Thriller Opening Scene Analysis of 'Layer Cake'

Opening Sequence Idea for Thriller

 

 

 

Preliminary Task Editing

 Whilst editing our preliminary task I learnt many new skills such as how to check in and out shots from folders into Final Cut Pro, the editing program we used. We then had to work out the shots on the timeline, arranging them into a logical order. To check out clips we had to click the cog on the left hand side of the screen and select 'Check out' which then showed a loading symbol and disappeared when a yellow pencil appeared indicating that the checking out was complete. We then had to save our work to the desktop which created our groups file that we could readily access. To check in our clips, we would have to reverse the process.
 We then were told about Logging Bins which we created and were informed of the assigned names. The bin named 'Rushes' was where we kept our best clips, the ones we wanted to work on. The bin named 'Logs' was for all our clips in order to keep them in one place.
 I really enjoyed editing as it was a new experience to me and it was very satisfactory when I managed to create a transition from one clip to another in a smooth and effective way. It was also very useful to learn the basic skills of editing for future tasks.
 The aspect I found most challenging about the editing process was how we had to edit the clips together seamlessly in order to make the editing 'invisible'. There were a few clips which we didn't finish editing perfectly as they were as precisely edited as we could manage to get them with our limited skills therefore this is where refined editing skills would be beneficial, which we will eventually gain through out the coming year when working on later projects.
 I thought we matched our shots to the storyboard well and we made our task as suspenseful and interesting as possible considering the minimal script we were given. Taking into account that this was our first time editing clips together in Final Cut Pro, I think we managed the task well and produced a scene which we can look back on and reflect on our mistakes and how we can improve them, which is the aim of the preliminary task as it was our introduction to editing and filming an actual scene.
 I found that shooting extra shots for our task made it easier to understand our scene and added a sense of creativity with the variety of low angle shots, action shots which add the effect of match on action and a few more close up shots of the characters which add extra tension.
 If we had the chance to do it again our group would definitely need to work on the continuity as we found out just how important it is to have similar looking shots which would have made the editing much easier. We needed to instruct our actors fully with more attention to detail so they would have an idea of the exact movements they were to make during the scene, although we did mark their positions with tape on the floor so they had an idea of where to stand.
 I think my team worked very well together as we all had a turn at editing the clips into a flowing order and helped each other out when we were finding it hard to cut the clips with the blade tool and move them around on the timeline.

Evaluation of Preliminary Task

 Our preliminary task followed the idea of a woman forcing another girl to break an abducted victims neck so it would fit the script of the storyboard we were all given. The script involved the idea of a person being forced to do something by another person, at first acting reluctant towards the task but then eventually going through with it due to pressure created by the other actor, therefore we thought our idea fitted perfectly with the story. As the other students in my group had just learnt how to 'break an actors neck' in stage combat we thought we should incorporate this skill into our preliminary task to create an original idea of a scene.

Our group consisted of a director, cameraman and continuity person. We all swapped round rolls after each shot was successfully filmed. We incorporated the shots of a wide shot, a close up, mid shots and any extra shots that we wanted to add detail and an artistic effect to the scene. First we decided to film a wide shot of the set to establish the scene and let the audience see all the action going on as the actors enter the set. Next we decided to film a low angle mid shot and then close up from the right of the set. Then we manouvered the camera to our left and to the back of the set and adjusted the tripod to a high angle where we filmed a mid shot and close up of the scene again. Together these shots created the 180 degree rule and each shot was filmed over the shoulder of the actor. For our extra shots we decided to film a close up of the girl who's neck is broken as she falls to the floor. We placed the camera on the floor and to capture the action of the victim coming into contact with the ground. Another extra shot we decided to capture was a low angle action shot of the victim as her neck is broken and she falls to the floor. We tried to film it so when we edited it we could create 'match on action'.

 I learnt a lot about the process of making a film during the task. As we filmed our preliminary in the studio it was quite hard to frame the shot correctly, keeping the sides of the walls out of the shot so it gave the scene an increased feel of realism. I found that the continuity was a major part of preparing the scene for filming. We used bits of tape on the floor to note where the actors should stand for when they enter the set to ensure that each shot we filmed would look the same through out the scene.

The aspect of filming I least liked was the constant concern of mistakenly incorporating parts of the studio, offset, in the shot as it was quite hard from some viewpoints to successfully film the shot from a desirable angle and aim the camera so it was just the set in view. Therefore the choice of location limited the variety of shots we could take however it was a realistic and interesting set for the scene to be based.

