Feedback

Good Slideshare presentation on the digipak design.  i feel that you could have blogged the evaluation of the shoot day a bit better, by using visual images to illustrate the points you make.  This is clear description, rather than analysis of the shoot, which needed to be discussing set design, including lighting, mise en scene, shot selection for example.

Evaluation of Shoot Day - Part 2

When the others returned from lunch, we had already filmed the wide shots of the dancers, and were about to move on to the MCU's and ECU's. At this point Ian and Will took over whilst Nico and I and the rest of the crew had lunch. We were starting to feel pressured by this point, as we only had the dancers until 2:30pm. However, we ploughed through this section and caught up on any time we may have lost through the change-over from light to dark. 


Problems we had with the filming in UltraViolet, is that there is almost no light so we had to use gain on the camera to pick up the actors, who were just outlines on usual settings. Image Below. Also we had ordered UV sensitive Contact lenses along with the paint, but you couldn't really tell under the camera. 


Next we shot the band in wide and in MCU, ECU, individually and took any detail shots at the end, such as the Discoball with lasers on it, and foot-stamping to the beat. 

Evaluation of Shoot Day - Part 1

This time last week, we were in the studio assembling the set for our shoot. We had planned to do it earlier, but another group had started late and therefore overshot their time limit, meaning they didn't finish until 6:30pm. Allowing for clear up, we then couldn't start until 7. 


We began by assembling a raised floor, which had to be carried in piece by piece. Once we had propped up any unbalanced corners, we then attached the walls, leaving a small gap for the lighting strips. Since these belong to the Drama department, we had to nail some plywood to them before we could begin the wallpapering. This took much longer than we anticipated, but with 3 of us there we managed to get this done just before 9. The final touch for the day was a long roll of carpet from the props dept. Luckily it was exactly the right size for our set and didn't require any trimming. 


Our shoot day began at 9:00 the next morning, and began by bringing in the remaining props and extras. At this point Nico took charge of the cast and got them suitably painted whilst Will, Ian got the necessary amplifiers and speakers. Also I had to do a fair bit of running around, as one of our cast members was in a lesson when we were ready to shoot. By 10:30 we finally managed to start filming the party scenes under 'normal' lighting. Once we had everyone on set however, we realised that there weren't nearly enough guys, so all of us made cameo appearances at some point to make up for that. We then kept Ian and Will in the shoot for continuity's sake, leaving Nico doing the majority of the directing, and myself doing most of the camerawork. Although at some point during the day, we did juggle roles temporarily so that everyone could have a go at camera and directing/playback. 


We actually improvised a lot of our narrative shots, due to the construction of the set and safety issues, such as the lighting of cigarettes in the studio. (If one looks closely at our video, none of the cigarettes are actually lit). When we finished the 'normal' section, we let Ian, Will, and the cast go for lunch, whilst Nico and I stayed to oversee the setup of the UV lighting and the dance routine. 

Evaluation of CD Digipack

Feedback

Good account of process of design, but does need evaluation in full.  you have made valuable reflective comments on your blog re process of construction.  It is important that you reflect upon the early Cd design.  Can you please post this as soon as possible, with an evaluation of your shoot day.

The Master design - This really is the final album cover(except for the band members)

Basically for this last design, we took the two panels on the left from the latest design, and remastered a few of our earlier panels, as we felt that the design was too busy. All we have to do now, is replace the cast pictures with our new band members. 

Evaluation of Poster

As a group, we went through our poster designs and decided that Nico's worked the best as it compliments the album design. Looking at the poster, we also decided to revert from the pink inside cover back to the multicoloured one, as from the audience feedback we got, a lot of people said that it was a bit too busy. A revised album cover will be posted shortly. 

Promotional Poster Concepts

Above are the various poster designs that our group created, although with our revamped album cover, Nico's concept (the bottom one), is probably the most relevant, since it also includes photos of band members. 

Final Album Cover

This is our final album digipack for Lanmou, which Ian created using Photoshop. Changes we made in this final version are most obviously, the pink panels which are the inside left and right. The image of the 8-track tape is below where the disc will be. (see below for disc image). Also we have adapted the front cover, as we felt that it wasn't quite eye-catching enough, by including some shadow on the text and emphasising the streaks. On the bottom of the rear cover we have included the official small print and copyright information, which was accidentally left out on our last draft. 

Further Developments

Today we organised the Photo Shoot for next week, made an appointment with the props department and enquired into a few potential back-up actors, as one of our main actors has been ill for the past week, and we are unsure as to when he will be returning. 

