Wednesday, 27 January 2010
Locations
We decide to use the boy's changing room in Hurtwood House, as we change the location of Cornhill House to the main building because we want to have more time and use as much as we can instead of going to another house, where we have ever been to. Also, it would seem more like a school as our story is happened in school. We change the idea of location from a house to a school. For the corridors, we pick the school basement corridor where the changing room is there. Those pipes on the wall creates a scary feeling, and because the lighting of that corridor is not very bright and it again creates a scary feeling and she walks through to and go up the stairs. At this time, we shot her in a P.O.V which only shows her back and foot steps.
Monday, 25 January 2010
Camera Operation
Manual Controls
ApertureControls aperture width with smaller f-stop values representing a wider aperture.
Shutter SpeedManually controls the shutter speed.
Exposure CompensationAlters the exposure setting set by the camera. The exposure can be increased for a lighter image or decreased for a darker image.
Automatic Exposure BracketingWhen this is turned on, the camera captures three images when you take a shot: One with the default exposure automatically determined by the camera, one with increased exposure, and one with decreased exposure, so that you can select the one that looks the best.
Image QualityThis sets the resolution of the image saved by the camera to the memory card. The example camera has three image quality choices: 8.2 mp (megapixel), 4.3 mp, and 2.0 mp. For the best image, shoot with the highest image quality. This is recommended if you have a large enough memory card capacity. The size of the image can be reuced later with image editing software. If your memory card capacity is limited, or the photos will be converted into lower quality images for use on the internet, then the lower quality settings may be used. SLR cameras also allow the image format to be set to jpeg or RAW or both.
ISO speedThis setting increases or decreases the sensitivity of the image sensor. If you are shooting in dim light, you may want to adjust this control to a higher ISO setting for greater sensor sensitivity to light. In bright light, you may adjust it to a lower value to prevent noise.
White BalanceNormally, you should try the camera's Automatic White Balance (AWB) setting first. If this does not result in natural looking colors then the manual white balance setting may be used. To use the white balance setting, you shoot a white object then indicate to the camera that this is "white" and it will adjust the way it records colors accordingly. Read your camera instructions to learn the operation of this control.
Color TemperatureThis setting gives you even greater control over the white balance. You can choose from range of overall colour temperature settings.
White Balance CorrectionThis setting allows you to set each component of the color temperature (red, green, blue) independently so that the ratio of colors in the overall white balance setting is changed. This setting is useful when using color compensating filters.
White Balance BracketingWith this setting on, the camera records three images when you take a shot: One with the default color temperature (automatic white balance), one with a higher color temperature, and one with a lower color temperature, so that you can select the one that looks the best. This is handy with indoor lighting.
Color SpaceThis changes the range of reproducible colors from sRGB to Adobe RGB. Set to sRGB by default. No need to change this unless you have a reason.
Autofocus Point SelectionSLR cameras commonly have seven or more autofocus points that you can choose from if you wish the focus point to be different from the one chosen by automatic autofocus.
Metering ModeYour camera may have the following three light metering modes:
EvaluativeThis is the normal mode, suitable if there is not a large difference between subject and background brightness.
PartialEffective when the background is much brighter than the subject.
Centerweighted AverageThe metering is weighted at the center and then averaged for the entire scene.
Drive ModeThis can be set to single shot mode or continuous (burst) mode which takes multiple shots per second depending on the setting.
Semi-Automatic Modes
In a semi-automatic mode you have manual control over some camera settings, but others are set automatically. Depending on your camera, you may have some or all of these semi-automatic shooting modes:
Programmed AutoexposureThis mode automatically sets the shutter speed and the aperture values to result in the correct exposure but permits limited manual control over camera functions.
Shutter Priority AutoexposureAutomatically sets the aperture value while you control the shutter speed. Good for night and time-lapse shots.
Aperture Priority AutoexposureAutomatically sets the shutter speed while you control the aperture value.Good for lighting compensation and varying of depth of field.
Automatic Depth of FieldUsed to automatically obtain a wide depth of field.
Automatic Modes
SLR cameras, and all but the cheapest point and shoot cameras, have several automatic modes. There is a mode that does everything automatically for you, and there are other modes specific to certain categories of shots including, night, landscape, portrait, sports, and close up. This mode automatically tweak certain settings to customize them for the type of shot.
