Location Permission

Shooting Schedule

A shooting schedule is a list of dates when the filming of the production takes place. They show exactly what date the filming will be taken on, where it will be done, the actors involved, all the desired props and costumes, the crew members involved and the equipment needed. Shooting schedules are important to allow all of the cast and crew to know when and where they are required. One such as the one below are giving to all members of the production. In our production, a shooting schedule will be given to each of the following participants:

• James Thompson
• Harry Devonport
• Scott Galloway
• Charlie Kealy

Casting

Daniel Markus - Charlie Kealy

Daniel Markus will be played by Charlie Kealy.

Edward Finch - Scott Galloway

Edward Finch will be played by Scott Galloway.

Character Descriptions

Lists of Props, Costumes and Locations

Props

The following props will be used in our opening sequence:

• Strong-Alcohol Container

• Shot Glass

• Picture Frames

• Fake Newspaper

• Alarm Clock

• Picture of Daniel and Edward (Charlie and Scott)

• Fake Blood

• Gun

• Medals

Costumes

The following costumes will be worn in our opening sequence:

Daniel Markus (Charlie Kealy)

• Suit - Black/Navy Trousers, White Shirt, Tie, Black/Navy Jacket.

• Smart Clothes - Brown Leather Belt, White Shirt, Tie.

• Dirty/Rough Clothes - Dirty White Vest, Dark Trousers, White Socks.

• Casual Clothes - Jeans, Polo Shirt, Leather Jacket, Flat Cap, Trainers.

Edward Finch (Scott Galloway)

• Suit - Black Leather Shoes, Black Socks, Black Trousers, White Shirt, Tie, Black Jacket.

• Casual Clothes - Black Leather Shoes, Grey Trousers, Checkered Shirt, Brown Leather Belt, Coat.

Setting

Our sequence will be shot in the following places:

• Living Room - This location belongs to one of my relatives.

• Bedroom - This location is within Scott Galloway's house.

 Bathroom - This location is within Harry Devonport's house.

• Park - This location is accessible to all and is local.

• Alleyway - This location is also accessible to all and is local.

• 'Photo Room' - This is where the photo will be taken of Charlie and Scott in suits - implying that they are in a civil partnership.

• Sofa - This is where the photo of Charlie and Scott together will be taken, reinforcing the idea that they were close.

Animatic

Titles

We chose for our titles to have a serif font. This demonstrates the serious nature and tone of our movie. The dark blue colour of our titles also show how the movie has a dark, serious tone. If the colour of the titles were brighter colours such as pink, the audience would interpret this to mean that the film was upbeat due to the connotations of the colour pink. The size of the font is big enough for the audience to see however does not take up the whole of the screen. Along with the dark font, this makes the audience have to focus to read the names that are displayed. This firstly begins to engage the audience in the film but also portrays the idea that the tone of the film is rather shady. The cross-fade between the titles made the transition seem smooth and gentle as apposed to a cut which would be sudden. This transition type matches the slow tempo of the music and therefore enhances the idea of a slow pace. Lastly, the titles appear in a conventional order for opening sequences. They begin with the most important cast members and decreases in importance - followed by the least important crew members building up in importance, ending on the Director.

Feedback

Upon an audience viewing our preliminary animatic, we received some constructive feedback that we will review and consider during the production of our final piece.

• The pace of the titles needs to be slower to match the tempo of the score heard over them. We will improve this by either increasing the duration of time the shots are shown or by choosing an alternative score to be played.
• The sequence may become too long. To avoid this we may have to superimpose some of our titles over our footage.
• Due to the high frequency of close-ups, only specific and important ones should be used.
• Change the order in which the production and distribution company appear to match the convention of films.

Storyboards

In Hindsight we decided that shot number 3 would be better as an extreme close up of the clock to give the audience a better awareness of the time. Also, we feel this would be easier to shoot as we would have to create the Adoption Weekly prop manually.