I think everyone in my group contributed to the task well and we all achieved a fair amount. As there was a limited amount of jobs and four people in our group I think we managed to delegate the roles well and made sure to swap round after each scene so everyone had an attempt at each job. I would say I contributed quite a lot even though the first job I was given was the cameraman’s assistant as I made sure to help adjust the tripod by holding the camera securely and I helped to zoom and focus the camera. When we swapped round roles I had a chance to contribute more as I was the cameraman and then the director and I thought I captured the shots I was in control of well and directed the crew with instant clear commands.

If we were to do the preliminary task again I would have liked to shoot a few more close up shots of the actors as we did not have all the time we would have liked as some of the actors had to leave after a while of shooting therefore we were quite rushed in capturing all the shots we wanted. I would have considered another set area as the studio where we filmed our scene proved to give us quite a few problems as when we tried to shoot a high angle mid shot over one of the actors shots, acting as part of the 180 degree rule, from the back of the set we firstly incorporated part of the studio, off set, into the film therefore we had to film this shot again from a slightly different viewpoint.

 I really enjoyed doing this task as it was the first real time we shot a scene for ourselves. Working with the camera was my favourite part as I am interested in how they work and managing to create an artistic and appealing style of filming.

The script page 1

The script page 2

The set

Left of the set

Right of the set

Film Sound

Sound can either be diegetic or non-diegetic.

Diegetic is when the sound exists within the world of the film for example a song from a jukebox in the scene or characters dialogue.

Non-diegetic is when the sound emerges from outside the world of the film for example the film soundtracks.

Diegetic sound is any sound we would expect to hear if we were part of the narrative world, footsteps, doors opening and closing etc.

Diegetic sound can be subdivided into:

Dialogue- speech

Sound effects- footsteps, doors closing, gun shots etc.

Ambient sound- background noise, distant chatter, wind, traffic etc.

Non-diegetic sound is sound which has been added to support the mood and atmosphere that the filmmaker is trying to convey. This is usually in the form of added music for example ominous music that signals the approach of the shark in Jaws.

Non-diegetic sound is usually used to support what is going on in the narrative (parallel) although sometimes non-diegetic sound is used which contrasts the images (contrapuntal).

Contrapuntal music juxtaposes the sound with the images on screen for example in clockwork orange the classical music contrasts with the violence.

Film sound can also either be synchronous or asynchronous

Synchronous is when the sound is caused by an event on screen so that sound produced matches the action e.g. punches, smash of windows.

Asynchronous is when the sound is separate form the visuals e.g. a voiceover or dialogue from another scene.

We also learnt about the use of sound bridge.

This is when music connects two scenes carrying on from one scene onto the other.

A sound bridge can start off diegetic and become non-diegetic and vice versa.

Four main areas of meaning that can be generated through sound (diegetic and non-diegetic) are:
Character – e.g. James Bond, Superman, Jaws.

      Genre – e.g. Western, Horror/Thriller.

      Setting – e.g. Outdoors sounds of birds chirping or simply a lack of sound to symbolise a desolate, isolated place.
      Narrative – e.g. Voiceovers, suspenseful music tells viewers that something is about to happen.

After learning these keywords and terms of film sound we watched an action clip of the film ‘Hanna’ and were asked to list all the possible non-diegetic and diegetic sounds.

There were many diegetic sounds such as speech, footsteps, gunshots, sirens etc. and there were also quite a few non-diegetic sounds such as the soundtrack of the scene, vibrations, beats, added breathing, added air release effect etc.

The sound of non-diegetic music is used in the movie 'Jaws' and this clip from the film demonstrates the famous theme tune as the girl is swimming in the sea. 

Next we were asked the question:

‘How does the sound make us feel towards the character of Hanna?’

My answer is as follows:

 There are many sounds used in the short clip of ‘Hanna’ shown.

 Firstly there was use of diegetic sounds such as footsteps and shutting doors, which set a tense atmosphere at the start of the scene as these sounds were amplified. The use of speech was diegetic and the line of, ‘You’re in a safe place, Hanna’ is ironic as the girl is shut up in a cell, safe and secure, so she will not escape, as she is an obvious danger.