Album cover update

After reviewing our original album cover designs, we have put together the best elements of our concepts to make a new CD cover. Below is the first draft. 

The elements we took from the originals were the bubbly designs on the front and rear covers, and new additions we included are the band photo (which would be a stencil cut-out). We also modified the text font to Venetian to make it easier to read. 
We also changed the layout of the background cover slightly, there were just a few things bugging us such as the order of the songs, one of the longer titles was partially over a light patch so we switched it with a shorter one. Also we put some of the official labelling on the back such as the Barcode and the record label's logo. (This we changed from Columbia to EMI, as we felt it would be better if the audience immediately saw the big name on the rear cover). Below is a picture of the altered rear cover. 

One thing we did notice after we had uploaded these blogs, is that we had left off the copyright and legal small print at the bottom, so this is being put into our latest version. 

Props

For our UV sensitive props, we managed to order them all off one site, saving us the trouble of going out to find them all. 

Feedback

A proficient presentation of the CD digipak design and the importance of album covers.  I feel that you could have developed research more into the conventions of Album digipak's and addressed layout and design more closely.  Excellent initial design's into CD covers for your group artist and good consideration to target audience.  Also from Google docs you might try and embed the PPT into your blog via HTML.

CD and album cover design research

Letter to Columbia Records

Hurtwood House School

Holmbury St. Mary 

Dorking, Surrey

RH5 6NU

Columbia Records UK

Derry Street 

London W8 5HY

To Columbia Records UK,

We are a group of A Level students working on an A Level project for a qualification in Media Studies. We are writing to request permission to use the following track as part of this project:

Electric Feel - MGMT

With your permission the track would be used as the accompaniment to a short form video that is made purely for assessment purposes and will have no commercial usage. The video will be viewed only by members of the school community and the assessor of the examination board.

The artist and the copyright holder will of course be fully recognised in the pre-production and evaluation material that accompanies the project. We can also include a full copyright notice if required both in the planning material and on the video itself.

Yours sincerely,

Ian Heritier, Nicola Duckert, Richard Hill and Will Day

Hurtwood House School 

Cast Photos

Philip von Dreschel                           Ed Nightingale

Tom Barnet

Feedback

This is excellent work - there are evident clear accounts of your planning and research for your music video production day after half term.  I like the way in which decision making is evident along with reflection and revisions. 
Your cast list has been agreed and you need to be working on the set design and organisation of production. 
There are one or two ways to develop the blog.  First to begin using a wider range of blogging tools - there are lots of well presented images, but use of Flickr or powerpoint will increase the creativity that is shown on your blog.  Second the valid, detailed and reflective comments that you make need to be developed further with  key media concepts and theoretical ideas;  for example, link the planning to star image,  or how set design and lighting link to mise en scene and/ or what model's of lighting you are using in relation to your set - key, fill, directional, discuss the intensity and colour and what you are trying to represent about your artist. 

This will help make a more thorough evaluation of your work.  Well done.

Music Video - Evaluation of the Animatic

The animatic was a new concept to me, and I now like how it gives the viewer a better feel of our idea as an interactive storyboard. It's also nicely compact and easier to view than hundreds of sheets of paper. The purpose of the animatic is to give us a better idea of how our narrative and performance elements will look once music has been added. It also helps us to plan some of the key shots along the timeline and improve the storyboard so that there are no continuity errors. Our storyboard began as rough sketches on paper which we cut up and pinned to the wall. Then we took 10 second shots of each drawing and these shots were then sent up to the editing suite, to be cut together. 

From the editing process, one thing I have gathered is that we need to ensure that we mix up the cuts a little more as some of them are quite predictable, and to establish that certain key moments in the song have movement in the narrative or performance that flow with the music. For the one thing we don't want is for the video to be predictable and therefore boring. It needs to capture the audience and make them feel as though it could be them behind the screen. 


A few problems we encountered were that we hadn't drawn out every shot that should have been, and there were a few key shots that should have been drawn and included. However we overcame this problem by inserting text into certain gaps, to assist the viewers imagination a little. As a group I felt we were more efficient than with previous editing tasks, as there were only two of us working on the editing at any one moment, and the other two would be working on another aspect of the project. We would then switch roles so that everyone had a chance to work on the edit, and add their own contributions. 


