This is a section of the story board we wrote.

  The gist of the story is a man witnesses someone being tortured on a webcam chat website (e.g. chatroulette.com) and has to save them.

   The film will start with a shot of the protagonist tied to a chair himself having been tortured, with the camera slowly zooming out to reveal that this is actually on a webcam. Cut to black and title at the bottom of the screen stating its the day before, we hear an alarm. The black will fade away as if it is from the POV of someone waking up, he will turn the alarm off. We get a montage of his daily activities- eating breakfast, brushing teeth, cycling to school, a lesson etc. He comes home, goes on chatroulette and come across a person being tortured. He calls the police but they disregard it, they think that it is a hoax. He uses his skills with computers to find out where the victim is held and goes to save him.

Film openings that relate to ours

Inception -

Unfortunately I can't find the opening scene from Inception because it's not out on film yet. But the idea of the film starting off in the past is something we want to incorporate into our film, for instance, in Inception the main character wakes up having been washed up on a beach, he then goes inside a house and meets the older version of the man he's been working with for the whole film. Like Inception, we want to start the film off with the main character in the position of the person he see's on his webcam and then you would watch the rest of the film to find out why and how he gets himself into this position. The reason we decided to do this was because it gives us a chance to use a lot of different camera shots.

Pictures of the places we are going to be filming the start of our film.

This will be the road that we will use for the main character to cycle down at the start of the film on his way to school. We chose it because its a nice road and its fairly quiet so we won't be interrupted when trying to film. 

This is the spare room in my house and will be used as the protagonists bedroom. It will be used for the scenes in which he wakes up near the start of the film and when he gets onto the webcam and find the other character.

This is my dads studio, the reason we are going to use this is because we needed a warehouse looking place and this is the closest thing we could think of. Fortunately we won't be showing the outside of it, only the inside for some dark scenes.

This will be the wall the character that is being held hostage will be sat against, the reason we chose this as the  place the character will be sitting is because of the tools and all the mess behind it, we wanted to make it so you don't see the torture but it is implied by the fact that there is a lot of dirty tools in the back ground and the fact that the character looks a little beaten up.

Another reason we decided to choose the studio at my house was because of this large window which is opposite the wall that the character will be sat against, our idea was to shine a light through it so it creates a dim, dirty light that would show a little bit of the character sat in the dark room or hang a light from the ceiling and swing it so you only catch glimpses of the character sat on the chair.

Criminal justice - season 3.


FADE IN:

INT. IDI'S HOUSE - CORRIDOR.

DIEGETIC SOUND: POLICE MAN BANGING ON DOOR.

CAMERA AT THE BACK OF THE CORRIDOR SHOWING THE DOOR AND THE BLURRED OUTLINE OF A POLICE MAN.

CUTS TO: OVER SHOULDER SHOT OF THE POLICE MAN AT THE DOOR.

CAMERA SHOW THE BLURRED FIGURE OF IDI RUSHING TO THE DOOR WHILST TRYING TO DO UP HER DRESSING GOWN.

Idi: Do you have any idea what the time it is?

CUTS TO: OVER SHOULDER SHOT OF THE POLICE MAN.

Police man: Yes mam, I'm sorry to disturb you at this hour, may we come in?

Idi: Not until you tell me whats going on.

CUTS TO: OVER SHOULDER SHOT OF IDI.

Police man: We have arrested Raza on the suspicion of murdering Frank Cordingley.

Idi: I think you've got the wrong house, Raza would never do anything like that.

IDI STARTS TO CLOSE THE DOOR BUT THE OFFICER STICKS HIS FOOT IN THE WAY.

CUTS TO: POLICE MANS POV.

Police man: Mam, If you would please accompany us down to the station, we need you to answer some questions.

FADE IN.

INT. POLICE STATION - INTERVIEW ROOM.

NON-DIEGETIC SOUND: CELL DOOR CLOSING IN THE BACKGROUND.

CUTS TO: EXTREME CLOSE UP OF RAZA SITTING IN AN INTERVIEW ROOM.

INTERVIEW ROOM: A SMALL, DARK ROOM. THE ONLY LIGHT IS A SPOT LIGHT SHINING ON RAZA. THERE IS ONE POLICE MAN BY THE DOOR AND ONE MAN SITTING INFRONT OF RAZA.

CUTS TO: BIRDS EYE VIEW OF THE TABLE WHICH RAZA AND THE MAN ARE SITTING AT.

Enter the interviewer, he places some files down on the table.

Interviewer: So Mr. ...

Raza: Mohammed.

Interviewer: We are going to have to get you to answer some questions, they will be taped in case we later need to rely on them in court.

Raza: Ok.

Raza starts to shake and a tear starts to form in his left eye.

CUTS TO OVER SHOULDER SHOT OF RAZA.

Interviewer: How long had you known Mr. Cordingley for?

Interviewer: Did you and him get along well?

Raza: I didn't know him that well but he seemed like a nice guy.

Interviewer: Apart from the University is there anywhere else that you would see him?

Raza: He lived on the same road as me.

Interviewer: Is there anything that you and Mr. Cordingley disagreed on?

Raza: Like I said, I didn't know him that well so we didn't speak a lot.