 There was also use of non-diegetic sounds such as the backtrack of vibrations and beats which were mixed with the added amplified sounds of Hanna’s breathing and the synchronous sound of bulbs flickering on which created a rhythmic soundtrack and intensified the atmosphere of the scene. The backtrack seemed to represent the girls heartbeat which kept the scene travelling at a continuous high pace. When Hanna reached the end of a tunnel and came to a trapped door there was a sound of air release, which represented her escape creating a sense of relief, and therefore diminished the previously constant sound of the symbolic heartbeat. 

Part of the clip we saw is shown below:

Kill Bill Technical Areas of Media

Compare and contrast how the four technical areas (camera, sound, mise-en-scene and lighting) represent The Bride in the burial scenes

The two burial scenes from ‘Kill Bill’ present the Bride to make a transformation of character from helpless to heroic. This contrast in character is made through four different technical areas in media, which are the camera, mise-en-scene, sound and lighting.

 In the first burial scene of ‘Kill Bill’ The Bride is portrayed to be a helpless and abandoned character. The setting is a desolate area of a graveyard, showing there is no one around and therefore no hope and symbolising death. Dim lighting seeps through the trees in the graveyard telling the viewers of the setting but still creating a tense and atmospheric mood. The first shot we see is of the demented cowboy ready to bury The Bride, taken at a low viewpoint, supposedly taking the woman’s point of view, this is extremely effective as this is the first shot the viewers see and we can already establish the fact that the woman is on the ground, powerless and weak under the straining power of the murderous cowboy. The camera angle then switches to a high viewpoint looking down at the woman, as if it were the cowboy’s viewpoint, this indicates the amount of power he possesses and therefore makes The Bride seem insignificant and helpless. The cowboys face is lit up while the woman is left in darkness indicating the contrast of control. The Bride looks anxious and nervous already sweating and dirty whereas the cowboy looks clean and indulged symbolising the difference in their power. When the woman is finally persuaded into the coffin a non-diegetic soundtrack plays in the background, which has a melancholic tune to it, suggesting the sadness of being buried alive.

  Whereas in the second burial scene, where The Bride escapes from the coffin, the woman rises from the ground through the mud and dirt to a diegetic and synchronous erupting sound signifying her rebirth and escape as well as a non-diegetic, enthusiastic, Western sounding backtrack which creates a sense of hope for the viewers and signifies that she is going to live. The camera takes a crane shot of the setting above ground of a graveyard where the woman is buried. This shot reestablishes the setting of the scene and sweeps down to ground level ready to capture the gesture made by The Bride of punching her hand in the air triumphantly as she reemerges and rejoins civilization above ground. As this happens the non-diegetic Western music mutes as she has escaped therefore there is no need for the celebratory music anymore.

 In the first burial scene when The Bride is trapped in the coffin and being imprisoned underground there is the non-diegetic ominous whistling Western tune playing in the background to create a tense mood. The camera angle is a side view of the coffin, acting as one of the walls, which shows a close up of The Bride allowing the audience to experience and share her anxiety of being trapped in a coffin, creating an intense mood. A diegetic sound of nails being hammered into the coffin has been amplified to give an increased dramatic effect for the audience as the coffin will be sealed tightly and there is no way of escape. The Bride’s diegetic deep breathing, which has been amplified considerably, can be heard indicating that she feels panicked and anxious, causing a sense of claustrophobia for the audience. As the coffin is plunged into complete darkness The Bride can be heard crying, gasping and sobbing and the ominous non-diegetic whistling stops playing in the background as the atmosphere has become suspenseful in the darkness, allowing the audience to concentrate on the sounds being produced at that is all we have to tell the story for us. There is a deafening silence played for a few seconds creating a suspenseful atmosphere, which is then broken by the diegetic sound of the coffin being shifted into the ground and mud and dirt being shoveled over the top. The Bride’s breathing therefore intensifies and the sound of mud falling onto the coffin becomes more and more muffled to represent the layer of soil above getting thicker and thicker, indicating that there is no escape from the enclosed space. The strained white light of a torch The Bride is holding flickers on which produces a minimalistic light source to illuminate the dark coffin representing her insignificant hope. The lighting inside of the coffin is edited to black and white this gives the scene more of a thriller/horror film atmosphere and therefore heightens the intensity of the scene. The Bride makes diegetic grunts and can be seen to have sweat dripping form her face when attempting to escape, which signifies her desperation. The final diegetic sound generated from above the ground is the distant sound of a car engine driving away representing the feeling of desertion and the reinforced fact of there being no savior. The torch light flickers symbolising The Brides fading hope and then the diegetic, synchronous sound of the feeble torch being switched off plays as the car drives away signifying how her last chance of escaping has disappeared and her last glimmer of hope has faded.