We also decided that we would scrap shot number 28 as it breaks the 180 degree rule and therefore would disorientate the audience. One other shot we also decided we wanted to add on the day of shooting is a master shot of the room in between shot number 23 and 24 to allow the audience to get some spacial awareness of the setting.

My favourite shot is number 27 as it implies to the audience that someone else should be in the chair adjacent to the protagonist however the chair is empty. This is a big hint to the audience about the premise of the story.

Importance of Storyboarding

Storyboards are a collection of drawn pictures showing each shot that is planned to be filmed prior to the production of the sequence. These are important as it gives the director insight into what will and will not work. For example, one might have an idea which sounds great in their head, however, in practice, it may turn out not to work how they expected it to. Storyboards also allow people to get an overview of their planned production and therefore can evaluate it and make an necessary changes to it before shooting has begun. Other other useful feature of them is that it allows the director to clearly identify the timings of each shot and the sequence overall and therefore if it does not meet the requirements or certain scenes are on screen for too long, it can be altered with ease.

Sound

We chose this music to non-diegetically play over our opening sequence as the protagonist got out of bed and began his routine. We felt this music was appropriate as the genre is quite meloncoly and depression which express the tone of the sequence well. The music also seems to play in a loop. We felt that this would work well to portray the idea that the character's life is stuck in a rut - doing the same thing day after day.

We chose this music to play during the shots from inside the dream at a lower volume. This is because the choir singing sounds like something one might here inside a church. Connotations of church include death and mourning and therefore we hope this might hint some of these concepts to the audience. The music is also rather peaceful which shows the audience that previous to the incident - their life was peaceful.

Key Frames

Key Frame 1

This shows a medium shot of the protagonist in bed as his alarm goes off. This shot is key as it clearly shows the facial expression of the protagonist as he wakes up and remembers exactly who he is and what has happened. In this scene, the character's alarm has just gone off and he is staring at it for a prolonged time rather than turning it off. This firstly shows that he is in no rush to get up and get ready for the day which emphasises the fact he has nothing to live for. Secondly, at this point in the scene, the alarm sound is at a disturbing volume and frequency for both the character and the audience. The fact that he is not choosing to simply turn it off demonstrates how there is something wrong. This was designed to illustrate to the audience the fact that he feels he deserves the simple pain of having to listen to the alarm as he feels he is responsible for what happened to his husband because he didn't save his life.

Key Frame 2

This (extreme) long shot of the character in the bathroom crabs across the floor slowly. This scene is shown right after the character wakes up from bed. This shot is key as it shows how the character life has developed into a rut of doing the same things day in, day out. The large distance between the character and the camera conceals the him from the audience as we cannot see his face properly. This hints to the audience that he is ashamed of himself and does not wished to be seen by anyone. 

Key Frame 3

This still shot displays a section of the protagonist in the foreground with the various props shown in the background. This shot placement firstly conceals the characters actions from the audience, implying that he is rather shady and is not proud of himself. The character, however is not in focus in this shot, instead, the props behind him are in focus. These props give a variety of clues to the audience about the character's old life. Shots following this show a closer view of these clues to allow the audience to accurately see what they show.

Key Frame 4

This long shot of the character seems like a two shot. This is because there are two armchairs side by side, however only one of them is occupied. This implies to the audience that there should be someone else in this shot and therefore their absence seems unusual given the shot.

Key Frame 5+6

The first shot shown is a long shot, birds-eye-view-shot of the protagonist in bed. This early shot has the same effect as key frame 4. It shows the character clearly on one side of the bed and leaves the other half empty. This is another hint to the audience that somebody is meant to be there but isn't.

The next two shots display a graphic match between the tap running in the bathroom and whiskey being poured out of a bottle into a shot glass. This editing technique illustrates to the audience how excessive drinking of alcohol has become as routine to this mans life as simply using the tap in the mornings.