is essentially the same as the 1953 Version, but instead plays with the lighting of the surrounding podium lights, being a mixture of colours to almost make a more vibrant sequence, also playing with the font, being more expanded to take up the whole of the screen, almost in importance as it stretches evidently across.

1981:

The Logo is now zoomed in on as it focuses on the brass metallic print, with an evidently lighter sky in the background. The backing track is also shortened now, eventually making a comeback in 1982.

1996:

This sequence is now extremely developed compared to the older ones, with the feature of the pan across and eventually away from the logo to emphasize the size of the logo, and especially the height as buildings are seen as mere dots compared to this enormous structure. The 3D structure adds to the size of the logo as it doesn't leave it to speculation, showing you the great depth of it. This also dramatically changes the lighting compared to the older additions, with the colors being quite dark excluding the gold plated Company's logo. This lighting almost adds more emphasis to the lights as it makes it stand more out, almost an idol to show off through all time of the day.

1998:

Essentially a cleaner version of the 1996 logo, having a more clean cut 3D version of the logo while fixing the lighting issues present in the previous logo, coming to a closer refined product.

2011:

This version ties the package together, the moody lighting is completely fixed as the shading is realistic and the objects look believable. The sound has been edited dramatically to make the clearest audio track of them all, being an essential key to the themes being portrayed, also being an iconic icon tied to the Company itself, being a memory implanted in the viewer's mind to allow them to remember who helped create that 'Perfect Flick'.

Lionsgate

Logos

1998-2000:

This early installment of the Lionsgate logo is used to create a sense of awe as the stars align to create a lion, obviously trying to create the same awe of seeing stars in the sky (Especially when they align to create an object). The company's name is in gold/yellow beside the alignment as a backing track creates a slow atmosphere. Overall, this is a short sequence to give the general gist that the company wants to invoke through their logo. The subject of stars conveys very different things compared to other logos, going for a more Majestic feel rather than a Power sought one.

1998-2004:

This is a more developed approach to the first logo, having a transition from the blank stars to the alignment seen earlier, creating a more awe invoking sight.

2004-2005:

The logo's change drastically as they simply use large text to show the company's name, almost like a 20th-century fox approach as they play with the size and width of the logo, almost taking the whole screen up at times.

The next logo sequence show is the exact opposite when compared to the original, invoking fear almost (Or possibly even awe through the moodiness of the storm) This is done by quick flashes, with the Logo eventually flashing onto the screen, almost being shone in bright silver for the theme of importance or awe through a different lens compared to the earlier designs.

2005-2013:

This stays truer to the original compared to the earlier installment, showing several cogs, almost symbolizing a perfect working object (Possibly symbolizing the company itself), eventually opening up to a wide shot of the logo in front of several ceaseless clouds, creating the feeling of awe as the logo stands out evident. The backing track also focuses on an almost greeting call of someone heroic, invoking awe as the clean trumpets play heroicly.

The one that follows is relatively the same, except creating a mood of curiosity as it sets you up for the film coming, with a backing track that helps add to that emotion felt.

2013 Onwards:

This last addition stays true to the original, attempting to recreate the star background to overall create an awe-filled experience as it pulls out to the 2013 logo. This stays true to the original with a few touch ups to create the theme of importance and awe.

DreamWorks

Logos

The Peacemaker:

This logo invokes the feeling of peace (As the title of the film goes) as the music builds up and ends softly as the logo with the boy is seen peacefully fishing away. This is added onto with the ceaseless 

clouds that fill the background, almost creating a very Imaginative logo.

Shrek (2001):

This follows the similar principles of The Peacemaker logo but instead has a different backing track that is more quiet and peaceful as the guitar plays a soft melody that invokes feelings of peace, also changing the S to represent the Logo present on the posters.

The Ring:

This logo dramatically changes as it invokes feelings of fear through the erry overlay used followed by the Tv static, creating a tenser atmosphere that sets the viewer up for the movie present, being the perfect variation, even going as far as to take the cresent on the moon out at the end to create a less peaceful sequence.

The Cat in the Hat:

This logo goes back to the peaceful themes of before, changing the backing track to a more peaceful and welcoming one as they change the style to suit the movie ahead, with the style being very much related to Dr. Seuss's work overall to prepare them for a lighter movie ahead. They also change the font and Color scheme to suit the works of Dr. Seuss.

Shark Tale:

This sequence takes a very interesting approach, following the normal peaceful scheme, but instead uses the sequence to chuck the viewers right into the movie as they simuentaniosly combine. Eventually, the backing track is cut completely to make the change more subtle and less obvious, being key to the change.

Kung Fu Panda:

Similar to Cat in the hat, this follows the art style of the flashbacks within the movie, setting the viewer up once again for the movie ahead,

Monsters Vs Aliens:

The black and white overally stands out in this one as the logo continues on normally. The defining difference is the end where the Ufo is introduced, adding a spin on the classic.

Preliminary Task 2 - Creative Critical Reflection

Sole Survivor CCR

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

For our Short-Film 'Sole Survivor', we focused on the Social group of the almost Weak and Helpless peers when compared to the opposite (Physically weak compared to the Physically strong). This is evidently shown throughout our film with closeups of Eric, being very helpless and almost at the Mercy of Samael. We also show this through the struggle as Samael attempts to Stab Eric, as we show his wits as he allows Samel to stab him so he can deliver a more fatal blow and essentially disarm him. (This clip perfectly shows a longer version of what we were aiming for).