 However in the second burial scene The Bride endeavours to escape from the coffin and is portrayed to be a hero. Firstly she possesses a much calmer, composed attitude matched with gentle, less panicked breathing. The lighting aids this change in atmosphere as it has altered dramatically, instead of a white flickering torch light, the scene starts by tracing the edges of the coffin with the solid golden glow, beaming from The Bride’s torch, creating a much more positive mood depicting her to be a heroin with the empowering use of the warm, yellow light, symbolising solid hope and determination of escaping. Also the torchlight seems to light up the whole of the coffin, illuminating the entire space showing the coffin to be bigger than expected. Also contributing to the realisation of an increased amount of space is the camera movement in this scene and the angles used to film the coffin as they contrast with the previous scene by showing the whole of the enclosed space so the coffin seems much larger and therefore creates a hopeful atmosphere as the feeling of claustrophobia slowly becomes more insignificant and ceases. The camera angle starts with a point of view shot of The Bride as this creates more of a personal atmosphere as the audience can share in the feeling of wanting to escape.

From the start of the scene there has been a continuous, non-diegetic drumbeat played in the background, symbolising her ongoing staccato heartbeat, which sets a steady beat to the scene and a less panicked atmosphere. There is an introduction to a non-diegetic sound of trumpets in the scene when The Bride manages to slip her cowboy boot off to get her razor in order to unbind her hands, symbolic of the reemerging character of The Bride which restores the audiences faith in her as a sense of triumph is created. The appearance of her cowboy boots signifies action and possible danger, representing her as a fighting character. When attempting to undo the rope binding her wrists together, The Bride’s appearance of blood and sweat and her hard facial expressions as well as her gritted teeth exude determination. After successfully achieving to free herself from the binding, an array of angelic, non-diegetic choir voices fade into the soundtrack connoting how she is one step closing to escape which gives the viewers a sense of relief and portray The Bride to be heroic. Next the woman tries to physically break the wooden ceiling of the coffin as a means to finally free herself, therefore the camera takes the position of a medium close up so the viewers can visibly see her actions of breaking through the coffin. The camera then takes the point of view of The Bride displaying the repetitive, excruciating thrust of her fist to come in contact with the wood creating a synchronous, diegetic sound of punching. To represent the agony there is use of blood smeared on the coffin from her hand as a result of her sheer eagerness. The sight of blood and punching creates a contrast with the hopeful, angelic music as pain contrasts with hope. An aerial view, close up shot is taken of the Bride’s face showing her gritted teeth as she takes each blow with bravery representing her fortitude and her face is visible from the glow of the torchlight symbolising her heroism.

 In conclusion the two burial scenes in ‘Kill Bill’ portray The Bride to display two very different attitudes and the four technical areas of lighting, camera, mise-en-scene and sound represented this transformation from a powerless character to a conqueror of death. 

Thriller Review of 'Immersed'

 ‘Immersed’ starts with a shot of dark, rippling water and a constant droning sound effect in the background to create a tense mood. A swimmer disturbs the unbearable anxiety already building up in the atmosphere. The woman breaks through the water and becomes the central focus in the shot. She is seen to be doing lengths in the pool and there are various different shots being used to illustrate this activity. Some shots are close ups of the body and others are taken at a low viewpoint but still seem to be looking down on the swimmer as if from someone else’s viewpoint which creates an uneasy atmosphere and viewers get the feeling the woman is being watched.

The humming back track has returned into the background, which recalls the earlier feeling of anxiety whilst there are underwater shots being used which create a feeling of isolation, as the girl is not aware of what is going on above the water. The handheld camera underwater shots contrast to the still shots above water as it seems like you have the same viewpoint as the swimmer, following her in her activity, and experiencing how isolated and oblivious she is to her surroundings which creates a definite tense mood.

The next shot is an aerial shot of a counting stopwatch on the poolside, taking a close up on the stopwatch adds an element of time which suggests that something is about to happen so the atmosphere is suspenseful.

As the swimmer draws in breathe she gasps in the air dramatically, which gives you a shock, as you are already feeling uneasy in the eerie atmosphere created by the invasive shots and the haunting music.