Below is a screen recording of a section of the editing process:
Screen Recording - Electric Feel_02

Shooting Schedule

"Electric Feel’ - Lanmou

Shooting schedule - 18th November 2011 

Studio Performance shots [UV] - 9:00 - 13:00

1. Wide Shot - Whole Band
2. Close up full frontal - Singer
3. MCU - Singer
4. Profile Shot - Singer
5. Staggered Profile Shot - Singer 1+2
6. MCU - Guitarist
7. ECU - Guitarist’s Fretboard
8. ECU - Guitarist tapping foot
9. MCU - Bassist
10. Close Up - Bassist’s right hand
11. Wide Shot - Synth/Drum player
12. ECU - Fingers on Drum-machine
13. Close Up - Synth
14. Detail Shots (time allowing)

Studio Narrative Shots ‘Normal’ - 14:00 - 16:00

1. MCU- Dude enters door, goes right
2. MCU - Dude grabs drink, walks off left
3. POV - Holding Drink
4. Profile Shot - ‘Electric Girl’ dancing
5. MCU - Girl dancing 
6. MCU - Dude sees girl
7. Close Up - "
8. MCU - Girl turns and looks over
9. ECU - Girl's eyes
10. Wide Shot - Dude starts dancing over
11. Two Shot - Both dancing
12. Details - Dancing
13. Close Up - Them getting closer
14. Close Up - Dude closing eyes
15. Close Up - Him opening eyes (electric blue lenses :)
16. Wide Shot - Band's POV, them kissing

Studio Narrative Shots ‘Electric’ [UV] - 16:00 - 18:00

1. Profile - Them getting out of the kiss
2. Zoom out - Changed surroundings into 'electric craze'
3. Wide Shot - Crowd Party
4. MCU - Crowd members dancing
5. Wide - Crowd Part
6. Details of Dancers (UV paint etc.)
7. Funky Disco Ball
8. Wide Shot - Lasers and Smoke and crowd
9. Crane Shot - Aerial view of band from front
10. OTS Shot - Girl smiling at guy while dancing
11. OTS Shot - Guy dancing with girl
12. OTS Shot - She pulls him into the crowd
13. MCU - he follows her
14. Profile - Kiss (fade out)

Guildford - Semi-detached average dwelling. Post 18:00

1. Exterior Shot - People arriving at house party. (Better if in twilight.)
2. Exterior Shot - People leaving house party (Must be night-time.)

Feedback for the set and lighting concept

After our meeting with Dan, Luke and Matt, our idea has been adjusted slightly and we now are going to use strobe lighting towards the end and possibly poke small holes in the wall to shine lights through it. We are also adding a few features such as a bay window, curtains and various decorations on the wall to make the set look as much like a parent's living room as possible. We are thinking outlines on the wall where pictures have been taken down, and possibly a TV among other features. Below is the sort of basic idea we want the room to look like.

The main issues were how to have the changeover from 'normal house party' to 'uber tippy house party', which we have overcome by introducing UV and strobe lighting after the 'electric feel'. Also being introduced is UV paint and the glo-sticks to accentuate the change in atmosphere. Another point lighting-wise, is that we have now scrapped the concept of the hidden lights on the set and are now going to show 'crappy party lights' around the band to give the audience the impression that it's quite a large party and a fair bit of money has gone into it.

The only addition we made to the set apart from the bay window was a panel behind the door, so that we can have people moving in and out of the room. In the end due to safety issues, we scrapped the idea of lights shining up through the floor as it would weaken the structure of the set. We are now only making holes in the walls. 

Set and Lighting Design

Above is the rough set design drawn out by Ian. Included are lighting concepts.

Cast List

• Main Guy - Ed Nightingale
  
• Singer/Guitarist - Jack Barton
  
• ‘Electric Girl’ - Ella
  
• Bass/Background Singer - Tom Barnet
  
• Synth/Drums  - Philip von Drechsel

Dancers

• Bethany
• + 4 more

Crowd - Whoever is in PS or wants a bit role on the day. 

Note: The people highlighted in red are cast members we have talked to and have agreed to be in our video. The others have either not given us a definite answer or have not been consulted yet, so are still prospective.

Reasons for casting

Ed: Even though he is an A2 student, from past experience we know that he can act and would fit the role exactly. From seeing him in drama productions last year, we know that he can act well

Ella: Was our second choice for the ‘Electric Girl’, and we chose her in the end because our first choice looked to similar to the main character we were casting and we need contrast between the two. She also does drama, which is why we chose her over our first choice. 