Through these representations, we show how Eric is able to overcome the physical strength and advantages that Samel currently has (Especially his gun and Knife), and how he doesn't need a weapon or any excessive strength to take him out. We focus on these aspects with sharp cuts as he reacts on instinct, being shown through close-ups and tracking shots as each action is carried out.

We also focus on the Cruel nature of Samel as we use long shots between dialogue, almost to distance the viewer from him as they see his Actions eventually as unreasonable and very much Uncalled for.

2. How does your product engage with audiences and how would it be distributed as a real media text?

3. How did your production skills develop throughout this project?

4. How did you integrate technologies? 

Once Again, I vigorously adjusted Audio gains to suit certain moments within the clip (Dialogue, Music etc), Also using the Fx clips at hand with ease, shortening and extending them to create a more authentic sound that is not repetitive. The Denoiser was used once again also in this project, yielding better results as I found a balance between a clear and loud Audio with as little feedback as possible, which almost seemed impossible in our last project. Even though I have focused on the Obsolete build, it yields better results and an easier interface.

For this project, I used the multiple channels that Premiere pro presents us, using them to separate audio from each other when played at the same time (Or just for easy access), and used them shot wise to make the editing stages flow easier, allowing me to avoid shortening clips and having to move and adjust every single clip because of the minor edit made.

I also took this opportunity to play around with Overlays, picking a classical Black and White, almost a Nod to the Noire days (With our film being based in the future, but being a devasted wasteland that is stuck technologically in the past. This is also almost an Homage to older films, being colorless, with Shade being the defining factor).

I have also become more proficient with Fading (Audio wise), being able to fade the music out when dialogue is essential, and being able to bring it back up when needed.

Opening Sequences V.2

Drive by Nicolas Winding Refn

 

Opening Sequence

This sequence prepares you for the ride ahead, it conforms to traditional thriller codes and conventions, yet also, in some cases, goes against the 'norm'.
In this scene, we are introduced to Driver as he is overheard preparing to assist criminals as a getaway drive, but under his rules. Listening to his dialogue, we can already see how he is a unique character, not running away from trouble, but almost chasing it while making a profit. He also makes it quite clear that he is extremely experienced with the city, as he recalls facts about the streets (Being key to his character, Driving a majority of the time). He also states, within his rules that he will be purposefully unarmed, showing that he has wits instead of unnecessary violence (Later, escaping past cops undetected after the 5 minute mark). This makes the situation tenser though, as he is going essentially into the storm without protection, adding to the thriller aspect. At first, though, he is set up as very much brave, almost reckless as he gets involved in the crime technically. The atmosphere is also dark as Low key lighting is used and shadows. Overall, this abrupt scene introduces us to the characters profession and hobby, being a skilled driver while almost chasing danger simply for money).

The tension in this scene is derived from the clear delivery of the dialogue, followed by closeups on important information (The game currently on tv), setting it up slowly as the audience are left in curiosity to what will unfold. The low-key lighting adds to the grim situation that the character is involving himself in, almost reflecting how we as the audience feel about it.

No Country For Old Men by The Coen brothers

Opening Sequence

This sequence follows heavily on the dialogue to give a sense of tension, which eventually goes hand in hand with the shots followed. We are introduced to Sherrif Bell as he lightly talks about his life and reflects on the past, people who came before, and how was proud (As others are) of what he did as a Sheriff. The monolog takes a darker turn as he gets to the point, talking about a dark experience he had with an almost deranged individual who committed a horrendous act and almost embracing the consequence to come soon, threatening to do it again, stating that he knows he's going to hell.

This situation makes him question his whole stance on the world, and his job as he talks about the world has changed, and that he fears that more situations like this, that truly horrify him will continue, and how he is almost hesitant to do so even though it is basically his job. Lightin is offkey and low in this scene as the Location is set, being set in New Mexico)

Tension quickly builds up as the setting shots are finished, and as the main antagonist, Anton Chigurh is seen being transported in all black to a police car, with his crime being a mystery to us. The camera continues to avoid his face, as it sets up more tension as the Monologue begins to a line with the situation. A close-up of a cattle gun is seen as Sheriff Bell talks about his worries about facing a situation that he cannot explain, nor knows anything about (Like the last mentioned one). The scene ends with him coming to terms with being in the dark and deprived world he sees himself in, putting his soul (As he states) At hazard. Overall, this scene focuses on closeups to create discomfort as the viewers see resemblance between Bells words and the situation that the other officer is almost facing, taking an almost faceless man to jail for unknown reasons, putting the auidence almost in a clueless state, one that Bell is worried about finding himself in again.

The tense dialogue that ensues is tense in itself, but becomes more tense driven as the director switches from massive long shots to more defined shots, showing the significance behind this situation currently occurring, making the audience take it more on board as it develops a story.

