Monday, 26 January 2015

Opening Sequence Costume




The female's clothes are very casual. Her costume is mainly black to connote her boldness and confidence. However, her shoes are a light pink and her scarf is a light blue. The pink connotes compassion, faithfulness, and sensitivity. The blue connotes trust and stability. While we wanted her to be the confident and outgoing character, we also wanted to make sure we showed her more compassionate side. Her accessories are a black handbag and smartphone. Her black handbag connotes elegance and sophistication, whereas her smartphone signifies that she is highly sociable.


The male's clothes are quite formal and professional. His costume is a mixture of darker colours. He is wearing a dark blue suit jacket, white shirt, and dark red tie. The jacket connotes professionalism and its colour connotes stability and sincerity. The white shirt connotes purity and innocence, signifying his shy and reserved character. The red tie connotes passion and his desire to find romance. His shoes are dark brown. This connotes his reliability and stability. Finally, his accessory is his coat. It's black, simplistic, and functional. This further connotes his professionalism and formality.

By Michael Vodden

Opening Sequence Soundtrack

In order to find the right soundtrack to our opening sequence, we browsed a royalty-free music website called Incompetech and YouTube. We found a lot of tracks that could have been used on Incompetech but none of them were entirely appropriate. We made narrowed it down to a list of five
songs from both websites. The first song we had on the list was Inner Light by Kevin MacLeod.



We decided that this song was too slow and not engaging enough. It also sounds too festive. We decided against basing it around the Christmas period. The next song on the list is Montauk Point by Kevin MacLeod.



Again, we found that although this song does connote the romance genre, it is too slow and calm. Since this is set in London, we also want to connote the business of the city through the music. Another song we considered was Light Thought by Kevin MacLeod.




This song was also too soft and slow. Although it connoted the romance genre, it didn't match the business of London that we wanted to connote as well. The penultimate song on our list was So Bueno by The 126ers.




One of our idea for the soundtrack was to use a radio station as opposed to just a song. This would have been the song that went behind the hosts talking. We decided against this because the next song in the list connotes the romance genre and was preferred when we asked some people from our target audience. In the end, we decided to go with The Engagement by Silent Partner.

Wednesday, 21 January 2015

Credit Sequences

Se7en uses handwritten looking font, which complements the hand writing throughout the opening. It signifies disorder, because the handwriting looks messy, from its non aligned letters. The colour of the text is white, which is so that it can be easily read over the dark backgrounds.When the text appears it is usually on a blank black screen, or over a dark area of the font. This is also so the text is easily readable. The credits usually appear at different sides of the screen, which can connote the disorder of the sequence. In the opening the text flickers, which signifies something is wrong, showing the horror genre. A conventional event in a horror film is when lights flicker, and so the text flickering shows Se7en's horror element.

 Guardians of the Galaxy uses a slick, unusual, tech looking font. This clearly connotes to the audience that the film involves futuristic technology, signifying the science-fiction genre. The colour of the font is gold, which also signifies the genre, because gold is a shiny expensive colour. The font is not actually shiny, but looks it because of the many shades of yellow and orange. This was used instead of gold to connote that it is like a comic book (which would do the same), because the film is marvel and based on comics. The credits use a wipe across transition to appear, this complements the music because the speed of the wipe is similar to the music speed and the speed of Peter Quill dancing. This helps the flow of the transition. In the sequence the credits wipe back when the shot does not change to make room for another name to appear. However when a shot changes the credit will not wipe off, but instead just disappear with the next shot. This is something that can be used in our film trailer because we are going to use a variety of shot lengths.

The credits in James Bond Casino Royale are white and simplistic. This text works well with the animations, because both are simplistic, and use bold colours. In addition the colours of the opening sequence are the colours of playing cards, just like the text. The credits appear with a fade, which goes with the slow scenes behind it. Similarly to Guardians of the Galaxy the transition complements the scenes. On the other hand the transition does not complement the music, which is very fast paced. However it works because the scenes are show a variety of different speed shots, for example James Bond shooting in slow motion with a whirl wind of fast flying cards.

 When the title appears in the Se7en sequence, it does not seem very significant, but placed subtlety during the credits are shown. The title looks mostly like the credits, apart from the fact that the font is more standard add all in capitals. The only time the title takes up more of the screen than the credits is for a split second. The way the title is subtle among the credits could signify the film to come, because the audience is expected to try and figure out the mystery themselves via subtle hints.