As a beginner, you will probably make most of your shots using these automatic settings, but they are not only for beginners. Even experts will sometimes use them because often the window of opportunity to take a shot is quite small. This can be because the subject is moving (as in sports photography) or you are moving, or for some other reason, and there is simply not enough time to adjust camera settings.
ApertureControls aperture width with smaller f-stop values representing a wider aperture.
Shutter SpeedManually controls the shutter speed.
Exposure CompensationAlters the exposure setting set by the camera. The exposure can be increased for a lighter image or decreased for a darker image.
Automatic Exposure BracketingWhen this is turned on, the camera captures three images when you take a shot: One with the default exposure automatically determined by the camera, one with increased exposure, and one with decreased exposure, so that you can select the one that looks the best.
Image QualityThis sets the resolution of the image saved by the camera to the memory card. The example camera has three image quality choices: 8.2 mp (megapixel), 4.3 mp, and 2.0 mp. For the best image, shoot with the highest image quality. This is recommended if you have a large enough memory card capacity. The size of the image can be reuced later with image editing software. If your memory card capacity is limited, or the photos will be converted into lower quality images for use on the internet, then the lower quality settings may be used. SLR cameras also allow the image format to be set to jpeg or RAW or both.
ISO speedThis setting increases or decreases the sensitivity of the image sensor. If you are shooting in dim light, you may want to adjust this control to a higher ISO setting for greater sensor sensitivity to light. In bright light, you may adjust it to a lower value to prevent noise.
White BalanceNormally, you should try the camera's Automatic White Balance (AWB) setting first. If this does not result in natural looking colors then the manual white balance setting may be used. To use the white balance setting, you shoot a white object then indicate to the camera that this is "white" and it will adjust the way it records colors accordingly. Read your camera instructions to learn the operation of this control.
Color TemperatureThis setting gives you even greater control over the white balance. You can choose from range of overall colour temperature settings.
White Balance CorrectionThis setting allows you to set each component of the color temperature (red, green, blue) independently so that the ratio of colors in the overall white balance setting is changed. This setting is useful when using color compensating filters.
White Balance BracketingWith this setting on, the camera records three images when you take a shot: One with the default color temperature (automatic white balance), one with a higher color temperature, and one with a lower color temperature, so that you can select the one that looks the best. This is handy with indoor lighting.
Color SpaceThis changes the range of reproducible colors from sRGB to Adobe RGB. Set to sRGB by default. No need to change this unless you have a reason.
Autofocus Point SelectionSLR cameras commonly have seven or more autofocus points that you can choose from if you wish the focus point to be different from the one chosen by automatic autofocus.
Metering ModeYour camera may have the following three light metering modes:
EvaluativeThis is the normal mode, suitable if there is not a large difference between subject and background brightness.
PartialEffective when the background is much brighter than the subject.
Centerweighted AverageThe metering is weighted at the center and then averaged for the entire scene.
Drive ModeThis can be set to single shot mode or continuous (burst) mode which takes multiple shots per second depending on the setting.
Semi-Automatic Modes
In a semi-automatic mode you have manual control over some camera settings, but others are set automatically. Depending on your camera, you may have some or all of these semi-automatic shooting modes:
Programmed AutoexposureThis mode automatically sets the shutter speed and the aperture values to result in the correct exposure but permits limited manual control over camera functions.
Shutter Priority AutoexposureAutomatically sets the aperture value while you control the shutter speed. Good for night and time-lapse shots.
Aperture Priority AutoexposureAutomatically sets the shutter speed while you control the aperture value.Good for lighting compensation and varying of depth of field.
Automatic Depth of FieldUsed to automatically obtain a wide depth of field.
Automatic Modes
SLR cameras, and all but the cheapest point and shoot cameras, have several automatic modes. There is a mode that does everything automatically for you, and there are other modes specific to certain categories of shots including, night, landscape, portrait, sports, and close up. This mode automatically tweak certain settings to customize them for the type of shot.
As a beginner, you will probably make most of your shots using these automatic settings, but they are not only for beginners. Even experts will sometimes use them because often the window of opportunity to take a shot is quite small. This can be because the subject is moving (as in sports photography) or you are moving, or for some other reason, and there is simply not enough time to adjust camera settings.