Vertigo By Alfred Hitchcock

Openining Sequence

This sequence starts creating tension through Diegetic sound as the camera pans on the target, with it building up and dropping very sharp to create an almost sense of dread and tension as the music continues to follow this path, continuing to show a confused/almost disturbed target as they check their surroundings. This happens once again as a red overall flash onto the screen as the music becomes sharper, creating more dread an almost suspicion (Like the target).  This dies down as curiosity is created through the use of the spirals as they symbolise the hypnotic theme within this movie, then it cuts back to an almost 'Man gaze' as it goes from her lips to her eyes, almost eying her out. 

This scene overall conveys the themes present in the film while creating tension through the use of Non diegetic sound and low key lighting to create a more moody and dark shot, and using the overlay to create a more dreadful effect as the colour flashes onto the screen.

Representation codes and Conventions

Representation: Prejudice (Harm through perceived Domestic Violence)/Identity/Segregation
Show: Breaking Bad ( Season 5 Episode 14 )

Technical Terms: 
This episode focuses mainly on Reaction shots being a very emotional episode for viewers, but there is more meaning behind this scene. As Walter and Skyler tussle, as she attempts to force Walter out of their house, he eventually breaks free as Walter Jr comes in to protect his Mum.
This is followed by a Reaction shot as Walter, in anger shouts that they are a family and that they can't just kick him out. A Pov shot from Walter's perspective comes as it shows a Long shot panning backward to symbolize Walter understanding how disconnected and distanced he is from His family, followed by another reaction shot of Walter to show a more defeated man as he realizes how badly he has torn the family apart. He becomes almost Segregated from his family, with the distance factor, and with his son Physically blocking him from the family and forcefully making his exit with no choice (Ringing the Cops and lying).

Reflection:
Overall, this scene uses the Technical Terms and Representation choice to develop the characters and to use the Terms to show how a character is thinking at that moment in time.

Representation 2: Identity
Movie: The Machinist
Clip

Technical Terms:

The ending of this film mainly focuses on Reznik coming to terms with who he is and what he did (Mainly seen through his repetition). This is done with a close-up of his face as he repeats the words "I know who you are", with an over shoulder shot of Reznik showing Trevor (The blurred man in the mirror) being blurred in the mirror almost as if to symbolise Reznik's confusion, or to show almost that Trevor is not real but a figment of Reznik's world that he has created to run away from the horrendous act he has committed. A flashback is used to show what he has done, as he repeats the earlier sentence, continuing into home into his face, almost to persecute him while showing his Raw emotion. A closeup is shown of the Hangman note to connect the pieces, showing the viewer that he has been tormenting himself, and that he sees himself as a Killer. As he continues on the motorway, a close up of the two crossroads appears to show the viewer the symbolism (As seen earlier in the movie) of him making a choice, with Reznik choosing to stop running away.

Reflection:
These Technical techniques used are common within Psychological Thrillers, connecting all plot drivers to bring the story to an understanding to the Viewer and the Character, tieing up all loose ends.

Representation 3:  Racism/Ethnicity/Minorities
Movie:  Django Unchained
Clip


Technical Terms:
A Flashback with an almost Neo-Noir filter is used to add an almost light tone to this gritty situation, cutting between Django and The Brittle Brothers discussing the consequences his wife must face back to Django and his Wife committing the 'Act' that got them in said scenario, allowing the viewer to piece together what they did and why he is hunting the brothers down, coming around to develop a sound story that the audience can understand. Close Ups/ reaction shots are shown to show the Grit and pain that they endured as slaves. They mainly focus (Closeups) on Djangos wife as she Is forced to go through this torture, also having Django and one of the brittle brothers closer to create a more tense situation as he pleads, also to create a more believable scenario.

Reflection:
Technical elements within this scene add an almost pop tone to a dark and gritty time, in a scary and gritty situation, using reaction shots to highlight the pain they are going through to almost justify Django's upcoming actions, and to have the audience root for Django as the Hero of the movie.

Representation 4: Romance (Forced)/ Conforming/Identity
Movie: Vertigo
Clip

Technical Terms:
A Mid-shot is used throughout the start of this scene to show great discomfort on Judy's behalf as she is forced to become Madeleine, only doing it for Johnny since she has an unconditional love for him as shown when she comes out from the bathroom, with a panning shot (Upwards) almost from Johnnys Pov as he realises that she is the perfect copy of Madeleine, his true love that he thinks that he lost.

Reflection:
Overall, the techniques used show the uncomfortable relationship between them as the audience themselves feel the tension as Johnny becomes more and more obsessed with Madeleine, not caring what she wants, forcing her to become someone else (Which she is fine with since she has developed an almost unconditional love for him).

Representation 5:  Submissive
Show: Breaking Bad
Clip (Season 5 Episode 15 Finale)

 Technical Terms:
This scene mainly focuses on Close ups/Reaction shots as Walter becomes Submissive, refusing to fight against Jesse, accepting the consequence for the torture he put him through. These shots show the emotional reactions of both characters as it leaves the audience in anticipation, with the close-up of Walter showing the Audience a weary and tired man, almost emotionless as he accepts his fate. This up and close take to the scene adds more tension as the audience is refused space, being almost 'Right in the action', in front of the characters.