In contrast in Guardians of the Galaxy the title is clearly visible to the audience, in big bold text, which is impossible to miss. This is because they are both very different films. Se7en being a serious, gritty film, and Guardians being a comical science-fiction film.

Casino Royale is the midpoint between Se7en and Guardians, Having the title slightly bigger that the credits, and being in the centre, but no appearing for long. This could be because there is a long build up to the title that it does not need to grab the audiences attention as boldly as suddenly appearing like it does in Guardians. Also it could be because James Bond is such a well known set of films that the title 'Casino Royale' is not very important.

Monday, 19 January 2015

One Day - Opening Sequence

Shooting Schedule



Date
Location
Shot Description
People Needed
Saturday 13th December
Exterior – Train Station
Medium shot of train doors closing, with the gap between the doors centred
All crew
Saturday 13th December
Exterior – Train Station
Medium shot of train doors opening, with the gap between the doors centred
All crew
Saturday 13th December
Interior – Train
Medium shot of Sara on her phone next to the train window on her phone - with the intention to use it as a split screen
All crew
Saturday 13th December
Interior – Train
Medium shot of Josh on her phone next to the train window reading a newspaper- with the intention to use it as a split screen
All crew
Saturday 13th December
Interior – Train
POV shot with the camera pressed up against the window as it is moving
All crew
Saturday 13th December
Interior – Bus
POV shot with the camera pressed up against the window as it is moving, from the front
All crew
Saturday 13th December
Interior – Bus
POV shot with the camera pressed up against the window as it is moving, from the side
All crew

Saturday 13th December
Exterior - Bridge
Long shot from Golden Jubilee Bridge looking over The Thames with Big Ben and London Eye in shot
All crew
Saturday 13th December
Exterior - Bridge
Panning long shot from Golden Jubilee Bridge looking over The Thames and turning to face people walking down the bridge
All crew
Saturday 13th December
Exterior – London Eye
Long shot from across The Thames looking at London Eye
All crew
Saturday 13th December
Exterior – London Eye
Panning long shot from across The Thames, first facing the street then rotating to looking at London Eye
All crew
Saturday 13th December
Exterior – London Eye
Low angle shot from underneath the London Eye
All crew
Saturday 13th December
Interior - Bus
Medium shot of Josh on the bus
All crew
Saturday 13th December
Interior – Bus
Medium shot of Sara on the bus
All crew
Saturday 13th December
Exterior - Stairs
Medium shot Sara walking down stairs
All crew
Saturday 13th December
Exterior - Stairs
Medium shot Josh walking down stairs
All crew
Saturday 13th December
Exterior - Stairs
Close up of Sara’s feet as she walks down the stairs
All crew
Saturday 13th December
Exterior - Stairs
Close up of Josh’s feet as she walks down the stairs
All crew
Saturday 13th December
Exterior - Street
Long shot Sara walking through the street, from the camera
All crew
Saturday 13th December
Exterior - Street
Long shot Josh walking through the street, from the camera
All crew
Saturday 13th December
Exterior - Street
Close up of Sara’s face as walking down the street
All crew
Saturday 13th December
Exterior - Street
Close up of Josh’s face as walking down the street
All crew
Saturday 13th December
Exterior – Street
Medium shot of crowds of people
All crew
Saturday 13th December
Exterior – Street
Medium shot of crowds of people
All crew
Saturday 13th December
Exterior – Street
Medium shot of crowds of people
All crew
Saturday 13th December
Exterior – Park
Medium shot of Sara on a bench
All crew
Saturday 13th December
Exterior – Park
Medium shot of Josh on a bench
All crew
Saturday 13th December
Exterior – Park
Medium shot of Sara on a bench, zooming out to reveal she is alone
All crew
Saturday 13th December
Exterior – Park
Medium shot of Josh on a bench, zooming out to reveal he is alone
All crew
Saturday 13th December
Exterior – By The Thames
Medium shot of Sara giving a performer money
All crew
Monday 15th December
Interior – Shot of lift doors
Medium shot of lift doors closing, with the gap between the doors centred
All crew
Monday 15th December
Interior – Shot of lift doors
Medium shot of lift doors opening, with the gap between the doors centred
All crew
Sunday 20th December
Interior – The Shard
Long shot of London with the camera pressed up against the window from within The Shard, this will be turned into a time lapse
Josh

Filming from The Shard