Philip: We chose him as the synth and drum machine player for the band, as he DJ’s professionally at home in Germany, and has his own rig. He also looks suitably ‘indie’ and from a performance back at the boarding house, we know that he will look fine on camera. 

Our other cast members have not been solidly decided, but we have the following down as prospectives:

Tom B: Can play both bass and guitar to an acceptable standard, and is an option for either the guitar or bass player. He can also sing, and has had much praise from his music teachers. At the moment our only proposition for a bass player

Jack: Does theatre, can act well and can sing acceptably. He is our backup man in case the above two are unavailable for some reason.

Tom S: Our backup in case for some reason Ed is unavailable or taken ill on the shoot day.

Jess: Initially our first choice as the ‘Electric girl’, she has become our backup as her facial features are too similar to Ed’s, and in case Ella is missing on shoot day. 

The Animatic

Above is our animatic for Electric Feel

Music Video - Prop List

• Two microphones with stands
• Bass guitar
• Guitar
• Synth
• Drum machine
• Sofas x2
• Beer Kegs
• Cigarettes

• Led lights
• 'Throwie' lights
• Stack amps
• House standing lamps
• Red plastic beer cups
• Strobe lights
• Uv lights
• Glo-sticks
• Smoke Machine 
• Disco Ball
• Coffee Table
• Coloured Contact Lenses

Timeline

The Timeline was important for us to work out in which key parts of the song certain events were going to happen. This is essential as in our heads, it all works but if it doesn't work on paper, we need a new idea. Through making the timeline, we soon discovered that our narrative was going to be very short, and gave us the idea to review it.

Which record label is our band signed to?

I think our band would be signed to EMI, as it is one of the major British labels, which is important to 'Lanmou', being a British band. Among others, EMI have signed the following artists:

• Iron Maiden,
• Gorillaz,
• Pink Floyd,
• Radiohead,
• The White Stripes.

Our target audience is likely to be in the young adult arena, aged between 15-25, of both male and female. However they may also appeal to an older generation, as many of the band's influences have come from the hippy era, as well as modern day artists. The audience will also be predominantly within the social classes of BCD, as they will identify with the band more easily, having had similar background, and/or experiences. 

Storyboard

This is an initial draft of the storyboard, which I made as we were trying to clarify our ideas. As we saw from work last year, these will continue to change throughout the project, with new drafts coming in as the idea progresses. Mainly, we need the storyboard for our narrative element, so that everyone has the same concept, and if each group member has a shot at directing, they can pick up where the previous one left off.

Research into CD covers by Relevant Artists

Whilst not being strictly similar to our proposed artist, the Stone Roses have employed a similar album cover design to the one that I am proposing. They went along the lines of a non-descript approach in which the first thing you notice is the band's name, followed by the lemons, which stand out against the 'paint splatters'. This cover works because it is bold and memorable.

The artwork of Jon Hopkin's Opalescent is quite similar to the concept that I came up with, very loose brightly coloured shapes that can be interpreted as whatever you want them to be. This reflects 'Lanmou's proposed attitude, carefree and hippy-ish. 

Sonic Youth are more similar to 'Lanmou' in terms of musical style and this is reflected in the album cover, the country scene conveying a sense of freedom and innocence of days gone by. Also I liked the style of writing on this album cover, the messy white scrawl giving off a pretence of not caring about their image. On the contrary, it defines their image, because a lot of though obviously went into this album cover, even though it may not look like it. 

Concept for Artist CD cover

Feedback

Excellent detailed and through blogging of concept which is clear and logically organised.  Really good presentation, embedded video works well and does teh use of links.  Clear understaning of what is needed for the concpet of the Music Video and reseraches exiting artists well.

Development of the narrative against the lyrics

Today we printed out the lyrics to Electric Feel, and then went through each line getting some shot ideas. Below is our ideas sheet at the moment.

We liked the after effects of this video. :)

Eco-Island Promo from Evo Films on Vimeo.

Effects we particularly liked, were the bouncing text, the flashing colours, and the lights on the edges, giving it a kind of retro feel.

Music Video - Task 2

Narrowing the ideas.

We have now decided that to avoid making our video seem really cliche, we should change to a more alternative act as bands like Blink have been done to death in the past. This led us to our current idea, MGMT. 

MGMT are a relatively recent group formed in 2005, and their debut album Oracular Spectacular was voted best album of 2008. (follow link for more info)

The song we had in mind is Electric Feel and we have chosen this because of its combination of a simple consistent bass line and we think it could have real potential for a unique video. 