Reflection:

These Technical Terms allow for a more emotional and tension driven scene as every reaction is witnessed, and both characters are left very vulnerable, with us, the audience being left right in the situation as we wait to see what happens next. These techniques help add to Walters sudden submissive behavior, as he is shown through closeups to be very emotionless, accepting the consequences and at peace.



Representation 6: Wealth/Class/Hierarchy
Movie: The Dark Knight
Clip


Technical Terms:
This scene also focuses on reaction shots/close ups as they talk about the subject of money, with the reaction of the mobster being almost mortified through a closeup as he sees the money go up in flames. This reaction shows a man obsessed with money, or in it for the money at least, and differentiates to the audience the difference between the two characters in this scene, showing through this one reaction shot the difference between the Joker, the main character with more diversity to him, and the Mobster who is your classical stereotype. Over shoulder shots are used as The Joker is seen overthrowing the Hierarchy, moving from his current class to the top one available within seconds. This technique almost places us in the room with the characters, adding more tension as we see that we are merely an observer and are unable to change the fate of anything that occurs till the end. This freestyle cam take also makes the scene more unstable as it moves around with the actors, adding a more fluid and symbolic approach, also adding to The Jokers character.

Reflection:
Overall, these techniques aren't only symbolic in the long run, but they add to the tension as they place the audience in a predicament merely as a viewer, unable to escape or change the course that will be taken (Nearly showing us how the others within the room feel, following The Joker merely based on mainly Fear), They are merely a spectator.

Representation 7: Feminine/Gender/Social-Norm
Movie: The Bourne Identity

Technical Terms:
In this scene (Hotel), Marie is the enabler for the romance subplot, going against the social norm.
This is shown through closeups as, throughout the movie, Jason is shown almost socially awkward and inept at times, with her being the connector in the sub-plot, staying with him and assisting him throughout the movie till he is able to find his Identity.

Reflection:
The close-ups and long pauses added between these scenes shows to the audience that Jason is socially inept in several ways (Mainly romance), and goes against the Social-Norms to show a Feminime capable character able to take charge and do what he is unable to do.

Sole Survivor Final Script

[Fade in

Eric's house - Mid-day

In a deserted suburb, a house stands amongst them with someone inside

                                                                                                                                                Cut To:
Eric's kitchen, pristine and clean

Eric begins to prepare himself some wine, looking through his bookshelf after

Eric, A British fellow stuck in the past begins to narrate the situation as he puts an almost humorous and nostalgic tone into his depiction


                                               
                                                                  Eric
                                                     
                                       It was the ripe year of 1989, the economy was strong
                                       and our way of life was generally good.
                                       This, obviously breed envy like no other......
                                       It was common hearing arguments between American
                                       And Soviet officials *Chuckles* even several companies
                                       engaged in this new way of life... That didn't last for
                                       long....
                                       Who dropped the bombs? I don't know... My name is
                                       Eric Freeman, and I am the last man on earth, and I've
                                       never been happier


Eric is quickly interuppted as knocking is heard, he plays it off, sipping on his wine until
he hears it again, making him rush downstairs


Downstairs, Front door

Eric rushes down to see a mysterious man pulling his gas mask off, looking
dead straight at him

Samael, a formal and former Business made man stares menacingl

                                                                  Samael                                                            

                         
                                           I'm sorry, disturbing you under.. such Circum-
                                           stances.... This must be quite unsettling


Eric is shocked

               
                                                                 Eric
                                                           (Stuttering)
                                                   Come in! Come in sir!


                                                     
                                                                               
                                                                                                                                                 Cut to:

Kitchen, Eric pours the man some wine
     
                           
                                                             Samael
                                               Oh no no.... I don't intend on
                                               staying long.....    


Eric is slightly confused

         
                                                           Eric
                                              (Trying to compose self)                                          
                                     For all these years.... I thought I was
                                                     *Is cut off*
                                 

                                                       Samael
                                    Out of everyone that died, you survived?
                                                 *Scoughs*
                   

Eric is slightly offended but Brushes it off

                                                      Eric
                                         I admit my friend that I'm
                                         not the strongest... But


Samael pulls a gun out and aims it at Eric, towards the window


                                                      Samael
                                        I'm not your friend, Buddy,
                                       and I'm not here to chit chat!

Samael attempts to shoot Eric,with him dodging it, hitting the glass window and
contaminating the area.
                                                           

Eric rushes to the downstairs door as Samael approaches

Samael shoots as Eric is innocently against the door in shock, finding the gun is
empty, then rushing towards him as he swaps his gun out for a Knife

He attempts to stab Eric as he resists greatly against the steel blade.
Eric finally lets go of the knife as it plunges into his stomach, grabbing Samaels hand
 as he twists it and breaks it

Samael is left on the ground as Eric grabs it and puts it on, dragging him out
into the radiated and contaminated atmosphere, with Samael struggling greatly.

                       
                                                           Eric
                                                    (Voice over)
                                            My name is Eric Freeman, and I
                                        will soon be the last man on earth.....
                                            and I've never felt so alone......