Props and costumes
This white vest is the girl's costume after she takes off her red jumper on the floor in bathroom. She is going to kill the guy in shower with this white vest. 
This is our actress( Chloe Robert) who is in our group as well. At the beginning, we decided not to show her face because of the sequence having to be full of P.O.V shots of her, and it also creates a mystery, but we thought it could be better to show her entire body and face in order to illustrate the relationship between them and attract more target audience as the sexy appeal attracts teenagers.
Thursday, 21 January 2010
Storyboarding of our thriller film
Storyboards are graphic organisers such as a series of illustrations or image displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence. While they are shooting, the storyboards help to organise and save much more time because it is already plotted in order. We draw a basic in pensil about what will happen in the film and some important shots. After we make sure all the shots are accurate and in the right place that connect to the next shot, we use black pen and draw some shadows. 
The third page of the storyboards builds up the greatest tension in our film, where she prepares to kill the boy and reveals her real purpose of coming into bathroom. As the condition of bathroom is not suitable, we decided to take the shower without any covers. Therefore the shadow of the curtain is gone and we simplify the actual shooting.
We deleted the shot of painting because we changed our location at Hurtwood House instead of Cornhill House, which is not allowed to hang a painting on the wall. Also, the sixth shot which is the girl killer opens the door with a knife, we changed it into she opens the door without the knife and shows that later on, this helps to hide the purpose of the girl goes to the bathroom and creates mystery to attract more audiences.
The third page of the storyboards builds up the greatest tension in our film, where she prepares to kill the boy and reveals her real purpose of coming into bathroom. As the condition of bathroom is not suitable, we decided to take the shower without any covers. Therefore the shadow of the curtain is gone and we simplify the actual shooting.
Shooting Script
INT. Bathroom, Dark light
Frame focuses on a jock jacket from high angle draped over a towel-rack. There is the sound of a shower running and a boy humming and whistling a pop song.
CUT TO:
A boys locker room. A figure of a boy in the shower washing vigorously while singing.
CUT TO:
INT. Dark hallway
Frame focuses on a long and dark hallway where the camera is hand-held to show a P.O.V. shot of the girl, while walking towards the locker room.
CUT TO:
Focus on the bathroom door which she is getting closer to.
CUT TO:
Her hand pushes open the door slowly while a knife in the other hand shows up in the frame.
CUT TO:
She goes for the shower handle
CUT TO:
She stabs him several times violently. Massive amounts of blood cause the white walls to stain.
CUT TO:
P.O.V. Shot of her moving slowly to the sink, camera moves down to her bloody hands rinsing in the running water.
CUT TO:
Her hand swipes across the mirror giving a reflection of her red eyes.
Frame focuses on a jock jacket from high angle draped over a towel-rack. There is the sound of a shower running and a boy humming and whistling a pop song.
CUT TO:
A boys locker room. A figure of a boy in the shower washing vigorously while singing.
CUT TO:
INT. Dark hallway
Frame focuses on a long and dark hallway where the camera is hand-held to show a P.O.V. shot of the girl, while walking towards the locker room.
CUT TO:
Focus on the bathroom door which she is getting closer to.
CUT TO:
Her hand pushes open the door slowly while a knife in the other hand shows up in the frame.
CUT TO:
She goes for the shower handle
CUT TO:
She stabs him several times violently. Massive amounts of blood cause the white walls to stain.
CUT TO:
P.O.V. Shot of her moving slowly to the sink, camera moves down to her bloody hands rinsing in the running water.
CUT TO:
Her hand swipes across the mirror giving a reflection of her red eyes.