Our narrative concept at the moment includes reference to cult films, namely Tarantino’s ‘Reservoir Dogs’. We decided that we liked the opening credits, where the 5 main characters are strolling down the road in slow motion, suited up, and thought we could adapt that idea.

Music Video - The Concept

Task 1

Today we began working on our music videos. In my group are Ian, Will, and Nico, and our initially we were considering metal as a genre, but this was soon ruled out as metal videos are notoriously difficult to combine with good narrative. Next was to do a rock/alternative genre, maybe along the lines of Sum 41, Blink 182, or Enter Shikari. Ian suggested we also have a look at the work of lesser known Trip Hop acts such as Wax Tailor, and we now feel that this genre can lend itself to some really artistic narrative ideas. 

The songs I proposed to the group were 

‘Juggernauts’ - Enter Shikari, 

‘Walk This Way’ - Aerosmith feat. Run DMC. 

I thought of these two songs, as I wanted a fairly upbeat song, and something that a lot of people would recognise. 

At the moment our ideas for narrative are still quite open, but after looking at a couple of videos, we have a bit of inspiration. From ‘Dilly’ - Band Of Horses, we decided we liked the idea of sepia filming, to give it an old school feel. In turn this led to Will’s idea of referencing cult films, namely Tarantino’s 'Reservoir Dogs'. 

What we would do here is subtly recreate a version of the slow-mo strolling scene, so than fans of Tarantino  would recognise and pick up on this.  

I would guess that our target audience will probably be that of people in their late teens to late 20’s, as they would have to be aware of present trends, but at the same time have a sizable knowledge of past ones, to fully ‘get’ the video, as we are thinking of doing a lot of reference. 

The Brief

1. A promotion package for the release of an album, to include a music promo video, together with two of the following three options: 

• a website homepage for the band;

• a cover for its release as part of a digipak (CD package); 

• a magazine advertisement for the digipak (CD package).

All material for all tasks to be produced by the candidates with the exception of acknowledged non-original sound or image material used in a limited way in video/radio work. Further guidance will be available in the support materials. For music video, permission should be sought from the artist for use of the audio track.

The centre will be expected to allocate marks according to four levels for each of three categories: 

• Research and Planning 
• Construction
• Evaluation

What is a Music Video

• "A music video is not primarily a commodity, but a promotional one." - Andrew Goodwin 1992
• "They now provide pictures for the songs in our heads. Goodbye imagination.... All kids need to do is watch and listen, stare straight ahead. No need to think, to embellish, to create, to imagine. The electric fix is in." - Joe Saltzman 
• Part of the construction of a particular band or star.

A music video can be either organic or synthetic, meaning the artist has control over the material produced, or they are just the performers of prewritten songs for a mass audience. 

Start of A2 Media

First blog post this year, and with a mix up of the classes, it's great to have a new mixture of peers to work with this. I think my target for the year is to hit the A* grade because I think I can. I have a good feeling about this year, and I'm going to make more of an effort to keep up to date with these blogs.

Music Video Analysis - Including star image

Sum 41 - Fat Lip

Account of the Preliminary Shoot

Yesterday we made our first attempt at shooting a music video, and we were lucky enough to be able to use a real band, called Acres Of Life. Being of a similar age to us meant that we got on very well with the band and the shoot went relatively smoothly. Aswell as myself, my group consisted of Courtney, Talisa, and Nina.
In total we had 3 hours to shoot our material and edit it, which actually made us more efficient as a group because we got down to work and didn't waste any time. We also had the advantage of being a three, meaning that we could easily rotate roles as Director, Cameraman, and Playback, and we worked together last year on our Thriller.




After watching the first group shoot, we saw just how short 25 mins is in the studio, and when our turn came we already had a shot list planned out and a timeline of what we wanted. We began with our wide shot, and then did the following among others:

• Singer Profile shot
• Close up on Guitar/Bass
• Drummer MCU Shot
• CU Drums shot
• CU Guitarist
• MCU Bass

Once we finished in the Studio, we moved up to the editing suite and began putting the video together. I think this was so much easier than making our thriller, because we essentially had a backbone to the video, (the soundtrack), and we could make cuts according to the beat of the music.

A2 - Music Industry Advanced Production Brief

In this second year of Media Studies, We will be creating a promotion package for the release of an album from a new artist, including:

•  a music video to his or her first single
• the cover for its release as part of a digipak (CD package)
• a magazine advertisement for the digipak (CD package).