Eric closes the door as the camera lingers on Samael slowly breathing

                   
                                                                                                                                        Cut to Black

Sole Survivor script V.1

[Fade in

Eric's house - Mid-day

In a deserted suburb, a house stands amongst them with someone inside

                                                                                                                                                Cut To:
Eric's kitchen, pristine and clean

Eric begins to prepare himself some wine, looking through his bookshelf after

Eric, A British fellow stuck in the past begins to narrate the situation as he puts an almost humorous and nostalgic tone into his depiction


                                               
                                                                  Eric
                                                     
                                       It was the ripe year of 1989, the economy was strong
                                       and our way of life was generally good.
                                       This, obviously breed envy like no other......
                                       It was common hearing arguments between American
                                       And Soviet officials *Chuckles* even several companies
                                       engaged in this new way of life... That didn't last for
                                       long....
                                       Who dropped the bombs? I don't know... My name is
                                       Eric Freeman, and I am the last man on earth, and I've
                                       never been happier


Eric is quickly interuppted as knocking is heard, he plays it off, sipping on his wine until
he hears it again, making him rush downstairs


Downstairs, Front door

Eric rushes down to see a mysterious man pulling his gas mask off, looking
dead straight at him

Samael, a formal and former Business made man stares menacingl

                                                                  Samael                                                            

                         
                                           I'm sorry, disturbing you under.. such Circum-
                                           stances.... This must be quite unsettling


Eric is shocked

               
                                                                 Eric
                                                           (Stuttering)
                                                   Come in! Come in sir!


                                                     
                                                                               
                                                                                                                                                 Cut to:

Kitchen, Eric pours the man some wine
     
                           
                                                             Samael
                                               Oh no no.... I don't intend on
                                               staying long.....    


Eric is slightly confused

         
                                                           Eric
                                              (Trying to compose self)                                          
                                     For all these years.... I thought I was
                                                     *Is cut off*
                                 

                                                       Samael
                                    Out of everyone that died, you survived?
                                                 *Scoughs*
                                     So much for Survival of the fittest

Eric is slightly offended but Brushes it off

                                                         Eric
                                         I'm certainly not the strongest
                                         my friend...  but


Samael pulls a gun out and aims it at Eric, towards the window


                                                      Samael
                                        I'm not your friend, Buddy,
                                       and I'm not here to chit chat!

Samael attempts to shoot Eric,with him dodging it, hitting the glass window and
contaminating the area.
                                                           

Eric rushes to the downstairs door as Samael approaches


                                                                 Samael
                                                  I killed them all Eric Freeman,
                                                  Luck isn't with you this time!




Samael shoots as Eric is innocently against the door in shock, finding the gun is
empty, then rushing towards him as he swaps his gun out for a Knife

He attempts to stab Eric as he resists greatly against the steel blade.
Eric finally lets go of the knife as it plunges into his stomach, grabbing Samaels hand
 as he twists it and breaks it

Samael is left on the ground as Eric grabs it and puts it on, dragging him out
into the radiated and contaminated atmosphere, with Samael struggling greatly.
Samael begins to scream and claw at his face his face begins to react with the
contaminated atmosphere

                       
                                                           Eric
                                                    (Voice over)
                                            My name is Eric Freeman, and I
                                        will soon be the last man on earth.....
                                            and I've never felt so alone......


Eric closes the door, fading to black as Samaels screams of pain become more
and more faded

                   
                                                                                                                                        Cut to Black

The Final Delivery Short film

                 

Preliminary Task 1 - Creative Critical Reflection

The Final Delivery

          1. How does your product use or challenge conventions and how does it represent social groups or issues?
Our product challenges the theme of crime and how teenagers can become involved.
This is obviously a dramatization, but the overall outcome is very real as teenagers do get themselves into criminal acts that aren't as intense but can still result in similar consequences.
The situation we have placed our main (Teenage) character in is indeed a more surreal situation (A deal-gone-wrong situation, handing over drugs or something possibly worse) for the purpose of creating tension and suspense easier, and to also be unique in our approach. Our props list though is more blatant, with Walter's clothing being a very generic stereotype and The boss's attire being very professional and almost intimidating. This is Also accompanied by the many closeups of him, adding to the tension as his attire is obvious and extremely formal unlike his counter part, setting Walter up as a very vulnerable man currently. The lack of closeups of Walter almost represents the audience, trying to distance themselves from him, also making Walter seem ever more vulnerable and Alone. Walters clothing also represents an almost careless/destructive side to him, making it more believable to the overall plot that he went further and further into a situation that he could not escape. 

Overall, the Costumes for each character represent what their motivations are, and also show a little bit of  their personality and how they conduct themselves generally.

2. How does your product engage with audiences and how would it be distributed as a real media text?



3. How did your production skills develop throughout 
this project?

(Incase this fails to load)

4. How did you integrate technologies - software, hardware and online - in this project?

Even though I chose to use obsolete material (DeNoiser, Reverb etc), they worked just fine and even better in a sense that the layout was easier to use and allowed for more time to be spent on making a better product overall, also being truer to the effect I had been aiming for.

 I also used several Fx audio clips to overall create more tension and help with the continuity to the next scene (Hammer of the gun, Gunshot etc). With the Simple gain levels, I was able to make several audio clips louder and at times quieter, working hand in hand with the Echo effect to create an over-dramatic but still realistic echo of the shot within the enclosed room.