CUTS TO OVER SHOULDER SHOT OF THE INTERVIEWER WITH THE SEE-THROUGH MIRROR BEHIND HIM.

Interviewer: You are currently in in a lot of debt am I right in saying?

Pause

Interviewer: £26,000?

Raza: Yes.

Interviewer: Are you aware that a few week before Mr. Cordingley had won £32,000 cash price from the Lottery?

Raza: Yes.

CUTS TO: OVER SHOULDER SHOT OF RAZA.

Interviewer: Is it true that all that debt has now been paid off?

Raza: Most of it, yes. 

The interviewer looks at the police man at the door.

CUTS TO: POV SHOT OF THE INTERVIEWER LOOKING AT THE POLICE MAN

Interviewer: Don't you think it's strange that shortly after Mr. Cordingley's murder your debts suddenly disappeared? 

Raza: It was inheritance from my grandma who recently passed away, it's bad enough I'm accused of murder but now your saying I did it for money?

Raza starts to break into a sweat.

The police man at the door smirks. The interviewer starts to get more aggressive with Raza

CUTS TO: MEDIUM SHOT OF THE TABLE WITH THE TWO CHARACTERS ON EITHER SIDE.

Raza is starting to talk quietly. Raza is crying now with his head low, looking at the floor.

Interviewer: Did you kill Mr. Cordingley?

Raza: No.

Interviewer: Theres no point in lying to me Raza. Did you kill Mr. Cordingley.

Raza: No.

CUTS TO: CLOSE UP OF RAZA WITH HIS HEAD IN HIS HANDS.

Raza starts to mumble.

Raza: This can't be happening, this can't be happening.

Interviewer: Do you have something to say?

Raza gives no reply.

CUTS TO: WIDE SHOT WHICH INCLUDES THE WHOLE ROOM WITH THE POLICE MAN AND THE DOOR IN THE CENTRE.

The interviewer gets up and walks out of the room leaving Raza in pieces at the table.

Raza: I didn't kill him, why would any one think I did, I barely knew him, I barely talked to him, I barely ...

The interview room door opens and a policeman shows Raza to a cell.

FADE IN:

INT. POLICE STATION - RECEPTION.

DIEGETIC SOUND: THE MAN NEXT TO HIM GRUNTS AND TURNS THE PAGE OF HIS MAGAZINE.

CAMERA SHOWS IDI SAT, WAIT QUIETLY ON A CHAIR IN THE CORNER OF THE ROOM.

Idi looks up.

CUTS TO: MEDIUM SHOT OF A POLICE WOMAN BEHIND A DESK.

Police woman: You are free to see your son, although he will be held in the police station under we get further orders.

FADE OUT.

The art of title design

The art of title design

People remember film from good opening title sequences. 


Titles in silent films: 
Words and letters were the biggest part of this type of film, they had to provide essential information for the viewer because of such things as ease of production. This was usually provided by white letters on black backgrounds. In addition to hiring lettering artists, the biggest film studios began to employ typesetters in the production of title cards 


Titles with music:
Movies got more popular and producer started to invest more money into sounds with the titles. For example the dog they liked to convey the tone of a movie through the dressage of its main title. For example black and red letters conveyed horror. Hollywood animation studios, including Warner Brothers and MGM, did give some license to their artists to indulge in title antics. Disney took it upon themselves to put the characters into the title sequence

Pete Frasers Blog ideas and planning

Pete Frasers Blog ideas and planning

Ideas
Keep the ideas simple.  If the idea gets to complex then there is more likely to be more problems, recently The Film Council awarded cash to four young scriptwriters who pitched their thriller, horror or comedy movie ideas in 25 words or less. This 25word approach was raised last year. Research for this kind of project really means getting a full understanding of what the task involves by looking properly at real examples and at examples done by previous media students.


Planning
Planning is the biggest stage of the production, its best to have a record for all the planning that happens. Story boards are the best way of getting the planning easily across. We need to do a visual plan also. With the storyboard, we need to do get across the location of the camera, how long it last and any music. Feedback on the storyboard and ideas can be vital and can bring about lots of improvements.

AS Media Studies: Preliminary Task

For our preliminary task our group created a chase scene for an opening to a film. Before filming we drew out a simple story bored to plan the premises of the story and plan the shots and position of the camera. We decided to use the underpass because it was close to school and the steep slope, graffiti and tunnel created a dramatic mise en scene.
We took close up shots of just the legs of Harry and Adam running past, we tried to pile leaves in the way to make the running more dramatic. The close up of the two running accross doesnt reveal who they, drawing the audience in to learn more.
Next we had a shot from the balcony of the underpass to film a tracking shot so that we see the two fully for the first time. Adam is bigger than Harry and the title is called The Chase so the audience may have guessed that Harry is in danger (we could have dressed more appropriately to emphasise this).
It Cuts to another tracking shot from the balcony from a different position. From here we see that they run into the tunnel, only one way to go for Harry.
A cut to the two running through the tunnel (we considered doing this in slow motion for dramatic tension. You can see from our deleted scenes that we tried simply running slowly but that didnt work and we didn't know how to create a slow motion effect). It then cuts to me waiting around the corner. The audience knowshat Harry cannot escape, this creates dramatic irony. I grab him and it cuts to a medium shot of us. t