Evaluation Task 7 - Looking back at your preliminary task, what do you feel you have learnt in the progression from it to full product?

From looking at both the preliminary task and the main task comparatively it is easy to see that the difference in the quality of the editing between the two is huge. What has to be borne in mind though, is that we shot the preliminary in just under an hour using ourselves as actors and whatever we had in our bags as props. On the other hand we had almost an entire day to shoot the main task on location in two different houses and we had weeks to prepare, gather up props and such. 

In terms of sophistication, the prelim was actually quite offhand, we turned up, were given some guidelines, a storyboard and a camera and told to go and shoot it the best we could. During the shoot, we experimented with adapting the storyboard, different moods with which to shoot and even added some of our own touches into it, such as the mobile phone, implying a call was to be made. The main task however was a totally different story, we had about 3 months to plan it and then another month to edit the rushes. Our planning started from brainstorming ideas in November then moved to choosing an idea in early December and getting it approved and storyboarded by the end of the month. Next we got a shot-list written out, actors cast, a final storyboard and props collected up before shooting in late February. 

We found that shooting the main task was in some ways easier than the preliminary  as our main task didn’t include dialogue, eliminating the possibility of the actors saying the wrong words or not speaking them correctly. In hindsight this was an extremely good choice as we would have been very pushed for time otherwise. 

We mostly shot the main task in medium close up, although we did have a few extreme close ups as well, and I feel we were more adventurous in the main task as we deliberately broke the 180 degree rule, and included a tilt shot showing the debris scattered across the floor. Because we were filming in 2 different locations with the aim of jumping between the two, we actually gave ourselves a lot of freedom with shot order, as during the editing process we experimented with three different sequences before choosing the one that we liked the most and continuing with that one.


While editing the the preliminary task, we began to realise the importance of added sound effects such as the mobile phone bleep and the door slam which emphasise these key noises. Finding these sounds in Soundtrack Pro was harder than I thought, as almost every different bleep we tried sounded wrong, and there were so many of them.  What I hadn't realised prior to this first bout of editing was that the buzz track is essential in ensuring continuity between cuts. In the main task, we actually used much of our original sound dubbed over with an original score created by Sophia, so the buzz track wasn't actually needed. We actually used less sound effects than we thought would be necessary, as the original recordings were extremely realistic, so we kept them. 

Evaluation Task 6 - What have you learnt about technologies from the process of constructing this product?

Evaluation Task 5 - How did you attract/address your audience?

Audiences slideshow rich

View more presentations from hurtwoodhousemedia5.

Evaluation Task 4 - Who is the target audience for our thriller?

The target audience for our thriller is mainly for 15-25 year olds, but older viewers may also enjoy it as they will probably know someone who has had a break-up similar to that, as the characters are fairly normal. The reason that younger viewers are more likely to identify with the characters is because they will definitely either have had firsthand experience of something like this or will know of many cases like it. This is due to their age, as it is fairly commonplace now for young people between the age of 15-18 to go through many boy/girlfriends in a year. Someone who would be likely to go and see this film would also tend to prefer independent films as opposed to Hollywood blockbusters, maybe because they want to be different, or because this is the sort of film that would have people swarming to go and see it, and this person would probably have a lot of spare time on their hands. They would tend to be more in to the whole emo scene, or be very alternative in their style, the kind of person who would enjoy a dark film about revenge and holding a deep grudge against someone for years.

The viewer would also have to have an interest in indie films, because it is not shot in a regular way. We break the 180 degree rule numerous times, and this will make it very disorientating for the viewer, possibly even to the point that the audience may feel sick. However until the editing is finished we won’t know quite what effect that will have on the audience and at this stage we are still aiming for a dark feel to the film. Even though the room is well lit, the theme behind the story is menacing, and once Ellie gets over her initial rage, it turns to scheming. The rapidity of the opening is what will keep the audience interested, each shot is about 1-2 seconds long, the jumps between locations will make the audience uncomfortable and the difference in sound will be highly noticeable. In her room she is going insane, breaking things, and screaming whereas the only emotions we get from him are a mixture of relief and stress, with the only sounds coming from him being calm and subdued. The only weaknesses I can see so far in our thriller are that I think the lighting is different in each location which could potentially confuse the audience, as we shot in the Turrets at around 3-4 o’clock, so we were already losing light.