 Lacking the knowledge to make a realistic Muzzle flash, I aimed to cut to black ( Which worked quite well) to add a sense of dread as the viewer sees the gun beforehand, followed by the Hammer clicking down, a slow pause followed by a loud and dramatic gunshot. Adobe premiere allowed this to work quite well, allowing me to have my Soundtrack, Fx and added dialogue separately, also allowing me to have clips separate also if needed.

Thriller Sub-Genres

Sub-Genres

Psychological Thrillers:

The main focus of most Psychological Thrillers is of a Character with a troubled Mental or Emotional state, questioning their grip on reality as they seek answers to what is currently going on, as there is always something else going on that is normally not Base level. These films even play on our minds through a suspenseful roller coaster as we unravel the mystery at the same time as the Main character.
Reaction shots are commonly used in these films to show emotion as they react to the realization of things, with the director also using shots that pan into a specific object or scene that is crucial to the plot, as this is needed to help guide the audience's attention unless the object is obviously standing out blatantly in the composition. A key feature that all Psychological thrillers contain are Plot twists, where the mystery is solved, and we as an audience realize that the solution to the mystery was likely in front of us the whole time, or that we realise that the Main character isn't as innocent as they seem.
The soundtrack is normally very dramatic, normally picking up as something is suddenly discovered.

The Machinist (Psychological Thriller)

This is a classic movie that follows this very list of Psychological Thriller techniques, from the Plot twists to the very Mentally unstable character that is on a mission to find out what's really going on.
Suspense is created throughout the whole film, with the film in the intro setting Reznik up already as the not so innocent character who has appeared to have murdered another person, with the motives behind his actions being very unclear. As the film continues, the director uses many panning shots to show key objects and plot points in the film that are needed to help the audience uncover what is going on, leading them finally to the shocking ending. This movie overall ends on a spectacular Plot-Twist that is very ambiguous, changing the perception of Reznik from a Psychotic man with no grip on reality to a man troubled with massive grief throughout his life as he causes accident after accident, beating himself heavily over it... Or he can still be perceived as the 'Not so innocent' character he was thought out to be, with the ending being seen from different perspectives from how you felt about Reznik.

Spy Thrillers:

Most Spy Thrillers may have numerous elements of action included in them, but they still follow a realistic approach and a suspenseful one as a Character is almost trying to escape, with heavy themes of Escapism and overall Espionage. Spy Thrillers can sometimes incorporate the themes of Science Fiction, Action or even Comedy, but are not overall necessary. Fast pace cuts between shots in actions scenes are normally used to create an overall more intense viewing, as the next example shows (A chasing scene instead, still creating tension). Most of the soundtracks consist of a Cold-War like feel, overall Jazzy (Like the James Bond theme song)

The Man from U.N.C.L.E

This more recent Spy Thriller is almost a mashup of the previously mentioned genres, having Comedic, Romantic and Action themes throughout the whole film. The fast pace editing can be seen in this Chase scene, creating a more tense situation as the heroes race towards their ally in distress as both face difficulties of their own trying to get to her in time. The escapism theme comes from the very start where one character is attempting to escape from the other after stealing valuable intel, barely getting out in the nick of time.

Legal Thrillers:

Legal Thrillers normally follow Lawyers and their employees as they attempt to solve a very serious case where normally, their client is at that moment found guilty. The system of justice in itself is a major part at times as both parties attempt to find a legal way to get their client free from judgment.
Legal Thrillers follow a very suspenseful and tense story, with most of them steering away from major plot twists. Shots consisted in these thrillers are normally flashbacks as witnesses retell events and reaction shots as key information is addressed.

The Lincoln Lawyer

This Legal Thriller still follows the normal the normal themes that are expected of it, except for the fact that this one is daring enough to have a unique plot and overall plot twist at the end that is very ambitious, having an almost corrupt (Morally) but very likeable lawyer that works with different gangs, finally meeting the Main client of the movie who admits to Mickey that he indeed killed the girl (Through various flashbacks of the Murder and reactions shot of a Horrified Mickey, knowing to the full extent what this man is capable of) with himhaving to keep it a secret due to the law of secrecy between a Lawyer and His client. Suspense builds as he scrambles to legally put his client in jail, trying to be witty and secretive as they follow hot on his trail and attempt to stop his ambitious goal. Throughout this film, numerous flashbacks are shown as characters give their testimonies, painting a picture for what happened on the day of the crime for us, with many reaction shots throughout the film as each gets closer and closer in rivalry.


Crime Thrillers:

Legal Thrillers and Crime Thrillers are very much different. Where Legal Thrillers will mostly follow indirect tension in actions (Trials, Questioning etc), Crime Thrillers follow a very more serious tone, with the suspense and tension being brought about by Criminal activities and Violence. Most focus on Heists, Shootouts, and Chases. Most of these Thrillers focus on Action themes, with fast pace editing as characters rush to escape. Most of these focus on the relationships between the criminals in the movie, normally attempting to make their actions understandable and almost justifiable. Most Crime Thrillers have Plot Twists, but not all of them.