A wide shot is then taken of the whole pool room which emphasises how the swimmer is cut off from the outside world in a small room and only has one exit through one door. The next shot is at a low viewpoint from the poolside and shows the swimmer getting closer to us and the continuous, monstrous splashes of water she is generating which are preventing her from gaining any knowledge of what is happening in the outer world.

The next shot is quite an abrupt close up, which shows the swimmer grab for the stopwatch hastily and check her time, which is the only time she stops from her vigorous activity to take notice of the happenings in her surroundings. The shot then returns to the poolside low viewpoint which show the woman in her continuous routine, however this time there is the effect of slow motion used and this shot increases the intensity dramatically as the thriller starts to build up a climax of suspense. The high angled, aerial shot used gives the effect of a witness looking down.

A medium shot of the door handle is captured and a stranger walks into the poolroom, unnoticed by the swimmer. When returning to the girl there is the added sound effect of slow and despairing breathing which really brings the viewer into the mind of the girl, completely oblivious to the events going on.

The stranger is seen to be coming closer as there is a continuous medium shot of the suspect, not allowing the viewer to see any kind of identity, just the sight of the person’s body, which gives viewers the feeling of suspicion. The stranger’s clothes are dark which immediately depict the person as an evil, unnerving character. The shot of the stranger approaching is in very dim light, which symbolises threat and danger entering the environment. Whereas the following shot taken by an underwater camera incorporates complete natural daylight which contrasts to the last shot and symbolises the innocence of the unknowing girl. These two shots paired together are quite chaotic as the lighting contrasts intensely, they slightly disorientate the audience and panic arises as the second shot is hastily filmed creating an effect of the swimmer struggling.

Next is a tracking shot of the strangers legs, showing minimal body which adds a sense of danger and alarms the audience, making you feel uneasy as you do not know who the character is. Eventually the camera pans round to the swimmer who has finished her length and becomes face to face with the stranger, possessing a look of complete horror and emitting a genuine gasp. The thriller comes to an abrupt end with the climax of the last shot and finishes with the bold writing of ‘IMMERSED’ illustrated with ghostly shadows underneath the font to create an ultimate evocative effect. 

Filming Techniques

Today we learnt about two of the different techniques you can use when filming a scene.

• The 180 Degree Rule
• The Rule of Thirds

These two rules are very effective for producing a creative and logical scene. 

The 180 Degree Rule

When filmmaking, if you want your shots to appear realistic and smooth with a consistent line of action, the filmmaker must follow the 180-degree rule.  

The 180-degree rule is an imaginary line of action drawn across the frame or screen. It is the location where not only action or the direction a subject is moving, but it is also the sightlines, or the character’s direction of vision. Once shooting has begun, the camera operator needs to stay on one side of the line in which they initially started shooting that particular action.

If two actors are talking to each other then draw a line to connect the two places where they are standing and extend the line in each direction to the edges of the set. Even if there are many actors in the scene you can still draw a line connecting the two opposing sides of the action.

Consider two characters speaking to one another while facing each other. Their direction of vision is the sightline. For instance, Character A is on the left side of the frame speaking to Character B on the right side of the frame. Character A and Character B, because of the sightline, have created an imaginary 180-degree line, straight through them. Therefore, the camera operator is on Character A’s right side and Character B’s left side. To create a logical and believable plan of action, the camera operator must stay anywhere on this side. Suppose the camera operator did not consider the 180-degree rule, and all of a sudden, Character A is on the right side of the frame. This particular shot will give viewers the impression that Character A is talking to themself. The result is not only distracting but it can become confusing to your viewers.

The Rule of Thirds

The rule of thirds is a concept in video and film production in which the frame is divided into nine imaginary sections. This creates reference points which act as guides for framing the image. Points or lines of interest should occur at 1/3 or 2/3 of the way up or across the frame, rather than in the centre. 

The rule of thirds creates more tension, energy and interest in the composition than simply centring the subject would. When using the rule of thirds your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally.  People’s eyes usually go to one of the intersection points most naturally rather than the center of the shot – using the rule of thirds works with this natural way of viewing an image rather than working against it. When filming people, it is common to line the body up with a vertical line.

Camera Work

Today in our Media Studies lesson we learnt how to assemble and dissemble a camera and some of the many techniques used to film a simple scene.