Friday, 15 January 2010
Our Film Idea
SUCCUBUS
Sharp-Edge Productions
Roles:
· Producer: Ruby Kammerina
· Director: Timothy Magdich (everyone takes part in camera work)
· Cinematographer: Chloë Roberts and Estelle Mei
· Sound: Timothy Magdich
Cast:
· Boy in shower: Tom Leader
· Girl Killer: Chloë Roberts
Locations: Cornhill House
· Bathroom
· Narrow, long hallway
Starts with a shot of the traditional jock jacket on a towel-rack, with the sound of the shower and a boy singing. We get a close-up of the jacket with the producers name (Ruby Kammer) sewn into the jacket. This immediately links to where we are and who is in the shower. This is clarified when there is a tracking-shot to establish the whole bathroom and steam coming from the shower where we see the figure of the boy through the shower-screen. Cut-to a P.O.V. shot, showing someone walking through a long hallway where at the end there is the bathroom door, making this obvious by steam coming through the door and sound of the boy singing. It continues with a tracking-shot still from the P.O.V., passing by a famous painting “The Scream” by Edvard Munch, making the artists signature the cinematographers names (Chloe Roberts and Estelle Mei). Cut to her hand opening the door with a knife in her hand, this shows who is the killer, making the movement of her hand become a title on the door (Sound: Timothy Magdich). Tracking-shot still as P.O.V. where we see his figure in the shower. She reaches around the shower curtain and you see a hand and knife making stabbing movements while he screams and blood splattering onto the white tiles. At the last stab, blood splatters onto the white tiles making the title of the film (Succubus) . Cut to P.O.V. whole she moves slowly to the sink and cut to her hands in the sink and the water becoming red from the blood on her hands and then she washes the knife. Cut to a shot of the mirror from her P.O.V. with the name of the director (Timothy Magdich). She wipes some steam off the mirror giving a scary effect by only seeing her red eyes. BLACKOUT.
Sharp-Edge Productions
Roles:
· Producer: Ruby Kammerina
· Director: Timothy Magdich (everyone takes part in camera work)
· Cinematographer: Chloë Roberts and Estelle Mei
· Sound: Timothy Magdich
Cast:
· Boy in shower: Tom Leader
· Girl Killer: Chloë Roberts
Locations: Cornhill House
· Bathroom
· Narrow, long hallway
Starts with a shot of the traditional jock jacket on a towel-rack, with the sound of the shower and a boy singing. We get a close-up of the jacket with the producers name (Ruby Kammer) sewn into the jacket. This immediately links to where we are and who is in the shower. This is clarified when there is a tracking-shot to establish the whole bathroom and steam coming from the shower where we see the figure of the boy through the shower-screen. Cut-to a P.O.V. shot, showing someone walking through a long hallway where at the end there is the bathroom door, making this obvious by steam coming through the door and sound of the boy singing. It continues with a tracking-shot still from the P.O.V., passing by a famous painting “The Scream” by Edvard Munch, making the artists signature the cinematographers names (Chloe Roberts and Estelle Mei). Cut to her hand opening the door with a knife in her hand, this shows who is the killer, making the movement of her hand become a title on the door (Sound: Timothy Magdich). Tracking-shot still as P.O.V. where we see his figure in the shower. She reaches around the shower curtain and you see a hand and knife making stabbing movements while he screams and blood splattering onto the white tiles. At the last stab, blood splatters onto the white tiles making the title of the film (Succubus) . Cut to P.O.V. whole she moves slowly to the sink and cut to her hands in the sink and the water becoming red from the blood on her hands and then she washes the knife. Cut to a shot of the mirror from her P.O.V. with the name of the director (Timothy Magdich). She wipes some steam off the mirror giving a scary effect by only seeing her red eyes. BLACKOUT.
Shot list
1. Close-up on Jock jacket
2. Medium-wide shot of bathroom
3. Wide-long shot of the hallway
4. Close-up shot on ‘Scream’ painting
5. Medium-long shot of door in the hallway
6. Close up of hand on handle mate
7. Medium shot of the door opening
8. Medium-wide shot of shower
9. Close up of hands opening shower door
10. Close up of hand on shower door
11. Medium wide shot of bath/shower
12. Wide shot of bathroom
13. Close-up of sink
14. Extreme close up of drain with blood in the water
15. Close up on hands swiping mirror
16. EXTREME close up of reflection of eyes in the mirror
17. Close up of victim dead
2. Medium-wide shot of bathroom
3. Wide-long shot of the hallway
4. Close-up shot on ‘Scream’ painting
5. Medium-long shot of door in the hallway
6. Close up of hand on handle mate
7. Medium shot of the door opening
8. Medium-wide shot of shower
9. Close up of hands opening shower door
10. Close up of hand on shower door
11. Medium wide shot of bath/shower
12. Wide shot of bathroom
13. Close-up of sink
14. Extreme close up of drain with blood in the water
15. Close up on hands swiping mirror
16. EXTREME close up of reflection of eyes in the mirror
17. Close up of victim dead
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