The Town

This Crime Thriller focuses on very direct sequences, with the Criminals fighting it out to escape from very serious scenarios (Heists), having to think smart and be quick as the cops approach, eventually with Chase scenes ensuing as they attempt to escape from the Law right after a brief shootout between the groups.  This movie also focuses very much on the Relationship side, as one of the Criminals falls in love with one of the workers of the bank they robbed, with many of his friends acting strongly against it, seeing it as very unprofessional. As we follow Doug's lifestyle, the movie tries to show us his struggle with his love relationships and his work conflicting, also trying to justify his actions through his rough life currently. Conflict is also present (With Doug following a 'Clean' approach to heists unlike his partner Jem who is almost careless and eventually, very messy).
Overall, this movie steers away from any Plot Twist and instead puts the viewer through a very tense ride through the situations these men face.

Sci-fi Thrillers:

Sci-Fi Thrillers mainly focus on the aspect of technology or the extraterrestrial, with many ideas or themes being very creative in the sense that they are allowed to be creative and unrealistic (Mostly still believable in the sense that it could occur in the future sometimes). Not only do they do this, but they focus on unordinary locations (Other planets for example, in a future where space travel to several other worlds is very much possible). Many of these Sci-fi Thrillers focus on a slow but very intense chase or fight scenes, possibly against an unknown entity that is attempting to kill the character, with the mystery of the creature also being another suspenseful revelation. Plot Twists are not always present, but some movies ambitiously do this.

Minority Report 

This Sci-fi is less based on the extraterrestrial or just overall outlandish locations, but instead, is focused on a very advanced technological society. In this society, the Law is able to see a crime before it is committed, leading to our main character (An officer) being chased down for being accused of a false crime (That is related to the plot twist). This Sci-fi movie focuses a lot on the technological side, with the actions scenes being fast and unordinary as officers bring various different devices to the table in the attempt to capture the Rogue officer. This world is explored to great depths as many futuristic aspects are introduced, such as Intelligent Cyborgs etc.

Techno-Thrillers:

Techno-Thrillers are normally a combination of Sci-Fi, War, Action, and Spy Thrillers, having a combination of their techniques. Techno-Thrillers mainly focus on Futuristic versions of the mentioned genres, someone a combination of more to introduce a different and unique idea. Techno-Thrillers are technically unrestricted in ideas, being able to make a Futuristic Spy film about a future Dictatorship. These films tend to stay realistic like my last Sci-fi example, but also tend to be Technologically advanced to, in a way, make it more believable and possible to be seen in the near future.

Source Code

This Techno-Thriller combines a Sci-fi theme behind the machine that is able to take him back in time, an almost Spy theme as he roams around trying to find answers, and overall a Political and almost War themed movie (War against terrorism in this case). This movie tends to follow each of the expected conventions within each Sub-Genre, from the chase scenes to the dramatic suspense as he comes to realize (The Sci-fi element) what the government did to him, and the abomination they made him. This film is very linear in Character development and sacrifices overall relationships for the mission at hand, drawing it out till the end of the film. Fast cut editing is also used in some scenes dramatically as he becomes more and more wreckless in the virtual world.





Thank you for reading my Genre essay :)
Feel free to leave your opinions in the comment section.

Calling times for The Final Delivery

11:30 - 12:30
                     - Camera, Sound and Lighting crew needed


                      Get all gear and props ready and up to the Salvation room
                      Set up for needed Scene's
                      Begin setting up gear


12:30 - 1:20 (1:50 Latest)
                   - Camera, Sound and Lighting crew needed


                   Finish setting gear up (Includes lighting etc)
                   Overlook script etc and shots
                   Prepare anything else needed

1:20 - 1:50
                 - Crew needed

                 Sound, Lighting and Camera test

1:50 - 3:10
                  - Actors and Crew needed
                 
         
                  Start getting required shots
                 
3:10 - 3:30
                 - Actors and Crew needed
       

               
                Get last shots
                Re-do some shots if wanted


3:30 - 3:40
                 - Crew needed
               
               
                 Pack up the gear
                 Deconstruct set
                 Vacate the area
               
               
                 

The Final Delivery Script

Fade in

Outside salvation room - Relatively dark
                                         
Walter, a rough yet sharp teen in their prime hesitantly lingers around the stairs as he is seen visibly shaking
                       
                                                                                                                                         Cut to:
Room
Boss is seen impatiently waiting, looking over a pocket watch as he taps away

                                                                                                                                          Cut to:
Stairs
Walter is seen walking towards the door as he takes his time with the steps before slowly opening the door

Room
Boss is barely seen waiting at the other end of the table as Walter slowly approaches him cautiously, unaware of the presence of another man, blending with the dark

                                                                    Walter

                                           Room, Walter speaking, slightly shaky

                

                                                                  Voice

                                                           (Little Shakey)

                                                    That's what you wanted, No?