The Camera:

• STEP 1: Set up the tripod. The tripod has three feet that stable the camera. Depending on the height you want you can adjust the tripod accordingly with knobs on the side of each tripod foot. When dissembling the tripod you must always be careful to hold the camera by its handle to assure that it will not be damaged in any way. 
• STEP 2: Fasten the camera to the tripod. In order to do this there is a knob on the side of the top of the tripod that you have to press inwards to slide the camera on and fasten it tightly. To make sure the camera is secure you shake it slightly. This ensures that the camera will not move or fall in the middle of a shot.
• STEP 3: Mastering the controls. To work the camera you need to know the basics of how to turn it on and off and start and stop recording. To turn the camera on you would need to flick a switch on the lower part of the camera upwards. Next would be the recording button which is located on the top of the camera and you would simply press it once to start recording and press it again to stop.
• STEP 4: Controlling the shutter speed and checking the bubbling. This is essential to do as the camera will need to be balanced and at a straight level on the tripod for filming therefore whilst bubbling a camera you need to make sure the dot on the bubbling sensor is in the middle of the circular sensor as it will then be level. The shutter speed is very important in camera work. This measurement determines the amount of light that will be let into the camera lens. Generally the shutter speed on the film camera should be about 1/50 sec and this will let a sufficient amount of light in through the lens. 
• STEP 5: Operating the camera zoom and focus. In order to make sure the quality of your shot will be in focus, whether your doing a close up or a wide shot, you must always zoom in on the object you want to film, adjust the focus until the quality sharp and full of clarity. Then if you are filming a wide shot you can just zoom back out accordingly and with a close up shot, commence filming at that distance. 
• STEP 6: Correcting the white balance. This is essential to do as  the light intensity will vary in different locations and the camera will not know the difference between artificial and natural light therefore you must find a white wall or background or simply a white piece of paper and hold it in front of the camera lens. Once you do this you need to press a small button on the side of the camera labelled 'WHT BNCE'.
• STEP 7: Inserting the battery. Once you have accomplished all the other steps you will need to make sure the camera is fully ready for filming and this is done by checking the battery is inside. To insert the battery you have to slide it in the back of the camera and push it down until it clicks. 

Now the camera is secure, focused, balanced and ready to start filming. As next we were asked to film a short scene including different camera viewpoints using zooming and altering of the tripod. We were put into groups to manage the camera and film the scene therefore we all had different roles. The roles consisted of director, cameraman, continuity person and actor. We all changed round roles twice so we had a chance to try out something different. Before each take, the director would have to call out, "Stand by" to which all the crew would answer, "standing by" which means everyone is ready to start shooting the scene. The director would then tell the cameraman to "roll it over", meaning to start recording, to which the cameraman would reply, "rolling". It would then be time for the director to shout "ACTION" to all the crew so the actor could start acting the scene. When the scene ended the director calls out "CUT" so the camera man would know to stop recording and the crew would know the scene was over. Sometimes a director might like to create a dramatic effect by leaving saying "cut" until after a long pause, which is what happened in my group a couple of times!

When shooting the scene we decided to start off with a wide-angle shot, which let the potential audience acknowledge the whole location of the scene. So the actor came into room, picked up her phone off a chair, checked the time on the phone, looked at it for a couple of seconds and threw it back down on to the chair. We were told to make the scene as simple as possible so we would not have to shoot the scene more times than necessary from different locations. After the wide angle shot we decided on filming a close up shot of the phone on the chair, this worked well as the actor came in and picked it up, so the phone would not be on the chair and then when she threw it back down the phone landed in exactly the same place as where she picked it up. Next we shot a close up of the actors face therefore before we started recording the scene we had to position the camera correctly to where she would be standing so we could capture her face perfectly, at the right angle. Lastly we decided to film a medium shot of the scene in order to show the range of viewpoints which can be achieved and to add variety. So when the shots are altogether we would end up with a wide angle shot to introduce the scene and setting to the audience as the actor walks into the room and picks up the phone. Next would be the close up shot of the actors face as she checks the time on her phone. After that would be the close up shot of the phone thrown down onto the chair and the medium shot of the actor walking out of the room. When watching the clips back we thought the filming had gone successfully and we could edit together a professional looking scene! I found this exercise extremely interesting and quite easy after a bit of practice. It has really opened my eyes to just how long filming a simple scene can take as most film crews are on set for months or even years filming a movie!

The camera we used was the Sony NX5 which is an excellent quality camera and is also basic and easy to use. 