Boss is slowly handed the briefcase, opening it hastily as a bright light is emitted, before closing it and slowly dropping it to his side

                                                                   Walter

                                       

                                                                   Voice

                                                         (Sighing Quietly)

I don't mean no disrespect when I say this, but I want out... I won't talk to anyone, I..... I just can't live with myself, I'm not built for this

A figure is seen slowly moving behind Walt as the Boss keeps eye contact

         

                                                                           Boss

                                                                           Voice

                                                                          (Cold)

                                                           Thank you for you service

A man withdraws his gun from behind Walt and shoots him as the Muzzle flash lights the room briefly

Boss closes the pocket watch on the table

                                                                                                                                       Cut to black:

Opening Sequences

Opening Sequences 


Differences between Opening credits and Title sequences: 
The differences between the two aren't that difficult in all honesty. Where a Title sequence usually limits you ( As most will have a black background and a large text stating the movie ), Opening credits allow you to take your time in presenting the key figures within and behind the movie without wasting time, being able to show footage in the background as the movie introduces the audience to the situation or tone of the movie. Title sequences also rarely state many  Both, however, are acceptable, as Title sequences are quick and don't drag out too long, whereas Opening credits are longer, yet show main tones and the overall atmosphere to be expected within the movie. The downside in some sense is that Base Level audiences (People who merely see what's in front of them with little thought to the meaning behind it or purpose) will likely ignore the texts presented if the movie throws them right into a scenario that brings about tension or something significant, making the whole Opening Credits ignored and in a way useless (To them at least).

Techniques of Opening Credits: 
There are many techniques that Directors use to add meaning and purpose to the Opening Credits. Opening Credits can throw us right into the problem at hand and give us many questions as to what is happening and how this unknown character got there, and can also introduce us to the time and year (As my last Thriller example does). Not only can they set the tone and time, but they can introduce us to characters and overall relationships depending on how they go about it, whether they show two characters cooperating together (Obviously hinting at the Main protagonists) or if they show a cliche Villian trying to enact evil and hideous things upon others, overall being an unpleasant character. 
The Opening Credits can also bring about excitement if used correctly, whether it be in the music brought about or the bold text of a famous actor that is loved and cherished.



Rear Window by Alfred Hitchcock

Purpose: 
This opening sequence almost perfectly sets the pretense to the main problem in this movie.
Not only does this Opening sequence show a lively neighborhood through a controlled view but in a way hints at to why our Main character spots the murder that occurs (Being the main problem). Being stuck with a fractured leg, he becomes observant of the surroundings from the view of his Rear Window. The intro almost sets his character up with the pan over the neighborhood, also making it believable once he stumbles upon the act committed and not just some Cliche coincidence. This opening sequence gives us most of the background info needed. This also allows you to get a general idea of the area, as we see that it is set in an apartment block (With many open windows and spaces, allowing us to see many characters going on with their day). This scene starts us off with a 'Calm before the storm.

Django Unchained  by Queintin Tarantino

Purpose:

Quentin Tarantino takes his time in this Opening Sequence, cueing classical Western-themed music to introduce us to a Western themed world as it introduces a very large sum of the cast in Red Western font, staying true to the time period and cleverly steering away from fonts such as Comic Sans. He is very generous as obviously stated, crediting many figures behind the scenes in the Opening Credits instead of the End Credits that are normally skipped and already bunched up. There isn't much occurring in the background obviously, but it's enough to narrow down the time period to the 1800's ( With the movie being set 1858 Texas). 

Our Main Character is distinctly shown, being noticeable from the crowd of slaves with more noticeable and puffy hair. This already in a way shows us the Main theme of the movie and problem that the Main character struggles with (Being a Slave, and later themes showing a struggling man coming to terms with being free, not knowing what to do). This also sets up the style of the movie, almost being comical yet provoking, comical in the sense of the Western music played and style of the text, also provoking in the sense of basing this Movie in a very sensitive time in History, showing (In this scene, the scars on their backs) a very racist period and almost deprived period. Through this scene, we are shown a Serious subject in a comical way, with Mr. Tarantino pulling this off spectacularly (Especially through the Font and overall Music)

A contrast between both Films:
Both movies use the Opening Credits to distinctly identify the main protagonist/character, with each having Highlighted problems (One with him having a broken leg, and the other being abused as a slave). Both scenes take their time to introduce the overall Setting and tone of the movie (With Mr. Hitchcocks movie showing a setting before the equilibrium is broken, and Mr. Tarantino's movie showing it as already being broken or nonexistent). The difference though is, as stated before, the Equilibrium for Jeff being merely shaken, and the Equilibrium for Django being utterly destroyed as he is forced to walk in unbearable conditions and have to face the fact that he will likely be sold off and worked to death. Jeff's personality and home are searched more In-depth as the theme of observation are shown, whereas Django is shown as more physically hurt (More focused on the scars and emotionless/bitter look that is worn on his face). Both focus on the environment tremendously to set the setting and atmosphere for the film, with both at times ignoring characters and zooming in on terrain/buildings.
One thing that Django Unchained does differently though is that they not only take their time with the Opening Credits, but they focus on them, with the characters in view being out of focus on purpose, almost to direct the viewer's attention to the text at hand and not the Character which has already been in focus before for long enough ( Almost trying to make the Opening credits more important, not being ignored by Base Level Viewers).

Conclusion:
Overall, both directors use the Opening Credits in a smart manner to show different key elements to the film, establishing key things to ensure the audience follows the film and gets the best experience possible.

Thank you for reading my post on Opening Sequences!
Feel free to show other examples of Opening Sequences done well or go further in-depth on my post :)

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