Sony NX5 Film Camera

The Bourne Ultimatum Poster

• The poster shows a rugged looking man in two poses, gazing intently at the camera and looking over his shoulder apprehensively. In both photos he looks attractive and may appeal to most women. 
• The picture on the left shows the main character holding a gun as he is dressed in all blacks therefore this represents action and murder as he may be undercover which would appeal to most men and viewers who like action films.
• The text saying 'Matt Damon is Jason Bourne' may attract Matt Damon fans to the film as it has been clearly advertised that he is playing the main character. 
• The presentation of the release date in the centre of the poster makes the numbers look as if they are part of a code which may interest viewers who like a challenge to solve mysteries in the plot. 
• The facial expression of the main character on the right is very intense indicating that the mood of the film may be very serious and therefore it may be attract viewers who enjoy drama. 
• The appearance of the mans face on the right shows his skin to be cut and dirty which implies that the film is action packed and violent. 

The Roommate Poster

• The poster suggests that the target audience may be of a younger age as the poster shows the setting of a college and the hustle and bustle of the students around the grounds. The plot involves a girl going off to college and sharing with a psycho roommate therefore this may attract people who have been through the same experience of sharing a roommate at college.  
• All the actors on the poster are of a young age as they are going to college and the roommate in the centre of the poster is also of a young age therefore the thriller would probably attract teenagers more than adults. 
• The roommate, Leighton Meester, could be seen as a role model to many young girls or attractive to many teenage boys therefore the movie would appeal to them. 
• The red writing of the title symbolises danger and possibly blood therefore the audience would have to like suspense and possible gore. 
• The college in the background of the poster looks haunted against the backdrop of the grey sky. Also Leighton Meester looks ghostlike as the ordinary students behind her are blurred and she is the only clear figure looking dementedly at the camera therefore the target audience are for people who like thrills and supernatural scares. 

The Usual Suspects Poster Analysis

• The man on the left looks as though he could work at a garage as a drive as he is wearing a jacket labelled 'porsche' down the side. This indicates that he is associated to cars either having a job in the business or has an interest in them. 
• The man second to the left is wearing all black which symbolises danger and hints to an evil persona. His stance is wide which is intimidating and his overall body language is stern and rigid which may indicate he is more aggressive and violent than any of the other suspects. 
• The central man is wearing a red shirt which suggests that he may be a smooth talker and confident with women. Also his red shirt may symbolise blood which insinuates a chance of death. It could also symbolise sex and passion which could hint to his talent with the ladies. His body language implies that he is comfortable and relaxed in his situation which portrays him has a confident character. 
•    The man second to the right is wearing a light blue shirt which suggests that he may be an ex policeman. He is dressed in light colours which gives the character a heroic feel and he may be the brains of the operation. His body language suggests that he may be a reserved character as his arm is positioned over the other which acts as a guard to his body. 
•  The man on the right is wearing a sweater vest and geeky shirt which portrays him as an intelligent yet vulnerable character. His facial expression is much more anxious compared to the other suspects. His body language of leaning towards the other men may suggests that he is guilty as he is attempting to hide behind the other men. His hand is  positioned to be grasping his arm which signifies that he may need stability in his life. 
• Their shadows against the background imply that they have many secrets and are suspicious characters. The shadows represent secrets creeping up on characters and setting an eerie atmosphere. 

The Girl with the Dragon Tattoo Poster Analysis

The Girl with the Dragon Tattoo Poster Analysis

•       The background of the poster is black, which creates an ominous and gloomy mood, which indicates the possible mood and atmosphere of the movie.
•   The woman on the poster has very white, fair skin, which contrasts with her jet-black hair that also contributes to the dark atmosphere of the poster. However the pale colour of her skin suggests she may have been pure once before or she either still has an innocent side to her.
•  As the emblem of the dragon is covering one side of her face this could represent how it is one side of her personality.
•  The woman has a determined expression on her face so this could indicate what she may have to face in the movie is a challenge and requires all her efforts.
• The colour of red used to illustrate the dragon design and some of the words in the title represent the possibility of danger within the movie leading to injury involving blood and potential death. It may also represent possible passion felt by the character.
• Most writing on the poster is white and contrasts with the black background making the writing bold and may be symbolic of innocence and purity, which may be a part of the characters personality and a main aspect of the movie
• Her pale skin contrasts with the dark background to give the poster a sense of depth.
• The way the woman is emerging from out of the darkness could represent how she has been in a dark place for a long time, either physically or mentally and it may also suggests she has many burdens and secrets which are catching up with her. She is coming forward into the light, which could represent a sense of hope and suggests something good may happen in the movie.